DWI traffic stop with St. Louis County Police Officer Fred Yaakub, Canon 5D Mark II, ISO 5000,  1/100 @ F2.8, photograph by Erik M. Lunsford

There is a new saying out there — 2500 is the new 400.

Okay, I made that up, but it’s mentally cementing quickly.

Let me take you back nine years when I was interning, first at the Post-Dispatch, second at the (Springfield, ill.) State Journal-Register, and finally at the (Peoria, ill.) Journal-Star. I learned by shooting film — primarily Fuji Press 200,400,800 — for two of those three papers. The Nikon F5 and F100 cameras still sit in a bag now, bubble-wrapped like some fragile ancient fossil awaiting exhibition in a museum. Only the lenses from that kit — a 17-35, 80-200, and 35 F2 Nikkor still are in the starting lineup with my current Nikon digitals. See back then, pushing 800 press film to 1600 was like dire need only, because it was grainy and you had to plug in the increased developing time on the old Noritsu developing machine. Generally, you shot either 200 outside, 400 in so-so, and 800 for inside stuff, and grain was a part of life. Then, just a short while after, I eagerly embraced digital from money saved while interning. I bought a Nikon D1, learned the ins-and-outs from Rob Galbraith, and started shooting assignments other freelancers couldn’t take because I had the ability to transmit on site. Noise in essentially ALL of the ISOs was a big problem, but color correcting became a completely new art in of itself having to coerce a Zen-like balance between green and magenta skin tones and cyan colored skies.

Years later, the D2h staff kits evolved into Canon 1D kits followed by personal Nikon D200s and company Canon 1D Mark II series cameras. Noise is controlled up until about 800, when things get dicey on both systems. All those years my mind slowly absorbed shooting technique, knowing how to expose the cameras without even thinking about it — an automatic reflex if you will — that just somehow works. People ask all the time — what exposure works best in this light or that light, this condition or that condition? Expecting an academic answer, I always say the same thing…oh, you know, whatever feels right. I don’t even know anymore — my mind and fingers work together automatically just like our respiratory system. It’s working, but you don’t even notice it. When I head back to edit in Photo Mechanic, I see what my automatic system was thinking. 1/250th, 6.3, under exposed a stop and metered on the highlights, or overexposed 1/2 stop, 1/125th 3.5 to bring out skin tones.

One of my editors keeps coming to me with the same saying — “Erik, your images are always too dark.” I keep saying, my mind and fingers meter the highlights — it’s automatic and it can’t be controlled. It’s ingrained from the early days of digital. Vincent Laforet does the same thing — he meters for the highlights to eek out the color and contrast. Just check his freakishly killer stuff.

Now, factor in the equation of new cameras like the new Nikon D3s or Canon 5D Mark II (and certainly whatever 1D successor is in the works) with high ISO noise control never seen before in the history of photography. ISO 6400 (!) 12,800 (!!), 102,400 (!!!) Un-friggin-believable, given that just a few years ago we were given digital cameras that completely eliminated the need for film in a newspaper workflow.

So, here’s the dilemma. All of these years in low-light situations we’ve learned to stand up straight, prop yourself against a stable surface, breathe in and gently exhale while releasing the shutter, motoring off a dozen frames at 1/8 @ F2.8 in the attempt to nab a sharp frame — or a frame that’s newspaper sharp (read, barely sharp). Now, that whole paradigm has changed. Years that we’ve feared to raise the ISO dial beyond 1600 due to ghastly noise are no longer an issue, and that has my mind in a tailspin general protection fault reading abort, retry, fail(?).

[Your shooting reflex] has encountered a problem and needs to close. We are sorry for the inconvenience.

As an example, using a 5D Mark II on loan from Canon in high-ISO territory made me pause on a recent DWI story assignment (see above). How do I meter @ ISO 5000 in a midnight street scene lit only by ambient streetlights. The mind has actually never encountered that scenario before — trust the meter? Is that even correct? Meter highlights here or better to average it out? It’s a mentally paralyzing feeling. 1/100 @ 2.8 in the dark. Who would have guessed? Check the LCD. It’s a vulnerable feeling having to rely on the camera.

Thankfully, photographers generally adapt. It’s only a matter of time, really. When the paper hopefully cross my fingers upgrades equipment, I’ll be shooting full time with this new high-ISO equipment and pushing the ISO to 6400 and such will become commonplace. Now the only question to ask myself then will be: ” how did I ever live without this?” which is ironically the same question asked after moving to digital, and after Fuji Press came out, and after autofocus came out, and autoexposure, etc, etc, etc.

No, it’s not a speck of dirt on the camera’s imaging chip, but rather the gorgeous photograph of the Space Shuttle Atlantis and Hubble Space Telescope during transit in front of the sun, courtesy of astrophotographer Thierry Legault, who traveled from Paris to Cape Canaveral to catch these fleeting photographs using his Takahashi refractors for large field deep-sky imaging mounted to a Canon 5D Mark II.  With the shuttle attempting a third landing attempt on Sunday, now is the perfect time to highlight the mission’s recent success in extending the life of Hubble. Here’s more eye-popping work from Thierry — including some very insightful commentary and faqs — and the NASA image gallery from STS-125, where Thierry’s work popped up on the daily gallery several days ago.

So how did he do it? Thierry used a “Takahashi TOA-130 refractor (diameter 130mm, final focal 2200mm or 3400mm) on Manfrotto video tripod, Baader solar prism and Canon 5D mark II, plus a detailed map of Florida, a GPS (for the precise location) and a radio-controlled watch (for the precise time). Exposure of 1/8000s at 100 ISO. The ships being too small and too fast to be watched through the viewfinder, a “blind” series of 16 images (at a pace of 4 images/s) starts 2 seconds before the predicted time.” Here’s more.

images: (top) the top of Atlantis and Hubble, “with the angle to Atlantis coming from a little towards the tail,” copyright Thierry Legault and used with permission.

(Below, all courtesy of NASA except the image of Thierry) Earth is silhouetted on Flight Day 10, featuring the payload bay and Canadian robotic arm.

The Hubble Space Telescope is seen from the aft window of the Space Shuttle Atlantis following a separation. This is the last mission to service the Hubble telescope.

Thierry Legault (left) looks to the heavens with Endeavour in the background. STS-125 mission specialist John Grunsfeld (right) uses a Nikon D2x(s?) and (what appears to be) a Nikon 400mm 2.8 to photograph the Hubble Space Telescope.

The flight deck of the Earth-orbiting space shuttle Atlantis can be seen clearly due to Hubble’s solar panels acting like window shades. Note the Nikon flash in the upper right hand corner either floating or stuck to the deck using velcro.