Category: Media

Photo by Joe Wilcox
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The Cats of University Heights: Tortie

I am amazed whenever discovering a never-before-sighted furball so close-by to my apartment. This tortoiseshell made my acquaintance from a distance late-afternoon May 15, 2017—one block away, on Cleveland just past Madison before the overlook. She sat on a doorstep waiting for someone to let her in. From the empty driveway, it’s a guess the owner hadn’t come home from a day at the job.

The Featured Image is the second-to-last of 13 captures, and I debated about choosing this one because the kitty’s distinctive bob-tail is obscured by bushes. I captured the moment at 5:35 p.m. PDT, using Leica Q. Vitals: f/2.8, ISO 100, 1/800 sec, 28mm. The pic is close-cropped from the original, which shows the yard and the next (I shot from the sidewalk). 

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Photo by Joe Wilcox
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Clever Homeless Habitat

The Vermont Street bridge, passing over Washington, separates my neighborhood of University Heights from adjacent Hillcrest. It’s not uncommon to see tents below, as some of the area’s homeless seek shelter from the elements. But bright colors make them obvious.

While looking over the side, I saw something either new or so camouflaged it hadn’t previously caught my attention. At first, I thought a palm tree had collapsed or perhaps city workers had gathered fronds. But stepping back for different perspective, I could see an entrance. The Featured Image is a crop (see the original below the fold), shot using Leica Q at 12:02 p.m. PDT today. Vitals: f/4, ISO 100, 1/800 sec, 28mm. 

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Photo by Joe Wilcox
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Fujifilm X100F Review

During the camera film era, Fujifilm battled kingpin Kodak with brighter, more vibrant colors that either photographers loved or hated—perhaps both. That was last century. In the 21st, Kodak is a shadow cast against aged Kodachrome, while its rival has successfully transitioned from print to digital—and with amazing bravado. Fuji’s transformation started six years ago with the cleverly-engineered, retro-designed X100, which I reviewed in May 2011.

The compact digital camera’s success led Fuji to develop a series of additional bodies and lenses; all are designed with professional shooters in mind. The X series family features compact, mirrorless designs that incorporate digital SLR-size sensors and manual controls—meaning dials and buttons to directly manipulate settings rather than rely on software menus. The X100 line—from the original to the S, T, and now F—remains the most distinctive for how well features and benefits balance set against truly innovative design concepts. 

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Photo by Joe Wilcox
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The Cats of University Heights: Bruce

Last week, driving up Texas Street—one of the neighborhood’s major boundaries—road work compelled my wife and I to go home by way of Monroe instead of Madison. I sat in the passenger’s seat; a woman walking a dog accompanied by a cat riveted my attention. At home, soon as Anne pulled over, parked, and stepped out of the Honda Fit, I slipped into the driver’s seat and sped away to capture a portrait of the handsome, fluffer-tail cat walking the dog on Monroe. Of course, after pulling to the curb, and walking about several streets, I couldn’t find the beast—or his owner. But the Fujifilm X100F was ready.

Ten minutes later, I abandoned the hunt and started to drive home. Damn, I had gone one block too far and passed a doorway just in time to see the dog-walker, her mutt (that’s affectionately meant), and the feline disappear into an apartment (or perhaps duplex). I noted the building’s address number and nearest cross-street (Alabama) for future scouting. Last night, on my second day twlight’s attempt looking, I spotted the handsome furball waiting for his master’s return. Oh yeah! 

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Photo by Joe Wilcox
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The Cats of University Heights: Fang

You don’t see them here, but this feline hissed and bared teeth as I safely shot her portrait from the sidewalk, with fence and some distance between us. Meet one black cat that maybe could bring bad luck if crossing your path. Hehe. I spotted the feisty furball yesterday morning, on Maryland Ave. somewhere beyond Meade.

Note: Date and timestamp in the metadata are both wrong, being incorrectly set in the camera—the interesting Leica Q, which ISO had been preset for low-light on another day (I should have checked and changed before shooting). Vitals: f/16, ISO 3200, 1/2500 sec, 28mm; 9:19 a.m. PDT. The Featured Image was cropped and converted, but not otherwise edited, from DNG to JPEG. 

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Photo by Joe Wilcox
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The Cats of University Heights: BeBe

Grey May descended yesterday, as persistent clouds preceded expected weekend rains. As my wife and I trudged up Maryland Ave., not far beyond Morla the tortoise’s house—but across the street—Anne spied in an alley a cat perched by a woman sitting on a ledge talking to another neighbor. The lady explained that the all-outdoor furball responds to name BeBe, or nothing. The animal’s mother is a feral grey tiger-stripe that no longer breeds (she was fixed). The daughter had one litter before her operation.

BeBe accepts food and attention from people whom she knows. As I am a stranger, she shot round a car when I approached. But she stayed to the side rather than scurry beneath, allowing me a dozen shots while not moving too close to her. Vantage point is important. I like to get down low, and she let me. The Featured Image is last among the 12, captured using the Fujifilm X-T1 and XF18-55mmF2.8-4 R LM OIS kit lens at 4:56 p.m. PDT, with Classic Chrome simulation set. Vitals: f/4, ISO 200, 1/140 sec, 55mm. The portrait is straightened and cropped but not enhanced. 

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Society by Joe Wilcox
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Regarding ‘The Handmaid’s Tale’

Before my wife started watching the new series streaming from Hulu, I warned her: “I can’t imagine how I would feel if a woman”. I had already finished first hour “Offred” from the production based on 1985 tome The Handmaid’s Tale by Margaret Atwood. Three episodes are online now—and their tone and timeliness are visceral and all too familiar, like was the Battlestar Galactica miniseries that followed the 9-11 terrorist attacks by two years. There is something that is too real, too possible—and, unlike the so-called Trump “Resistance”, I don’t refer to the current government in Washington, D.C. No imminent right-wing coup is on the horizon, as so many Liberals want to believe. That’s as fictional as The Handmaid’s Tale.

What’s disturbing is another kind of currency, which is largely lost in the torrent of “it could happen here” commentary: The plight of women portrayed in the series isn’t far removed from what many of them experience elsewhere in 2017. Not in some alternate-reality United States, but across swaths of Africa, Asia, and the Middle East—if not both American continents and Europe. Severity may vary by degrees, but where on this planet isn’t there, at the least, some vestige of the subservient, objectified woman? Liberals, who as a class supposedly champion for the human rights of all people, shouldn’t ignore what is while obsessing about what might be for fear it could happen to them. 

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