In the Grey Zone trailer グレー・ゾーンの中 | Dir. Ian Thomas Ash


STORY: The children of Minamisoma City, Japan are living amid high levels of radiation and toxic rain after the meltdown at the Fukushima nuclear power plant following the March 11 earthquake and tsunami. Will the children be evacuated as some experts advise, or will they stay where they are inside the 30 km zone and head back to school as the government has ordered?

Note: This trailer is part 4 of 4 of “In the Radiation Zone: the Children of Minamisoma”, a behind-the-scenes look at what happened during the filming of the feature documentary, “In the Grey Zone”. The working title of this documentary was at one point “Killing the Darlings of Minamisoma”.

Taro (Live on KEXP) | Alt-J



Indochina, Capa jumps Jeep, two feet creep up the road
To photo, to record meat lumps and war
They advance as does his chance, very yellow white flash
A violent wrench grips mass, rips light, tears limbs like rags

Burst so high finally Capa lands
Mine is a watery pit Painless with immense distance
From medic from colleague, friend, enemy, foe
Him five yards from his leg, from you, Taro

Do not spray into eyes, I have sprayed you into my eyes
3:10 pm, Capa pends death, quivers, last rattles, last chokes
All colors and cares glaze to gray, shriveled and stricken to dots
Left hand grasps what the body grasps not, le photographe est mort

31415, alive no longer my amour, faded for home May of ’54
Doors open like arms my love, painless with a great closeness
To Capa, to Capa, Capa dark after nothing, re-united with his leg
And with you, Taro

Do not spray into eyes, I have sprayed you into my eyes
Hey Taro

Artist or Technician? Are you creating art, or just buying the tools? | Ken Rockwell |


Ryan and Katie’s stash, January 2013. (Photo: iPhone 5.) This free website’s biggest source of support is when you use any of these links when you get anything, regardless of the country in which you live. Thank you! Ken.

January 2013   Better Pictures   Nikon   Canon    Fuji    LEICA   All Reviews

Artists are all about what we create. We couldn’t care less what tools we or someone else used to create something; we’re concerned with the art itself.

We don’t care about the process; the final art is all that matters.

Sure, if we see something really cool we might ask another artist how he got that effect, but we don’t spend much of our time blabbing about tools or techniques when we could be making more art, or exchanging ideas instead.

Poke fun of our tools, and who cares? We take it as a compliment — and it marks you as an idiot. As artists, we force whatever tools we have at our disposal to create what we demand: to take what’s in our mind’s eye and fix it in tangible form.

To an artist, his work is him. His work is his vision realized. He is his work. His art is his own soul. His art is important, while the tools are irrelevant.

Artists are consummate technicians, possessing virtuosic ability to make our tools do exactly what we need then to do — but the tools are just an enabler; never the end result.

If you poke fun of my camera, I take it as a compliment because it means I’m able to work around bigger roadblocks than the next sap to get the results I want. When my kids ask me to fetch a piece of paper, scissors and a red crayon, they certainly would give me a funny look if I said they had a good or a crappy crayon. Who cares when what’s important is making a red heart for Mama from scratch? The end result matters, the methods don’t.

Technicians, on the other hand, are all about their tools. Poke fun of a technician’s tools or how he uses them, and he’ll take it personally. To a technician, he is his tools. His tools are a physical extension of his body, so say something good or bad about his camera, and he takes it personally.

Full Article: Artist or Technician? Are you creating art, or just buying the tools?.

Additional test images | Canon S100

click images for a more detailed view

Note: I haven’t processed any of these images so please take that into account when viewing. They all need polishing. My somewhat finished work resides under the photography dropdown.

These additional shots should give you a good idea of the potential of this little camera. lb

BEAR_0010_01 BEAR_0014_01 DR_0004_01 DR_0011_01 IMG_0013 IMG_0018 IMG_0019 IMG_0019A

Creative Commons License
This work by Leo Brady is licensed under a Creative Commons Attribution-ShareAlike 3.0 Unported License.
Based on a work at
Permissions beyond the scope of this license may be available at realreality productions

Life is a Beach Maybe | Chatham, Massachusetts | Canon S100

click images for a more detailed view

Canon S100, 26mm F5.9 at 1/640s unmodified

As much as I like to plan, on occasion when I’m scouting, I just happen to see an image I want and I know I’ll never get again. Continuing on from the previous post; In this instance I had a Canon S100: 12 megapixels, 35mm film equivalent: 24-120mm zoom, flash, autofocus powershot with me. I hadn’t used it much and I wasn’t expecting anything spectacular but I was pleasantly surprised by the results. I’ve been on a B&W kick lately. I’ve been experimenting with film and digital with various levels of cameras. Although there is nothing that compares to the grain of real raw film, even when digitally scanned there is an attractive, oversaturated, sometimes painting like quality of the color S100 images that I like.

The original is above and the B&W conversion is below. I’m not a big fan of lots of post processing. Maybe because I’m lazy. ;-)
I convert, set the brightness, contrast and sharpen if necessary.

I like this little camera, especially when I want to remain inconspicuous. I can see it as a great asset in street photography. It’s doesn’t produce Leica class results and it may be a bit small for your hands or not but it shines at wants it produces.

I’m also testing a Fuji XPro 1 but more on that in a future post. lb

Canon S100, 26mm F5.9 at 1/640s converted to B&W. minor modifications


Canon S100, 26mm f5.9 at 1/1250s minor modifications

All rights reserved © 2021 Leo F. Brady

Nauset Beach | Orleans, Massachusetts | Droid 3

Nauset Beach | Orleans, Massachusetts
Motorola Droid 3 unmodified

Like many, I love the beach. I’m drawn to it and many of my photos contain it’s beauty. What caught my eye here was the pattern of the fence and shadow with the colors of the sand. the natural aspect with the man-made.

I use a variety of film and digital cameras and devices for my film work. In this instance, all I had with me was a Droid 3 phone: 8 megapixels, LED flash, autofocus camera. I love my tech, low and high and am quite impressed by these little devices. Obviously most of them don’t provide the highest quality when enlarged but not too bad at this size.  I’m finding it more important these days to carry a simple setup that produces quality results and just get the photo. This setup isn’t it but it wasn’t too bad in a pinch.

I have been trying a number of setups and will detail some in future posts. leo brady

Here’s a couple of more from the set:




All rights reserved © 2021 Leo F. Brady

Special Topics in Cinematic Storytelling | Media Arts and Sciences | MIT OpenCourseWare

The Massachusetts Institute of Technology has created a wonderful opportunity for all with the web-based publication of virtually all it’s course content. I heard about OCW a while back but I am still amazed at the Institute’s progressive thinking with this initiative. Three Cheers to MIT! ;-) Now the rest is up to you. I’ve attached one course of interest to this blog but there are many. Check OCW out at the links provided below. lb

MIT OpenCourseWare:
Unlocking Knowledge
MIT OpenCourseWare (OCW) is a web-based publication of virtually all MIT course content. OCW is open and available to the world and is a permanent MIT activity.

Special Topics in Cinematic Storytelling | Media Arts and Sciences

A movie hall in Los Angeles, circa 1947. (Image courtesy of the U.S. National Archives and Records Administration.)


Prof. Glorianna Davenport

Barbara Barry
(Teaching Assistant)

MIT Course Number


As Taught In

Spring 2004



Course Description

This seminar explores approaches to representation for distributed cinematic storytelling. The relationship between story creation and story appreciation is analyzed. Readings are drawn from literary and cinematic criticism, as well as from descriptions of interactive, distributed works. Students analyze a range of storytelling techniques; they develop a proposal using visualization techniques; and they prototype a working story experience, culminating in a final project displayed at the end of the semester.

Find out more about this course: Special Topics in Cinematic Storytelling | Media Arts and Sciences | MIT OpenCourseWare.

Find out more about MIT OCW: