In January, I wrote a post for my photography how-to blog entitled called “Don’t Go Broke Buying Equipment.” Check it out when you have the time.

The introduction of any new camera always generates lots of questions about switching systems because some people always want to have “what’s best” even if that’s a moving target. That particular post generated lots of e-mail from readers about whether or not I would be purchasing a Olympus E-M1X I like the one that I shot at Daytona International Speedway and, although I currently own four Olympus Micro Four-thirds cameras and while I really, really liked that camera, my answer is a reservedly “no,” explained in the second point that I make below. But that doesn’t mean you shouldn’t.

If you’re using the same system as your dream camera, it’ll just be an upgrade so if you can afford it (an often overlooked but important consideration) then you should get one. If the dream camera is from another manufacturer, I’d like to offer my personal reasons for not switching systems; It’s something to consider before melting that gold card in an orgy of camera and lens purchasing.

How I made that photo: I photographed this motocrosser while be was practicing in the rain. Oh, yeah, I got seriously we and so did the weatherproof camera—  an Olympus E-1MX. Lens was a M.Zuiko 40-150mm f/2.8 lens used with a MC-14 teleconverter. Exposure was 1/250 sec at f/4.5 and ISO 400.

I already know how to use the system that I own. I’ve tested and reviewed lots of different cameras for Shutterbug, this blog and my main blog and no camera or lens company camera controls and menus do the same thing in the same way, even within their own system! The on-off switch in all my Olympus cameras is on a different place on each body! Switching to a different camera system means that I’d have to remember that the lens mounts counterclockwise not clockwise and the control for exposure compensation and everything else is someplace other than what I’m expecting. Maybe I’m just too lazy to learn something new but am not afraid to admit it

I can’t afford it. Right now, I own two DSLRs and too many mirrorless cameras and a lots of lenses. I’m not really sure how many lenses that I actually own, although I have been selling some that never gets used. I could trade everything for new Brand X gear and get 10 cents on a dollar or put them on eBay and deal with all that craziness. Been there done that. But then I bought three new (used) lenses this year too.

Most importantly, changing systems won’t make a difference in the kind of photographs I make. Some photographers work in highly specialized situations and need exotic gear to accomplish their goals, as well as getting paid to do it. I’m not one of them.

Keep this in mind: If a new camera from another manufacturer than the gear you currently use makes your life easier, helps you make more money and you can afford to make the transition go for it. Think about for instance the decision some photographers have made to move from full-frame Nikon and Canons to Fuji’s GFX medium format system. That’s a reason and wish I could do it! I recently watched two guys go through the process of switching to DSLR systems and frankly, Scarlett, it scared the hell out of me mainly because I’m such a cheapskate and can’t imagine throwing that kind of money away. But both of the guys are serious pros who make a living with their gear.

If you enjoyed today’s blog post and would like to treat Joe to a cup of Earl Grey tea ($2.50), click here. And if you do, many thanks.

One of the most enjoyable aspects of any Cars & Coffee events is the unpredictability of what kinds of cars show up. Take f’rinstance the venerable Nissan GTR. There were a dozen of these Godzilla cars at December’s event at the vehicle vault in Park, CO. Then there was the gaggle of Ducati motorcycles that showed up to widen this event’s perspective.

And while the young people hovered excitedly around exotics, like the Gold AMG GT or the many Lamborghini’s in attendance, I enjoyed looking at some of the other cars like the Porsche 968 cabriolet, a car my wife Mary has always wanted, and the two Toyota MR2’s that were there—one from the first generation and the other form the second— both in mint or near mint conditions. I really wanted to talk to the owners but they were not hovering around their cars the way most people do; my guess is they were out gawking at the many high end exotics, including a McLaren that was in attendance.

This time of year, shooting the cars can be a challenge and I’m not talking about the challenge of people walking in around the cars you’re trying to photograph. Tip: Be patient and keep shooting. Nope. It’s the light. This time of the year, during the hours of the show, the sun is lower in the horizon and as you can see in these images produces contrasty photographs. Tip: Shoot low angles. If your camera has a flip out screen, use it and keep going lower shooting as you go and then come up unto you get the angle you think looks best. Remember: You are the one that gets to decide what look best.

One thing that I did notice is that many of the most interesting cars arrive early, well before the official 9:00AM start time (so they get a good spot, I guess) but also leave early opening spots for the latecomers. So tip to the wise: Arrive early and hang around while the “shift changes.”

In 2018 be sure to join us at the Second Tuesday Cars and Coffee that are sponsored by the Vehicle Vault and held in Parker, CO. The next one is this Saturday January 13, 2018 and we hope to see you there. Be sure to say Hi.

• Starts: 9:00 am
• Ends: – 12:00 pm
• Location: Vehicle Vault 18301 Lincoln Meadows Parkway Parker, Colorado 8013

One of the best ways to clean up a busy background at a car or motorcycle show is to use Adobe Photoshop’s Radial Blur command with the Zoom option checked. By applying blur to a duplicate layer you should first reduce the opacity of the “blur” layer to allow some of the image that’s below (on the background layer) to show through and then use the Eraser tool set at different levels of opacity to selectively clear holes of various density in the blur layer so parts of the original photograph shows through more directly. It sounds complicated until you try it and then it’s fun. Don’t forget you can always Undo ot use the History palette because practice does make perfect.

When photographing motorcycles indoors you often have the additional challenge of dealing with color balance issues. I typically start by setting my camera in Auto White Balance (AWB) mode. If that doesn’t look good on the LCD screen; I whip out my Kodak Grey Card—the flip side is white!—and do a custom white balance. With a minimum working distance of less than four inches, the Zuiko Digital ED 7-14mm f/4.0 lets you work close to the subject. I was just inches away from this custom motorcycle at a Harley Davidson dealership when photographing it using an Olympus E-3 with the camera mounted on a Manfrotto tripod and an exposure of one-half second at f/20 at ISO 400,