Monthly Archives: February 2007

That’s Just Prime!

I’ve never been a fan of collecting Optimus Prime, but this Transformers Classics version was too awesome.

Awesome full articulation! I’d say, the best, most-well balanced designs I’d ever seen (not counting the giant Masterpiece Optimus Prime that is.)

I then realized that I had a few Primes, really. (From left: Transformers Classics Optimus Prime, Transformers Energon Powerlink Optimus Prime, Transformers Alternators Optimus Prime, Transformers Energon Powerlink Rodimus, Transformers Cybertron Excellion. Transformers Beast Wars Optimus Primal is in front.)

…I also have a collection of trucks (addition being Transformers Energon Powerlink Barricade.)

Primes, transformed!

Transformers Classics

50’s Rage

The 50’s are in! From left, Olympus Zuiko 50mm F1.8; Canon 50mm F1.8 Mk II; Minolta 50mm F1.4 (pre RS), Fujinon 50mm F1.4 (without body).

I recently bought the Olympus from Mustaffa, a friendly guy who teaches black-and-white film processing! (Which is what every self-respecting B&W shooter does, pushing and pulling, dodging and burning, and having your own darkroom with funky chemicals.) Learning that would save a lot on film processing fees, so if you’re interested, email him at

Sure, you could shoot black-and-white on digital but you don’t get the same contrast range.

From left: My Olympus OM-2000, Mustaffa’s Leica M6 TTL, his Olympus OM-2.

I finally got to touch a Leica rangefinder! Yes, it was way brighter than Kingsley’s Yashica Electro GSN 35, and the yellow secondary image was very obvious. Its film winder was a lot more refined and discreet, and he installed a soft shutter button.

The cloth shutter, of course, was very quiet.

The OM-2 was also an amazingly engineered camera, with fabric shutter, air cushion dampeners, and various springs to make its mirror so much softer than any other SLR. I couldn’t find the air tunnel they claim softens the sound.

My Olympus family. From left: Vivitar 2x teleconverter, Vivitar 24mm F2.0, Olympus Zuiko 50mm F1.8, Olympus Zuiko 35-70mm F3.5-4.8, Olympus Zuiko 70-210mm F4.5-5.6.

The Olympus Zuiko 50mm F1.8 is amazingly sharp! I think this was either F5.6 or F8. Click on the picture for a bigger view.

I love Fujifilm Superia film. This was the ASA200 version. Gotta love them emerald greens!

Using the 50mm F1.8.

24mm F2 (colors and lightness not adjusted. I love how the contrast is there, but doesn’t kill the shadows. Or maybe my OM-2000 overexposes just a bit.)

Near Burger King, Desa Sri Hartamas.

And now, guess what this is!

Below it, lies this. Yep, Jeff of Ampang Park had a broken Canon 50mm F1.8 Mark II lens lying around, and let me try my hand at fixing it. Note the 5-blade circular aperture.

The front element.

The front element, when reversed in front of another lens, gives awesome barrelling distortion and a closeup factor of about +20, I think. Shot at 35mm F36 ISO1600 with flash (to get enough focus to reach Jeff!) Yes, the Sony 18-70mm F3.5-5.6 lens was already at infinity.

Switching the lens to Manual Focus disengages the gears.

The front element, mounted on my infrared-modded Fujfilm Digital Q1.

20mm, F22, 1/60, ISO400 with flash.

18mm, F3.5, 1/10, ISO400. Focusing changes the strength of the effect.

45mm, F5.6, 1/15, ISO400.

50mm, F22, 1/80, ISO400 with flash.

This is goood sheeet.

Oh yeah after I was done playing with it, I just applied some force and popped it back on. It worked like magic and focused when I tried it on a Canon EOS 5 at Jeff’s the next day! I didn’t intend to disconnect it again though it had a cool effect. However, if you do permanently disconnect your Canon 50mm F1.8 Mark II, you know you could use the front element for some funky stuff. 😀

Eye Eye, Kept Turn

On the 28th of January 2007, I took a long walk from Titiwangsa Monorail station to the Eye On Malaysia!

Some photography enthusiasts did not want to go because they figured that everybody else had shot the EOM. Bollocks! If you are as enthusiastic, you’d inject your own style and make radically different pictures.

I went there with that mindset.

…and, for the first time, I brought my tripod out. 😀

2.5 second exposure, ISO100.

30 second exposure. Yeah, everybody has done this…

81 second exposure, on bulb mode. I held it down as long as I could; I’ve never held bulb mode this long before and don’t intend to find its limit. 😛

But first, smashpOp, Jenifur and Rames jump!

The bright spotlights inspired me to try this; Aperture Priority at F1.4 on my Minolta 50mm F1.4 gave me a bright 1/160 seconds. No flash was used! First time I’ve seen KLCC out-of-focus, even! Coincidentally, 1/160 is the Sony A100’s built-in flash sync speed.

Another, in front of the Eye On Malaysia. This was at 50mm, F1.4, 1/250th of a second.

And then, I zoomed. WHOA! Initially discovered this during an accidental pan shot.

I zoomed in and out on my Sony 18-70mm F3.5-5.6 kit lens while snapping away to get different permutations.

I thought I struck gold when I discovered the neon lights of the Eye On Malaysia had a refresh rate of 100 Hertz (blinking 100 times a second). Yes, I counted the number of flickers and divided it by the shutter speed.

And then whoa! Fireworks.

Out-of-focus fireworks remind me of Quake 2. Yes, the game I made a few models for.

I always wanted to zoom in on fireworks.

I also tried unsuccessfully to pan with fireworks. This looks like yarn though.

Initially a plain long exposure, the fireworks came on and I unlocked it from the tripod.

30 second exposure…

Though it depends when you hit the shutter (this, also 30 seconds.) Furry.

And now, for shots from my Olympus OM-2000.

Olympus 70-210mm F4.5-5.6 lens with Vivitar 2x teleconverter, giving 420mm F11.

Another 420mm shot, with boosted saturation.

Vivitar 24mm F2.0. I love how the shadows are so well exposed! Color/luminosity not tweaked. Took wideness of lens for granted, making Jenifur out-of-focus.

I love Fujifilm’s emerald-ish color! This was Fujifilm Superia ASA200.

Having two cameras, especially one that didn’t need dark frame subtraction (which explains the Busy sign after long exposures), was great.

True undestructive bulb mode!

Since I finally had a tripod near my house, I could do bulb mode on the traffic lights near my house! (No color/lightness tweaks.)

The virginal Sony version; got the green-yellow-red succession in 11 seconds hence the darker exposure.

If you bothered, you could count the seconds the lights are green, shoot 2 seconds before it turns yellow, and hold for 6 seconds (2 seconds for each color).

My first successful attempt was here.

Just as I was writing this, feeling all accomplished, I found out that TV Smith beat me to it! He is the man on the front of alternative photographic technique.

Seasoned Greetings

You know you’re getting old when a hot chick smiles at you at your grandma’s open house… and she gives you an angpau. 🙁

Fun things to do? Toss glitter over the front entrance and tell them it’s for good luck. They can’t sweep it away!

Oh, and has anybody flipped through ASTRO channels lately? The new ones are mostly Chinese! It’s like MEASAT-3 launched and hovered right over Taiwan.

Happy Chinese New Year!

(I scouted the neighborhood while fireworks were blasting, but didn’t manage to catch any. So here’s some from the beercan.)

Outside Ampang Park.

Gotta love the creamy bokeh.

Two Gig Or Not Two Gigs

Indie-licious, 10th February 2007, KL Jam Asia.

Edward Gomez says he got the blues.

PG165, modern rock.

Tap that bass!

Hooray Mr. Soundman for putting more of my favorite strobe lights on.

Crosstown Traffic, with THE N. Rama Lohan on guitar and THE Wong Lip Kee on guitar. Rueben also came up for guitar with Wong the usual shredder playing drums. They also played a bit of Queen, but what blew me away was when they covered Cream – White Room. Those who knew the song went wild. Eddy, I wish you were here.

Project Ei8ht

More trippy reverse-wide-angle-converter goodness.

Gotta love the acrylic B.C. Rich.

I.G. Collective, funk, soul and infamous Rock The World emcee Harooon. Wait, where is he? Oh well, I have no complaints about the energetic, hot frontwoman.

At the right angle, the reverse-wide-angle-converter can introduce a lot of funky flare.


Telephony Delivery, awesome post-rock.

SkyJuiceCoffee, energetic punk rock.

Happy Chinese New Year! Or so Desa Sri Hartamas’ lights tell you.

And now, for Hearts N Lightbulbs (which moved last-minute from Hartamas Square to Laundry Bar). This is Tarquin.

Erin and Prakash, emcees for the night. I missed Saer Ze‘s performance.

Zalila Lee and Jerral Khor. Intentionally tweaked the white balance to get the color isolation.

T.U.L.B.B. wants to be a fish.

To counter the dark inverse-circle made I moved the reversed wide-angle converter away.

Reza Salleh and his band of merry musicians. He was also selling his demo CD, Smokecity. Great stuff. I didn’t realize how multi-segmented the title track was, with all the dynamics (which I bet Melina loved playing), but being held together by Reza’s voice which maintains a steady composure. There were other songs which were just recorded as acoustic demos, which I’d have loved to hear recorded with Hanafi’s solos (because I actually remember them by now.)

These are the kids from St. Jerome Home that the charity gig would help. (Click here to help/donate.)

Nick Davis, singer-songwriter.

F4! My Minolta 70-210mm F4 beercan lens, Asyraf‘s Nikkor 300mm F4D, and T.U.L.B.B.’s water bottle. I think.

Estrella played the Frente cover of Bizarre Love Triangle (originally a new wave dance hit by New Order, then covered as a gentle acoustic song by Frente.)

Smile! Say chairs!

Izuan’s in the hood.

Wong Yu-Ri on twelve-string! He played Free Falling, which he wrote for his band, Frequency Cannon.

Pardon the overexposed flash on Peter Hassan Brown of Soft Touch. It’s alright! He’s white! He’s a white guy! Get it?

Diplomats Of Drums, huge bhangra outfit.

Though with an interesting specimen.

Beat it!

The crowd bobbed to the contagious beat. He was actually chanting in English!

Glass I

Many things I have obtained, in the horrific financially-draining hobby of photography. This is part 2. (Click here for Part 1.)

Union 55mm +2 close up filter

I got this because it was cheap and lousy. Yes, I intentionally bought it for the chromatic aberration and softness it would give me.

A +2 close up filter changes your lens focus point from infinity to 50cm close. The math is 1000mm/diopter rating = focus point, so +1 = 1000/1 = 1000mm = 100cm; +2 = 50cm; +4 = 25cm; +10 = 10cm; +25 = 4cm.

Why would anyone buy a +2 instead of a +4?

So I could focus further away when the lens was on, and not have the insect I was shooting sense me so soon.

Hoya 55mm +4 close up filter

I got this as a more premium unit, at RM40. Stacked with the +2 it became effectively a +6.

When the +6 is used with my Minolta 50mm F1.4 (pre-RS) lens at F2.8, it enlarges the out-of-focus circles even more. The scratched texture you see is from a trashed 55mm UV filter, superglued to a 52mm UV filter ring. (My 50mm F1.4 had a 49mm filter thread size, with a 49-52mm step-up ring, so I had to use the superglued filters to reverse mount the close-up filters.)

At maximum out-of-focus-ness.

50mm at F6.3. This might give you a hint as to where this is.

Yes, close-up filters have the same effect whichever side you look through; it still has a positive enlargement.

Sony 18-70mm F3.5-5.6 lens at 70mm, F11, ISO100, 1/125 with flash on. Note the cheapo donut bokeh.

Minolta 70-210mm F4 beercan lens at 210mm, F32, ISO100, 1/125 with flash on, and +2 and +4 filters stacked on. I love the colorful distortion near the edges!

24/14mm = 1.71x magnification! Same exposure settings as previous picture.

At 210mm F4 with +6, the whites blur and bleed all over.

At 210mm F16, the effect is controlled and so much prettier.

Pro Tama 58mm close up/58mm 0.45x wide angle/fish eye set

From bottom to top: Minolta 50mm F1.4 lens, 49-52mm step-up ring, Hoya 52mm UV filter, 52-55mm step-up ring, 55-58mm step-up ring, Pro Tama 58mm macro, Pro Tama 58mm fisheye (which has a 67mm filter thread. Phew!)

The Octagon 55mm 0.45x wide angle converter, on my Vivitar 24mm F2.0 lens on my Olympus OM-2000 film SLR.

I got this instead of the Octagon 55mm 0.45x wide angle converter (also sold at Ampang Park) because:

The Pro Tama set was made of two components; the close up filter (I estimate +13) and the fisheye. When the fisheye is screwed in front of the closeup, it becomes a wide angle converter! The fisheye had a 67mm screw filter thread on the outside, while the Octagon did not.

The cons of the Pro Tama were that it was 58mm (meaning I had to get a 55-58mm step up ring, and adding space between lens and converter, causing stronger vignetting than the Octagon). The Octagon, when reversed, had awesome funky lateral chromatic aberration. You have to look through it to appreciate it; it stretches everything not in the center like you were entering warp speeds, and the whites bleed all sorts of pretty primary colors (as opposed to traditional CA, which just looks icky purple.)

The Pro Tama just stretches the sides but does not cause funky colors. 🙁

The close up filter is amazing; I can get 1:1 lifesize magnification when screwed on the 18-70mm at 70mm!

The Octagon, reversed, features awesome funky lateral chromatic aberration. The Pro Tama has the warping effect, without the funky colors. 🙁

The warping effect can be shifted, by tilting and shifting the reversed Pro Tama. Much like a Lens Baby!

Both converters had vignetting at 18mm. The simple reason being that they were designed for lenses that start at a measly 35mm; thus, it could widen that to a 35mm * 0.45 = 15.75mm, or 35mm * 0.7 = 24.5mm. The imaging circles at the back of the converters are not big enough for wider lenses.

I needed to zoom to 22mm at least, on my Sony 18-70mm F3.5-5.6 kit lens, to avoid vignetting. By then, with digital crop, it had already become 33mm… multiplied by 0.45 to get 14.85mm. Of course, I loved the vignetting and minor light falloff, so I used it wide and got 18mm * 0.45 = 8.1mm. Add the digital crop to get 12.15mm.

On the Olympus OM-2000 with Vivitar 24mm F2.0 lens things were more promising; there was still vignetting but 24mm * 0.45 = 10.8mm wide!

(I can’t show you shots from the Olympus because I haven’t finished my first ever roll of Fujifilm Velvia 100F.)

Through more usage, I had the sinking feeling that the wideangle converter was not really 0.45x; in application it was like a 0.7-0.8x. I haven’t figured out how to properly calculate it though, but the answer to the question is, “Yes, it is wide enough.

What if it was just the fisheye, since I could omit the 58mm macro element?

It becomes a close-up with fisheye barrel distortion! I had to shoot at F22 with flash to reduce out-of-focus-ness, even at infinity.

I also tried the Sony 11-18mm F4.5-5.6 DT lens. It was, well, disappointingly straight. (Though, that’s what people pay for.) I tried to coax some barrelling but none was obvious. This certainly wasn’t an artsy lens; the Sony 16mm F2.8 diagonal fisheye would have served that purpose.

I can’t tell if there is distortion, other than the stretching of faces towards the edges of the frame.

At 11mm, it was probably the sweetest at F5.6-F8. There was slight softness at my only 1/3rd of a second shot, and crispness at 1/6th. I attribute this decreased steadiness to me not holding it confidently like it was my own to sweat all over the rubber grip. Y’know how it is, once you’ve got the feel and grip of things your steadiness increases… so if I could get it to my 3.5-stop average I should get 0.8 seconds steady.

I have this nagging feeling that in-body stabilization really works better on the tele end, contrary to popularly propagated claims.

The camera knows the focal length from the lens, and it adjusts its corrections according to which lens is used. Real-world tests have confirmed that these in-body systems are just as effective as in-lens systems, even with longer lenses.

From a most informative Minolta AF/Sony Alpha F.A.Q., which is a great read even if you don’t have a Minolta/Sony SLR (especially the bit about focusing beyond infinity.)

Random Tip #1

My Sony 18-70mm F3.5-5.6 kit lens focuses slightly beyond infinity. However, all I need to do to set it to infinity is to turn the camera off and on! (The camera sets the lens to infinity even in manual focus.)

Random Tip #2

Default settings.

I lower the contrast to -2 and boost the sharpness to +2 by default on the Sony A100. You can always add contrast in Photoshop easily, and the +2 sharpness doesn’t seem to affect noise.

What I prefer.

The Sony A100 very predictably underexposes when there is backlight and is set to Multi-segment Metering, with Dynamic Range Optimizer Advanced on. It’s great that it’s predictable, so I can quickly bump the EV to +1 (with DRO+ keeping the highlights in check.)

And so, for a flatter but colorful backlit scene, I’d suggest setting contrast to -2, sharpness +2, saturation +1, EV +1.

Setting the contrast to +2 on the other hand, gives this.

I then pumped the EV to +2 to bring out the purple fringing in the trees.

I stacked my Hoya R72 52mm infrared-pass filter, and my Raydawn 52mm circular polarizer and linear polarizer, then the Pro Tama, to get this severely vignetted infrared shot. Quite cool, the internal reflection of flare.

I loved the gradual light falloff. The vignetting adds character to the picture, and I have to say I’ve never felt so inspired. Lines that extend from the center are least likely to be distorted.

At effectively 12.15mm I could afford to shoot at 0.8 seconds! (This was at F3.5 1/5s though.)

I paid under RM150 for the Pro Tama. Awesome deal, and a great way to stretch your creativity on just a kit lens alone! You get true life-size macro, a pseudo-fisheye, and a reverse-handheld tilt-shift lens!

All You Need Is

Despite my accidentally non-conformist nature, I am really deep down inside, a conformist. I want to fit in!

However, I have decided to skip this year’s celebration of commercialism. Hmmm, commercialism. That word makes me sound like a whiny cynic grouching over every celebration where there is money to be made. But hey, making money is cause for celebration!

‘sides, how do I top Hannah Sarah Tan?

(From last year’s blog post.)

I still remember when I first saw Hannah Sarah Tan hannah t‘s Christmas CD in a magazine shop. I bought a 100 Plus canned drink, and noticed her CD going for RM18 (I think.) Wow. Without realizing, I gave the cashier two RM10 notes!

On a lighter note, there’s Andrea Veronica Fonseka (who refuses to rebrand herself Andrea F.) I can attest to seeing her in a bikini before that infamous picture, and she was certainly did not look like that then. Must be the rich food over there.

Watch out kids, 81% of hand-foot-mouth disease transmissions happen on February 14th. So stay home and avoid the plague!

Then again, if you can top being a top model, now-famous blogger model, hot dancer or car model… or you have a different, unique angle to sell, give me a buzz and I might haul my ass out.

In other news, spot me in the February 2007 issue of KLue. Sorry Davina, I beat you to it. 😛

Anyway, now for some pimping.

What: Singles Night Out
Where: KL Jam Asia, Desa Sri Hartamas
When: 7:30pm registration, Thursday 15th February 2007
How Much: Free entry!
Who: Hot chicks who probably have a thing for rocker-looking guys. And of course, rocker-looking guys, because that’s where they hang out – KL Jamasia.

More details here.

What: Project Bazooka (also a Single’s Traffic Light party)
Where: The Curve, Laundry Bar
When: 10pm, Thursday 15th February 2007
How Much: Free entry!
Who: Bittersweet, Lightcraft, Kluk Kluk Adventure

Oh, and I gotta quote this from their site:


DRESS IN GREEN = I’m available. It’s quite straightforward. Go for it.
DRESS IN ORANGE = Hurry up! Faster! Time is running out!
DRESS IN RED = Break the rules… wink
DRESS IN PURPLE = I’m “Grimace”, from McDonald’s, not Barney, or Brinjaw.

How many Pinkpaus does it take to change a lightbulb?

Boys and girls, not knowing where to celebrate commercialism? Take your loved one out to one of Pimppau’s Pinkpau’s V-day recommendations.

Clearing Time!

Ferns Album Launch, 2nd of February 2007, at KL Jamasia. Finally, I’m updating within the same month!

Keng of Furniture, shredding the blues for folk-rocker Azmyl Yunor. Shanon Shah was on keyboards!

Azmyl, ganas wei.

One half of Couple, lo-fi indie pop darlings. Quite a massive following.

…even if Hana wasn’t playing with them. Eh?

Happy music!

Warren Chan of Ferns, dreamy indie pop of the softer, frail variety.

Abigail blows the… uh… keyboard.

Adlin gets a KLue (speaking of which, where the heck is this month’s issue?) and sits down.

Fast forward to 8th February 2007, Moonshine, A Homemade Music Show.

The first thing people would notice about Laundry Bar is how the stage had shifted.

The second is that the comfy Laundry Bar plushies have disappeared.

The third would be the carpets, left to hang dry on the walls.

The first and third help to make the sound better, by reducing sound reflections. Okay, maybe it was for Chinese New Year too. 😀

The sound engineer gets a more glamorous deck.

Melina (who I shall no longer identify by her main band because she has become a band slut) performing with…

Reza Salleh, sexy alternative/modern/grunge/R&B rocker.

Guess which band Rahul (only of One Buck Short, heh) is playing for!

I let my friends play with my camera, and they set the white balance for me. I went up and took this shot with flash. Gee, thanks! (Your standard uninnovative photographer-wannabe would say, “Next time, shoot in RAW, stupid!“)

Aye, but he/she is forgetting the days of point-and-shoot and intensive Photoshop post-processing (and how proud he/she was of it.)

Don’t be lazy, even Levels can fix it. I went further and made it look like a cheap digicam. Anyway, that’s Alex Ang, yet another band slut. Guessed which band this is yet? (There’s also Zaim of Curtis Blues Review on bass.)

Ash Nair! Best known for his stint in Malaysian Idol and as one of those CLEO Bachelors.

I might’ve just discovered an interesting effect; using the wrong white balance with controlled flash power to isolate subjects.

I’m not sure if I’ve seen him before.

And now, for a rant.

An out-of-focus picture of Kimberly and Tan Yee Hou‘s friend, shot at 50mm F2.0. Shot by a friend who I won’t identify.

And this is why the Nikon D40 sucks. (No, this was taken with my Sony A100 with Minolta 50mm F1.4 lens… in manual focus.)

The D40 cannot use auto-focus on Nikkor lenses that do not have motors inside them. Thus, you’d need to get an AF-S or AF-I lens. However, Nikon does not make AF-S versions of their bright primes (at least F1.8), like the popular Nikkor 50mm F1.8D lens! (And when they do announce it, it takes ages to arrive and goes out of stock.)

Ironically, a bright prime which has narrow depth of field needs auto-focus the most.

Tan Yee Hou. Shot at 50mm F2.0, which is enough for someone sitting at the same table to be reasonably in focus. Identity of shooter withheld.

I’ve discovered is that most people can’t do manual focus, even in restaurant lighting! (Or haven’t a clue how to see if something is critically in focus.)

Yes, I’ve been asking people to try to manual focus, doing random samplings. (I didn’t ask them to half-press and spot the focus-assist dot, though… that would tell them if it’s in focus, which defeats the purpose of the experiment.)

There was once I met Fazri and his friend, Brian, and I asked him to manual focus and he got a sharp, in-focus shot.

Later in conversation, I found out that his father had an Olympus OM-2. Yep, one of those legendary, very quiet fabric-shutter manual exposure manual focus film SLRs. Manual focusing must be in his blood!

(Okay, so later he whipped out a digital SLR, so he already knew what in focus looked like.)

Imagine, there could be a generation of budget-strapped people getting D40 units with the cheapest first-hand Nikkor lens, the 50mm F1.8D, and taking loads of out-of-focus shots… and not knowing it.

A D40 could be retrofitted with a manual focusing screen, but because of the matte area, metering would be screwed, overexposing out-of-focus areas. Teehee.

Xian Jin nails the focus on this shot of Matthew. This was on the 50mm at F1.4! F1.4 is much more challenging, but done correctly, the right parts of the picture are in focus, with the bonus of soft focus in the other areas.

In general, with a small depth-of-field, one should focus one-thirds into the subject. For a face, the eyes are most critical; focus that and the nose and ears will be reasonably in focus.

Last Minute Update

A quick update for tonight:

What: Hearts N Lightbulbs Valentine Event
Who: Jerral Khor & Zalila Lee, Nick Davis, Diplomats Of Drums, Saer Ze, Wong Yu-Ri, Soft Touch, Estrella, Reza Salleh
When: 8pm, Sunday, 11th February 2007
Where: (venue changed) Laundry Bar, The Curve
How Much: Free admission (but this is a charity show, so please donate!)

The event is organized by Feathered Friends Network. Proceeds will go to St. Jerome Home, a home to 18 children aged 2-16 years, taken care by Brother Peter. They urgently need a washing machine and funds for the children’s school fees.

Lie Surgical Seed Die At Her Might

27th January 2007: Bear With Me (I only got to Jamasia near midnight, after Bryan‘s birthday celebration.)

Lightcraft, indie rock darlings.

Ooo hot chick photographer!

Ask Me Again.

Kick. Ass. Emo core.

The annoying lights, which kept fading in and out, led to me metering when it was dark (and thus overexposing) or metering when bright (and thus underexposing). However, I quickly discovered that the lights could create such… double exposures.

They Will Kill Us All, post rock.

I loved it when they kicked in the strobe lights! (This is definitely new for Jamasia.) I panned the members and got this interesting transition at 1/2th of a second.

1/6th of a second, for fewer strobe images and more discreteness.

What about zooming?

Yeah, to some extent.

Scream your post-rock spirits out!

Faux cross-processing on the members of Triple 6 Poser.