Here's one from the archives, taken in August at the San Diego DSLR club's group shoot at Belmont Park. The ride is called the "Beach Blaster," and it involves being swung through nearly 180 degrees of arc while simultaneously spinning. I opted not to go on it, and to just take pictures instead.

Technical info: Shot with a Nikon D40 and Nikkor 35mm f/1.8G DX lens, in aperture-priority exposure mode (spot metering). Aperture f/1.8, shutter 1/125 (+0 EV), ISO 1600. Post-processing in Aperture 3: curves for highlight recovery; lightly dodged over the people.

Thoughts for improvement: I actually really like the composition here, the use of negative space and the way the frame cuts off half of the seats. I feel like it gives a sense of action, of falling. The problem is that I cut off just a bit too much of the ride—it would be better if the lights and arm along the left side (left of the frame, top of the ride) weren't cut off, and even better, I think, if you could see the central arm that the seats spun on, which isn't in the frame at all. The girl at the top of the frame also should be a hair lower, so as to avoid cutting off her knee.

In retrospect, I'm not really sure why I was so excited when I first heard that Disney was finally making a sequel to Tron. That is, I know why—the original movie had rocked my young world with its lightcycles and frisbee combat and glowing costumes, and the prospect of spending more time in that world blinded me to the question of what a sequel would actually bring that was of value. Well, what was the sequel worth?

At the opening of Tron: Legacy, the hero of the original film, Kevin Flynn, disappears on the verge of some major discovery. He leaves behind a young son, Sam, who grows into a troubled young man. Like his father, Sam eventually winds up getting transported into the world inside a computer and must find his way back out while also stopping the machinations of an evil program bent on world domination.

If this sounds somewhat familiar, it's because the plot of the new film is essentially the same as the old one. But while that sounds like a big knock against Tron: Legacy, it's worth pointing out that the "stranger in a strange land" scenario is actually a fairly standard sci-fi plotline, aside from which, Tron has always been more about the visual spectacle than a gripping plot or complex characters.

And what about those visuals? You'd think that with 28 years of technological innovation in the film industry, this new film's effects would rock the socks off of it's 1982 counterpart. Well, they did. But the problem is that with those 28 years of innovation came 28 years to get used to visual effects. When Tron first came out, the effects were so amazing that they ran the risk of making people's heads explode; no one had ever seen anything like them before. Now, on the other hand, simply having cool action sequences, computer-generated graphics, and a weird aesthetic isn't enough to blow anyone's mind. We've simply seen too much cool stuff in the movies for this to really make an impact.

What, then, does this long-awaited sequel really bring to the table? Fan service. Miles and miles of fan service. The movie is jam-packed with references, both to the original film and to other classic science fiction. The problem with fan service, though, is that if you don't get the references, there's no payoff for you, and if you do get them, you focus on that instead of what's actually happening in the scene. For example, I snickered a bit at a line cribbed from War Games, and while that was kind of fun, it also completely undermined any dramatic tension the scene might otherwise have had.

At the end of the day, though, Tron: Legacy isn't a terrible film. Much of the plot and the fictional world are either derivative or nonsensical—all the pseudo-mystical technobabble was a little tiresome but not awful—but as a brainless but inoffensive action flick, it wasn't bad. In that way it actually has even more in common with its predecessor, which, if you go back and watch it today, really doesn't hold up all that well. Unfortunately, Tron: Legacy isn't really competing with Tron; rather, it's competing with our memories of that film, and that's a fight it just can't win, not even with two identity discs.

Viewed: 2011-01-01 | Released: 2010-12-17 | Score: C-

IMDb Page

There are several little girls who like to hug Jason over and over again, one of them being his friend L. This shot is from our cookie-decorating get-together last month, and, as you can see, Jason had already reached the point beyond which he was willing to put up with repeated hugging, and had progressed to the "running away" phase.

You know, when I was younger (sure, older than Jason is now, but you know what I mean) I would have killed for the kind of attention he gets from girls. I suppose he'll get there soon enough.

Technical info: Shot with a Nikon D40, Nikkor 35mm f/1.8G DX lens, and Vivitar DF-383 flash (in Gary Fong Lightsphere). Manual exposure mode, TTL flash mode (+1 EV). Aperture f/4, shutter 1/30 sec, ISO 200. Post-processing in Aperture 3: curves to increase exposure; levels to darken shadows and midtones for contrast and color pop; lightly dodged over Jason; added edge sharpening.

Thoughts for improvement: I think the reason this one didn't make the cut the first time around is because of all the clutter in the frame. The photos on the wall, the door behind L's head, the balled-up sweatshirt, the baby gate, and the edge of the wreath sticking into the frame—it all detracts from the focus of the image, which is L and Jason. I absolutely love the capture, though.

I had hoped to get out for some street candids this weekend, but what with the new bed and Jason's music class starting back up and needing a haircut and so on and so on, I didn't have time. So, Sunday afternoon I took about 15 minutes and tried out some lighting techniques with Jason at one of the neighborhood playgrounds. Here I was trying to both overpower the ambient light with my flash and to cross-light using the sun as a fill/rim light. I'm not sure I'm quite ready for prime time with this technique yet, but even so it seems to have worked out pretty well, which is exciting.

Technical info: Shot with a Nikon D40, Nikkor 50mm f/1.4G lens, and Vivitar DF-383 flash (in Gary Fong Lightsphere). Manual exposure mode, TTL flash mode (+0 EV). Aperture f/8, shutter 1/500 sec, ISO 200. Post-processing in Aperture 3: a bit of retouching around his mouth; light skin smoothing over his face; curves to increase exposure and contrast; levels to brighten midtones; reduced overall brightness; brushed in Intensify Contrast adjustment on his eyes; lightly dodged over his eyes; added vignette; added sharpening.

Thoughts for improvement: Well, the expression is a little "deer in the headlights" and I wish I had thought to bring a rag to wipe the spit off of his mouth. So, as a portrait it's less than ideal. But as this was mostly a lighting experiment, I think it was pretty successful.

Another shot of Jason before his first night in his new bed. I'm staying home with him today as he's feeling a little sick, and I just put him down for a nap. It's amazing to me how easy the day has been so far. He's really starting to act like a big boy.

Technical info: Shot with a Nikon D40, Nikkor 18-55mm DX lens, and Vivitar DF-383 flash (in Gary Fong Lightsphere). Manual exposure mode, TTL flash mode (+1 EV). Focal length 24mm, aperture f/8, shutter 1/125 sec, ISO 200. Post-processing in Aperture 3: cropped to 5x7; retouched a scab on the corner of his mouth; curves to increase exposure and contrast; levels to brighten midtones.

Thoughts for improvement: I really like the quality of the light here, which I got by pointing the camera almost straight down and bouncing the flash off the white ceiling. The composition is a little weak and cluttered, but overall I think it's a nice picture.

"I was just thinking about that bed of his and I realized that it's the same size as that bed you had in high school, that we slept together in. Which is just crazy."

"Yeah."

"And then I thought, you know what? He might have a girl in that bed some day."

"Whoah."

We got Jason a "big boy" bed this weekend. It was delivered on Saturday and he got to sleep in it for the first time Sunday night. I had chuckled a bit earlier in the day when Juliette had said "He's officially not a baby anymore," but actually putting him to bed was surprisingly emotional for me. Jason had his normal bedtime routine—bath, brushed his teeth, potty, pajamas, story, bed—and was very excited to get in his new bed. He fell asleep within five minutes, so obviously he was fine with it. Juliette and I, on the other hand, had to stop for a moment after we closed his door to hug each other.

Technical info: Shot with a Nikon D40, Nikkor 18-55mm f/3.5-5.6 DX lens, and Vivitar DF-383 flash (in Gary Fong Lightsphere). Aperture-priority exposure mode (matrix metering), TTL flash mode (+1 EV). Focal length 18mm, aperture f/8, shutter 1/60 sec (+0 EV), ISO 200. Post-processing in Aperture 3: straightened horizon; Cloudy WB preset; curves to increase exposure and contrast; levels to brighten midtones and darken shadows; lightly dodged over his face; burned over the highlight on the headboard.

Thoughts for improvement: I should have gotten a little lower so as to get more of the bed and less of the space overhead. An even wider angle lens might also have been interesting.

The Online Photographer this morning ran a piece about this video from Intel's Visual Life series, featuring Scott Schuman from The Sartorialist. I can't say I was familiar with Schuman before, but listening to him talk about his work and see how he works, it really resonated with me.

About a minute and a half in, he says this:

I feel very lucky to get to have part of my day leading a visual life. It takes X amount of time every day just to make the blog work, just to get everything going and get all the business of it done, but then the real joy of it is having those four or five hours a day to go out and just be in the world that you're in, see it, keep your eyes open and really relate to what you're seeing, react to what you're seeing.

Hearing that, it just clicked with me. That's exactly how I feel when I go out shooting, especially when I shoot street. There's a feeling of presentness, of groundedness, of connection and, yes, joy. Of just being thrilled to be in the world and get to see it and be a part of it.

It's also got me to thinking about my own approach to photography. The interesting thing about Schuman—and what makes his site so popular, I imagine—is that he's not focusing on photography; rather, he uses photography to focus on fashion. It's exactly that kind of particular point of view and direction that makes great artists interesting, and it's something that's definitely lacking from my work.

I've always suffered from a lack of focus. I'm interested in a lot of things. Even just within photography, there's no one subject or style that I like, no unifying theme to my work. I think that's a big part of what's holding me back artistically.

Two things that Jason loves are movies and putting things in rows. Not that there was ever any doubt about his parentage, but if there were... I mean, come on.

Technical info: Shot with a Nikon D40, Nikkor 35mm f/1.8 DX lens, and Vivitar DF-383 flash (in Gary Fong Lightsphere). Manual exposure mode, manual flash mode. Aperture f/1.8, shutter 1/500 sec, ISO 400, flash power 1/16. Post-processing in Aperture 3: auto WB picked from the white part of the Ice Age DVD cover; levels to increase exposure, brighten midtones, and increase contrast.

Thoughts for improvement: I keep needing to bring up exposures in post, so nailing it in-camera is certainly an area I can work on. I like the composition here pretty well, though the little lamp in the top left corner does detract a bit.

"The Popculturist Takes a Trip in the Sketch Comedy Time Machine":

I used to watch a lot of sketch comedy shows when I was a kid. The early 90’s were a great time for that genre — Saturday Night Live had one of its strongest casts during that time, and In Living Color debuted and launched the careers of stars like Jim Carrey and the Wayans brothers. And then there was The State, which I always thought of as the Velvet Underground of sketch comedy — relatively unknown to mainstream audiences but with a devoted cult following, and ultimately very influential on groups that came afterwards. To my young mind, The State represented the pinnacle of comedic achievement, and it became my yardstick for funny for years to come.