PC Build, Midsummer 2020

I have followed an about five-year PC upgrade cycle – making smaller, incremental parts upgrades in-between, and building a totally new computer every four-five years. My previous two completely new systems were built during a Xmas break – in December 2011 and 2015. This time, I was seeking for something to put my mind into right now (year 2020 has been a tough one), and specced my five-year build now in Midsummer, already.

It somehow feels that every year is a bad year to invest into computer systems. There is always something much better coming up, just around the corner. This time, it seems that there will be both a new processor generation and new major graphics card generation coming up, later in 2020. But after doing some comparative research for a couple of weeks, in the end, I did not really care. The system I’ll build with the 2020 level of technology, should be much more capable than the 2015 one, in any case. Hopefully the daily system slowdowns and bottlenecks would ease, now.

Originally, I thought that this year would be the year of AMD: both the AMD Zen 2 architecture based, Ryzen 3000 series CPUs and Radeon RX 5000 GPUs appeared very promising in terms of value for money. In the end, it looks like this might be my last Intel-Nvidia system (?), instead. My main question-marks related to the single-core performance in CPUs, and to the driver reliability in Radeon 5000 GPUs. The more I read, and discussed with people who had experience with the Radeon 5000 GPUs, the more I heard stories about blue screens and crashing systems. The speed and price of the AMD hardware itself seemed excellent. In CPUs, on the other hand, I evaluated my own main use cases, and ended up with the conclusion that the slightly better single core performance of Intel 10th generation processors would mean a bit more to me, than the solid multi-core, multithread-performance of similarly priced, modern Ryzen processors.

After a couple of weeks of study into mid-priced, medium-powered components, here are the core elements chosen for my new, Midsummer 2020 system:

Intel Core i5-10600K, LGA1200, 4.10 GHz, 12MB, Boxed (there is some overclocking potential in this CPU, too)

ARCTIC Freezer 34 eSports DUO – Red, processor cooler (I studied both various watercooling solutions, and the high-powered Noctua air coolers, before settling on this one; the watercooling systems did not appear quite as durable in the long run, and the premium NH-D15 was a bit too large to fit comfortably into the case; this appared to be a good compromise)

MSI MAG Z490 TOMAHAWK, ATX motherboard (this motherboard appears to strike a nice balance between price vs. solid construction, feature set, and investments put into the Voltage Regulator Modules, VRMs, and other key electronic circuit components)

Corsair 32GB (2 x 16GB) Vengeance LPX, DDR4 3200MHz, CL16, 1.35V memory modules (this amount of memory is not needed for gaming, I think, but for all my other, multitasking and multi-threaded everyday uses)

MSI GeForce RTX 2060 Super ARMOR OC GPU, 8GB GDDR6 (this is entry level ray-tracing technology – that should be capable enough for my use, for a couple of years at least)

Samsung 1TB 970 EVO Plus SSD M.2 2280, PCIe 3.0 x4, NVMe, 3500/3300 MB/s (this is the system disk; there will be another SSD and a large HDD, plus a several-terabyte backup solution)

Corsair 750W RM750x (2018), modular power unit, 80 Plus Gold (there should be enough reliable power available in this PSU)

Cooler Master MasterBox TD500 Mesh w/ controller, ATX, Black (this is chosen on the basis of available test results – the priorities for me here were easy installation, efficient air flow, and thirdly silent operation)

As a final note, it was interesting to note that during the intervening 2015-2020 period, there was time when RGB lights became the de facto standard in PC parts: everything was radiating and pulsating in multiple LED colours like a Xmas tree. It is ok to think about design, and aim towards some kind of futurism, even, in this context. But some things are just plain ridiculous, and I am happy to see a bit more minimalism winning ground in PC enthusiast level components, too.

Specializing or diversifying?

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Pikkutylli (c) Frans Mäyrä, 24/5/2020.

Having more ambition in photography often translates into developing some specializations: becoming expert in some topic, developing a unique and personal style. On the other hand, if there are no professional ambitions or pressures in one’s photography hobby, one can just continue diversifying: having fun in creative experimentation and testing one’s hand and eye in multiple different topics and styles.

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My photobook experiment, Spring 2020.

While the latter path can have a certain vague and drifting effect on one’s photography, there are also the positives: total creative freedom, constant possibility for new directions, and the sense of discovery.

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Tiny spider (macro photograph, (c) Frans Mäyrä, 9/5/2020)

My own experiments during the past month alone have included some insect and macro photography, testing the design and curation for a hardback photobook of my own, bird photography, black and white landscapes and nature photos. And it has been definitely fun, and this free-roaming style of hobby has also the benefit of being easy to adapt within changing conditions, such as the pandemic restrictions of this Spring.

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Winter plant telephoto (c) Frans Mäyrä, 26/2/2020.

Chilies 2020: Plan B

2020-04-13 08.32.20My original plan was to move into full hydroponic gardening setup in our greenhouse early this year. However, during the Easter weekend, we got again a “takatalvi” (a cold spell with snowfall) in Tampere, and the greenhouse will stay closed for a long time, still. Thus, a Plan B.

I had both twelve chili saplings of different varieties, and twelve small “self-watering” plant pots – these are Orthex Eden 12 cm models, meaning that they have only 0.3 L water reservoir, and 0.8 L for the hydroponic substrate (or soil). I had also a 45 L bag of Gold Label HydroCoco 60/40 substrate in my stash, so I proceeded to make a “passive hydroponics” setup using what I got. I washed the pots (they had spent the winter outdoors), then buried the rockwool cubes (with saplings sticking out) into the substrate in each self-watering pot. The nutritient mix is again based on Canna Coco A+B.

I multi-purposed a Bosch workbench from our garage as the growing table, and positioned the Nelson Garden LED growing lights hanging close above the plants.

2020-04-13 09.51.07This system should make do for some time now. The only downside is that small water reservoir in all of those 12 pots. I have no idea how fast the small saplings will drink that amount, so it might be that soon I will be mixing nutritients and filling in 12 pots every day or so. Let’ see: the maximum amount of liquid these pots can take is under 12 L, so if I will prepare a large 10 L bucket of the nutritient solution per each “serving”, this should be pretty straightforward. Canna, the nutritient manufacturer, instructs to use 19 ml of A solution and 19 ml of B solution per 10 L of water in the starting & rooting phase, and then add the dosage into 23 ml + 23 ml, when the plants have entered the early vegetative, growth phase. When we’ll have a bit larger plants (2-4 weeks-old saplings), the recommended nutritient amounts are 27 ml + 27 ml, per 10 L water.

Let’s hope for warm weathers to return, too!

2020-04-13 09.58.30

Art of Photography: Vivian Maier/Ted Forbes

One of the vloggers that I regularly follow is Ted Forbes, the creator of “The Art of Photography” Youtube channel. He is a welcome alternative among all nerdy, pixel-peeping camera and lens technology focused voices there, as he actually is discussing photography as an art form.

One of Ted’a videos that I watched during this weekend was discussing Vivian Maier. This was originally published already six years ago, in March 2014, but remains interesting for reasons relating to Maier, Forbes, and to several questions of photography and as art more generally.

While listening to Ted talk about Vivian Maier’s work, it soon becomes clear that he is in a way struggling here – trying to be polite and repeatedly acknowledge the skill and significance of this self-educated, amateur photographer’s work, while also suggesting that there are reasons why he does not place Maier particularly high in his canon of great photography artists. These fundamental and underlying reasons are nowhere very explitly stated aloud in this video, though.

My interpretation is that there are two main reasons behind the hesitation of Ted Forbes – and probably many other art professionals who have somewhat similar backgrounds as Ted has. As listed in his short online cv, Ted Forbes has been educated in the Booker T Washington High School for the Performing and Visual Arts and the University of North Texas, and he has also spent several years as a professor at Brookhaven College, and as the Head of Digital Media at the Dallas Museum of Art, among other things. His perspective is thus not only coming from a photography aficionado, but one who has been educated in the history and practice of the arts, and who has long served both as an art educator and a gatekeeper for an art institution.

Vivian Maier is an interesting borderline case for anyone holding up the more “serious” and professional, institutional perspective into arts, since she never aimed to display her photos in art galleries, or anywhere else, publicly, and kept her practice as a secret to herself alone. It was only after her death, when certain collectors (most notably John Maloof from Chicago) bought her negatives from an auction, and started publishing them, first online, then in exhibitions and printed art books.

The first hesitancy about the photography of Vivian Maier as works of art (as expressed by Ted Forbes) relate to the fact that Maier herself had not edited and organised the photo negatives into prints, exhibitions and books herself. There is a subtle undertone of authorial intention in play here: if the person taking the photos did not conceive her work as (institutional) art, and did not complete the necessary steps involved in submitting and getting accepted as a published artist, then it is questionnable whether the photos in question are indeed art. There is sort of “other half” missing: the final process of selecting, editing and filtering the abundant raw materials (captured in estimated 150,000 surviving negatives) into actual artistic ‘oeuvre’ – cohesive vision and flow of expression as a practicing artist.

The other question mark implied by Ted Forbes’s video review is sort of extension of the first one. He repeatedly says that while he acknowledges Vivian Maier as a talented photographer (though probably into the category of “talented amateur”, rather than a “proper photography artist”), he is putting a lot of doubt over the expertise and intentions of collectors (John Maloof and Jeffrey Goldstein are explicitly mentioned), and while he tries to put it nicely, he evokes questions about non-professional, non-talented, non-artistic people having produced the “Vivian Maier as great photography artist” as a phenomenon by making sensationalist claims for maximizing publicity and their opportunities for commercial exploitation.

I have zero role these days in official, institutional art world (just to disclose, I used to study art history, among other subjects, and worked for an art museum in Tampere, during my student years). So, I do not take any stand in the debate about the status of Vivian Maier as a proper artist and the artistic value of her work. There are many art professionals and critics who have taken a more positive stance towards Vivian Maier’s work than Ted Forbes, though. It was also interesting to compare the Vivian Maier video to another one which was also dedicated to posthumous reconsideration or “rediscovery” of a photographer’s work – in this case that of Daan Hansen, an enthusiast photographer / photo hobbyist from Utrecht, who died in 2013, but whose work was published in a large-format, self-published book just before his death. In this case, Ted Forbes is in his video openly emotional and enthusiastic about the range, diversity and value of Daan’s work, even while it is obvious that (somewhat similarly to Vivian Maier), not all of Hansen’s photos are of similar artistic quality. Ted is of course also honest that Daan being both an online and offline friend of his, no doubt somehow affects his reactions to seeing Daan’s published work after his death.

One could perhaps conclude, that for people who operate within, or at some of the multiple frameworks of “art world”, the question of how something becomes valued and valuable as “art” is not a simple one. The person and personal circumstances of the artist affect deeply the perception of their work – even decades after “Biographic Fallacy”, or “Death of the Author” were first introduced into the art criticism. Also, the conditions and processes of publishing and displaying of something as art, do play an important part, as some of these kinds of processes are more prone to adding “authenticity” and value into works of art, whereas others can appear questionable and lead into overall negatively tilted evaluation – as seems to have happened for Vivian Maier, at least to a certain degree, in eyes of a critic like Ted Forbes.

Chilies: germination 2020

My final chili seeds selection, season 2020.

Due to having a lot of other things in my mind and life this Spring, I am rather late in my chili pepper project – but as Juice Leskinen said “Kuule istuta vielä se omenapuu”. I will plant my plants.

As I wrote in January, because hydroponics make chilies grow so fast and tall, it is actually probably good to start a bit later, in any case. That way, the plants should hopefully still be of manageable sizes, when I am able to move them into the proper hydroponic setup in our greenhouse. Handling a full hydroponics system in my small basement “office” is really not that feasible, even under the best of conditions. I hope that this time it will be a warm and early summer (fingers crossed).

As said, I have two themes this year: taste and colour. Into the taste category, I finally decided two chili varieties: Hainan Yellow Lantern and Lemon Drop.

Placing the seeds – handling rock wool with gloves, due to it causing skin irritation when touched.

In the more exotic section, where interesting looks are the main criteria, I chose (finally in a pretty random manner) the following: Buena Mulata, Pimenta da Neyde, Chinese 5 Color, Kanon Pepper F2, Filius Blue, Numex Twilight, Bolivian Rainbow, and Purple Bhut Jolokia.

Since I do not have room to grow into large, fruit-bearing plants nowhere that number of chili peppers, I conceive this as a sort of speedrun style competition: those plants that germinate fastest, and produce promising saplings, will get into my AutoPot 4Pot system. I do not know what to do with the rest – maybe I will just put them into regular flowerpots with soil outdoors, and see if any of them will survive, too.

The germination follows pretty standard procedure again, except that IKEA had stopped selling accessories for their old hydroponic products (shame on them!) So, I picked some standard rock wool cubes from the local hydroponic gardening shop (luckily, I did this long before the coronavirus epidemic), and then just installed them into the covered water-tray system – which is on top of the electric heat mat, and under the LED lights. Let’s see how long it takes before the first plants will appear, this time.

I placed two seeds inside each rock wool cube. Let’s hope that it is enough for the most varieties time time, too.

All my chili seeds are coming from Fatalii this time. Here are some short characterizations of his, about these chili varieties:

  • Hainan Yellow Lantern: “This variety comes from Hainan island, China, where it’s actually quite commonly used for mainly a tasty hot sauce. Very prolific variety that has a strong chinense aroma, very similar to Harold st. Barts and few other yellow Capsicum chinense varieties.” (Link.)
  • Lemon Drop: “Lemon Drop represents hot, non-sweet,  slightly lemon-flavored types of baccatum peppers (as opposed to sweet, low-heat or only moderately hot Ajis). The plant is relatively compact and produces lots of bright yellow fruit even in non-ideal home conditions.” (Link)
  • Buena Mulata: “Very old heirloom variety from 1940’s. This plant looks absolutely gorgeous with all great colored pods! The flowers and pods start from purple and ripen to very beautiful colors!” (Link)
  • Pimenta da Neyde: “One of the strangest chile peppers I’ve ever seen! Mature pods won’t change the color, but stay purple instead.” (Link)
  • Chinese 5 Color: “Fantastic, very colorful ornamental chili pepper which is also quite hot with a decent taste to be used for cooking.” (Link)
  • Kanon Pepper F2: “This beauty is still unstable meaning the results growing this one will vary, which is a good thing when you want to find your favorite among them.” (Link)
  • Filius Blue: “So very pretty ornamental chili pepper which ripens from beautiful blueish purple to red with some fancy color stages in the middle! Quite hot.” (Link)
  • Numex Twilight: “An ornamental chile pepper that is so insanely pretty you simply can’t miss it. If you like to grow useful chile peppers that are a true eye-candy!” (Link)
  • Bolivian Rainbow: ” The dark green leaves will turn shiny deep purple, almost black. The cone-shaped, erect pods go through colors of green, purple, pink, yellow and orange before ripening bright red!” (Link)
  • Purple Bhut Jolokia: “One of the most amazing looking super hot varieties there is! Ripens from green to purple to red. Very heavy producer and the pods taste very good when ripe.” (Link)
Seeds, cubes, water, light, suitable heat – everything should be in place now.

Looking very much forward to the summer.

Valokuva, taide – taidevalokuvaus?

”Jänö” (Frans Mäyrä, 24.2.2020)

Ystävä kutsui pohtimaan, mikä tekee valokuvasta taidetta. En sen enempää seikkaile tässä taideteorian alueelle, mutta koetan vastata kuvaparilla. Molemmat ovat eilisen iltapäivän “kamerakävelyltä”: jänön kuvasin ensin, erään naapurin puutarhassa, marjapensaan alta mietiskelemässä. Toisessa kuvassa olen kuvannut teleobjektiivilla ojanpenkalla olevia ruohoja ja sammaleita – makuuasennosta, jotta sain tämän (oudon/uhkaavan) leudon helmikuun matalalta paistavan iltapäiväauringon valon muotoiluominaisuuden ja lyhyen syväterävyyden hyödynnettyä. Molempia oli ilo kuvata – ne siis tuottivat itse luomisprosessillaan iloa ja tyydytystä.

”Tutkimaton tie 3” (Frans Mäyrä, 24.2.2020)

Painotukset olivat kuitenkin hieman erilaiset. Toisen kohdalla oli ennen kaikkea mukava kohdata arka villieläin ja onnistua teknisesti saamaan suht terävä kuva siitä; pensaiden välistä siilautuva valaistus ja sommittelu ovat tietysti iso osa kuvaa, mutta tässä otoksessa ei juuri ole mitään erityisen kokeilevaa – sen estetiikassa dokumentoiva funktio on keskiössä. Sen sijaan tuon ojanpenkan kuvan kohdalla syttyi hieman enemmän nimenomaan oivalluksen iloa. Valokuva taidemuotona on aina tietyn hetken ja olosuhteiden luoma jälki käytetyssä välineessä (filmissä, valokuvapaperissa, digitaalisella kuvasensorilla), ja sen luovat mahdollisuudet elävät kiinnostavassa jännitteessä toisaalta itse kohteen ja olosuhteiden tarjoaman tilanteen, näkymän – ja toisaalta valokuvaajan luovan panoksen kuten kuvakulman, sommittelun, rajauksen, syväterävyyden, valitun sävyjen ja värien maailman kaltaisten tekijöiden välillä. Likaiseen ojaan makaamaan ryhtyminen ei olisi jotain mitä tavallisessa arjessa tekisin – eikä ojanpenkan kuivat ruohot ja hiekansekaiset sammaleet ole jotain mitä oikeastaan päivittäin pysähtyisi kohteena ihailemaan tai ihmettelemään. Kun siis siirryn itse dokumentaarisuudesta hieman taidevalokuvauksen suuntaan, siirrän painopistettä kuvassa oman luovan panokseni ja kohteelle itse antamani merkityksen puolelle.

Olen joskus miettinyt, että “taiteella” on itselleni aina kahtalainen luonne: toisaalta se on jotain kulttuurista ja jaettua, jolloin voidaan keskustella esimerkiksi taiteellisista arvoista ja arvottamisesta yhteisöllisesti muodostuvien kriteerien kautta. Mutta itselleni vähintään yhtä tärkeää on taiteen tekemiseen ja kokemiseen liittyvä yksityisen kokemisen ulottuvuus. Näillä kahdella on varmaan jotain kosketuskohtia, mutta ainakin omalla kohdallani melko usein jokin (esim. institutionaalisen taidekäsityksen näkökulmasta hyvinkin arkinen, vähäpätöinen tai mielenkiinnoton) asia onnistuu synnyttämään henkilökohtaisen taide-elämyksen. Tässä on vähän ehkä samaa henkeä kuin vaikkapa ITE (“Itse Tehty Elämä”) -tyyppisessä, kouluttamattomien taiteentekijöiden naivistisessa tai “arkitaiteellisessa” luovuudessa.

Tai, toisessa suunnassa, vaikkapa situationistisen taidekäsityksen vallankumousajattelussa: taide pitää irrottaa kapitalistisen yhteiskunnan tuoteajattelusta ja galleriataiteen kahleista, ja nähdä se ainutkertaisina elämyksinä, tapahtumina, kokemisen tapoina ja performansseina – jotka kuuluvat kaikille, kaikkialla, arjen esteettisyyden ja merkityksellisyyden elämistä syventävinä ulottuvuuksina.

Niinpä tuossa “makaan ojassa ja kuvaan epätarkkoja sammaleita auringon laskussa” -jutussa on itselleni merkittävänä juurikin itse performanssin ulottuvuus: että pistän itseäni edes hieman, tämän verran likoon, ja katson jotain pientä ja vähäpätöistä ilmiötä hieman eri silmälaseilla kuin rutinoidun arkikiireen keskellä. Toisaalta näin itse näissä sammalissa jotain hieman sadunomaista – ehkä hehkuva ruoho ja sammal ovat oikein tarkoin silmin katsottuna sittenkin suunnattomia asioita? Ehkä ne ovat osa loputonta ja ääretöntä metsää, luontoa, olemassaolon käsittämättömyyttä, jolle vain jokapäiväisessä elämässä yleensä on sokea?

Ja ehkä valokuvataiteen alueelle siirtyminen itselläni voisi merkitä juurikin tällaisia oivalluksia, tilaisuutta nähdä ja kokea toisin, syvemmin, kuin yleensä.

Mutta kyllä minä silti aion kuvata noita jänis- ja oravakuvia ihan tyytyväisenä myös, edelleenkin. Kun jotain asiaa tekee harrastuksena eikä vakavana ammattiprojektina, on helpottavaa juurikin että voi siirtyä rekisteristä toiseen ja leikitellä – välillä tehdä jotain pienimuotoista, tai täysin tavanomaista, käsityönomaista – välillä irrotella, tai tuottaa vaikka vitsejä jotka eivät avaudu välttämättä kenellekään muulle. Ja olla siihen tyytyväinen. 🙂

Enlightened by Full Frame?

Magpie (Harakka), 15 February, 2020.

I have long been in Canon camp in terms of my DSLR equipment, and it was interesting to notice that they announced last week a new, improved full frame mirrorless camera body: EOS R5 (link to official short annoucement). While Canon was left behind competitors such as Sony in entering the mirrorless era, this time the camera giant appears to be serious. This new flagship is promised to feature in-body image stabilization that “will work in combination with the lens stabilization system” – first in Canon cameras. Also, while the implementations of 4k video in Canon DSLRs have left professionals critical in past, this camera is promised to feature 8k video. The leaks (featured in sites like Canon Rumors) have been discussing further features such as a 45mp full frame sensor, 12/20fps continuous shooting, and Canon also verified a new, “Image.Canon” cloud platform, which will be used to stream photos for further editing live, while shooting.

Hatanpää, 15 February 2020.

But does one really need a system like that? Aren’t cameras already good enough, with comparable image quality available at fraction of the cost (EOS R5 might be in 3500-4000 euros range, body only).

In some sense such critique might be true. I have not named the equipment I have used for shooting the photos featured in this blog post, for example – some are taken with my mirrorless systems camera, some are coming from a smartphone camera. For online publishing and hobbyist use, many contemporary camera systems are “good enough”, and can be flexibly utilized for different kinds of purposes. And the lens is today way more important element than the camera body, or the sensor.

Standing in the rain. February 15, 2020.

Said that, there are some elements where a professional, full frame camera is indeed stronger than a consumer model with an APS-C (crop) sensor, for example. It can capture more light into the larger sensor and thus deliver somewhat wider dynamic range and less noise under similar conditions. Thus, one might be able to use higher ISO values and get noise-free, professional looking and sharp images in lower light conditions.

On the other hand, the larger sensor optically means more narrow depth of field – this is something that a portrait photographer working in studio might love, but it might actually be a limitation for a landscape photographer. I do actually like using my smartphone for most everyday event photography and some landscape photos, too, as the small lens and sensor is good for such uses (if you understand the limitations, too). A modern, mirrorless APS-C camera is actually a really flexible tool for many purposes, but ideally one has a selection of good quality lenses to suit the mount and smaller format camera. For Canon, there is striking difference in R&D investments Canon have made in recent years into the full frame, mirrorless RF mount lenses, as compared to the “consumer line” M mount lenses. This is based on business thinking, of course: the casual photographers are changing into using smartphones more and more, and there is smaller market and much tighter competition left in the high-end, professional and serious enthusiast lenses and cameras, where Canon (and Nikon, and many others) are hoping to make their profits in the future.

Thus: more expensive professional full frame optimised lenses, and only few for APS-C systems? We’ll see, but it might indeed be that smaller budget hobbyists (like myself) will need to turn towards third-party developers for filling in the gaps left by Canon.

Systems in the rain…

One downside of the more compact, cheaper APS-C cameras (like Canon M mount systems) is that while they are much nicer to carry around, they do not have as good ergonomics and weather proofing as more pro-grade, full frame alternatives. This is aggravated in winter conditions. It is sometimes close to impossible to get your cold, gloved fingers to strike the right buttons and dials when they are as small as in my EOS M50. The cheaper camera bodies and lenses are also missing the silicone seals and gaskets that are typically an element that secures all connectors, couplings and buttons in a pro system. Thus, I get a bit nervous when outside with my budget-friendly system in a weather like today. But, after some time spent in careful wiping and cleaning, everything seems to continue working just fine.

Joining the company. 15 February, 2020.

Absolute number one lesson I have learned in these years of photography, is that the main limitation of getting great photos is rarely in equipment. There are more and less optimal, or innovative, ways of using same setup, and with careful study and experimentation it is possible to learn ways of working around technical limitations. The top-of-the-line, full frame professional camera and lenses system might have wider “opportunity space” for someone who has learned how to use it. But with additional complexity, heavy and expensive elements, those systems also have their inevitable downsides. – Happy photography, everyone!

Black-and-grey photography?

Sunday morning walk.

I was just reading reviews of the new, Leica M10 Monochrom – a rangefinder style (“retro”) camera by the venerable German company (with history going back to 1914, and even further), which is designed to shoot only black-and-white. There are certain benefits to making dedicated b&w cameras, most importantly in the fact that all image sensors actually are black-and-white ones, with just different techniques such as applying “Bayer filter” on top of the b&w photosensors. This means that there is a grid of RGB colour filters on top of the sensor, so that some pixels in the final image are produced with only the red, green, or blue wavelenghts of light. This then needs to be further processed, with a demosaicing (or “debayering”) algorithms to construct the colour image out of (filtered) b&w information coming from the different parts of the image sensor.

And then, when this kind of colour digital camera is used for taking black-and-white photos, there needs to be further processing, as the colour values are removed to get back into a monocrome image.

A dedicated monocrome digital camera has the dual benefits of getting more light to the sensor, since there is no coloured filter layer on top of the sensor. This means that it can have perhaps 1 to 1.5 EV stop better light sensitivity. And also, there is usually slightly better dynamic range than in (filtered) colour sensors – e.g. in scientific equipment non-filtered monochrome sensors are often used, as they can capture higher range of wavelenghts, and operate better in low-light conditions.

The monochrom digital camera body by Leica has price tag of over 8000 dollars, and a good lens on top of that is perhaps 2000+ dollars more, so we are talking about 10 000+ dollars/euros investment. Also, the retro style ergonomics, old-school focusing system and lack of many features that are common in today’s digital cameras means that this camera is not for everyone. I would say that the main point of this kind of device is in producing social and cultural class divisions (relaying Bourdieu here). That M10 Monochrom surely would look nice on top of the dashboard of your Classic Porsche 911…

It is also true that at some point camera tech is like Hi-Fi audio tech: you can pay more and more, and at some point the final gains are so minor, that only those who are true believers are capable of noticing anything. (There are, after all, cameras like Phase One XF IQ3 100MP Achromatic, where the digital back alone costs over 50 000 dollars/euros.)

In my style of amateur photography, such factors as ease of use and flexible camera controls mean more than Hi-Fi sensor quality, so for my purposes even my Canon EOS M50 is capable of delivering “good enough” quality in b&w, particularly when shooting RAW. Here, below, are some early hour experiments from today, my Sunday morning walk.

It is obvious that as the proper winter seems to be largely gone, as another sad side effect of global climate change, the outdoor conditions here in wintertime are more like an “eternal November”. The low-light capabilities certainly matter now for a photographer, as do sharp and wide-aperture lenses. But I am personally hunting for certain mood and feeling, and thus I am not so concerned about blur or softness – it can even positively play a part in the artistic style I am looking for.

Towards the chili season 2020

Chili seeds.
Chili seeds.

There are already few hours of (dim) sunlight per day, so it is again time to start thinking about the next chili season. There were some lessons to consider from last year (one of new hydroponics approach – you can read more in my garden thread/category of this blog: https://fransmayra.fi/category/garden/).

One of the lessons was that “slow” chilies and the cold Finnish summer do not go together very well. I am not willing to use electric heaters for extended periods just to keep my plants alive in the greenhouse. Thus, I have decided to remove Rocoto varieties from my selection. They are nice, large chili peppers, but many are also too slow to grow and ripen for my approach.

Another lesson from last year was sort of “positive problem”. The hydroponics is almost “too good” cultivation system for me. The plants really grew large in the new AutoPot 4pot system I got year ago. I had trouble last spring when plants were already so large in April that move from my basement into the outdoor greenhouse would have been necessary, but there was a “takatalvi” (cold spell, with more snow), and I was stuck with them. And when it was warm enough in May, the plants were far too large to be safely carried around, and had suffered from lack of direct sunlight. It was a sort of minor disaster. (See my post at: https://fransmayra.fi/2019/05/30/chilies-in-the-greenhouse/.)

Thus, while I can start thinking about the varieties to grow, I will not germinate them yet.

I need to get my priorities sorted out first. As shown in the above image, I have a lot of chili seeds (these are all ordered from the trusty FataliiSeeds.net store, I think). It makes no sense to try growing too many varieties at the same time, when in reality I have room for maybe 4-6 fully grown plants in the greenhouse.

My initial idea for this year is try to find more compact varieties – so I dropped any chili which says “Mammoth” in its name, for example. After that, there are just two main principles this year:

  • one or two chilies that are just of right strength and taste for actually eating
  • one or two chilies that are beatiful and interesting.

My current “shortlist” of chili seeds of different kinds is shown in the image below. In terms of taste, I really like both Lemon Drop (C. baccatum), and then yellow habanero style chilies (e.g. Hainan Yellow Lantern – the Chinese “Emperor Chili”, and Madame Jeanette, which is probably a related, Habanero style yellow chili but which originates from Surinam – these are all C. chinense chilies).

The “visual chili” department is much larger and difficult to sort out at this point. I am considering of trying out some new, multi-coloured varieties. I have experience from Bolivian Rainbow (C. annuum) and Numex Twilight (C. annuum) already. Both are nice, but there are just so many interesting plants out there! If you have any recommendations, please feel free to drop a comment below.

Chili seeds.
The current, “shortlist” selection of varieties to consider for the Chili Season 2020.

Kiuas 2020

Ten years ago, 2010, I blogged about the new kiuas (stove) for our sauna, Harvia Figaro. Just before Christmas this year, this kiuas broke down. There was an electric failure (the junction box of kiuas basically exploded, there was an electric short circuit), and I am not an engineer enough to say whether some underlying failure in stove itself was the reason, or just the weakly designed connections in the junction box failing over time. Luckily our circuit breakers worked just fine – we just missed one fundamental Finnish tradition: joulusauna.

Looking inside the Harvia after 10 years of use was eye-opening. The heater elements (lämpövastukset) of kiuas were pretty much gone. Also, we could not really completely trust the controller, timer and other electronics inside Harvia after the dramatic short circuit. So I decided to get a new kiuas.

After some careful examination and discussion about the needs and priorities of our family, the choice was Tulikivi Sumu ST 9 kW model. This is specced for a 8-13 m³ sauna room, so hopefully it would be suitable for our case. (More, see: https://www.tulikivi.fi/tuotteet/Sumu_ST .)

The working class hero. – The sad final state of our Harvia Figaro, FG90.

One of the lessons from Harvia was that a long construction with an open side that exposes the stones is challenging: the small stones can easily even squeeze out through the steel bars, and the tall heater elements become strained among the moving stones. I blame myself for not being diligent enough to take the stones out at least a few times per year, washing them, and then putting them back – the heater elements would no doubt stayed in better shape and the entire kiuas maybe even lived longer that way. At the same time, it must be said that positioning stones among the heater elements inside a kiuas that is 94 cm deep, is hard. The inside edges or rim of the steel box were so sharp in Harvia Figaro, that it was bit painful to squeeze your hand (and stones) deep inside kiuas. And this kiuas took maximum amount of 90 kg of stones. This sounded great when we got it (in theory at least, a massive kiuas gives more balanced “löyly” – the experience derived from such elements as right temperature, the release of steam and the atmosphere), but in the end this design was one of the reasons we did not maintain the kiuas in the manner it should have been done (we did of course change the stones, but probably not as often as it should have been done).

The new kiuas, Tulikivi Sumu, is also rather tall, but the external dimensions hide the fact that Tulikivi relies on dual-casing construction: there are isolating cavities inside kiuas, and this model only takes 60 kg of stones (rather than 90 kg of Harvia Figaro). Together with the smaller internal dimensions, this is clearly easier kiuas to handle and maintain.

We also (of course) always use a professional electrician to install a kiuas. This time, the installed, new junction box was also a more sturdy and hopefully electrically safer and more durable model.

Our new Tulikivi Sumu ST, black 9 kW model.

The dual shell casing of Tulikivi means that it is also safer – this is something that the company also advertises, alonside with their expertise in traditional soapstone stoves (vuolukivi – they are based in Nunnalahti, Juuka, North Karelia). The outer surfaces of this stove get warm, but they do not get so hot that you would get burns, if you touch it while it is heating. Btw, this also means that the safe distances to wooden seats (lauteet) or walls can be very small. One could even integrate this kiuas inside lauteet, having the top of kiuas with its hot stones sticking out among the people sitting in lauteet. We are not going for that option, though.

One thing that I really tried to do carefully this time was positioning of the kiuaskivet – stones of the stove. I have become increasingly aware that you should not just randomly throw stones into the electric stove, and hope that kiuas would give good löyly – or that it would even be safe.

The instruction manual of Tulikivi even explitly says that their warrantly will be void, if the stones are positioned wrongly, and that if stones are too tightly or too loosely positioned, it can even cause fire.

The basic idea is that there should always be enough air cavities inside a kiuas, but also that the electric heater elements are not bare at any point. There should be a sort of internal architecture to the kiuaskivet: one needs to find large stones that fit in and work as supports in larger spaces, flat stones that are like internal “support beams”, taking the weight and supporting those stones that will come on the next layer. The weight of stones should not be focused on the heater elements, as otherwise they will become twisted and deformed under pressure. There should also be air channels like internal chimneys that allow hot air to move upwards, and transfer the heat from the heater elements into the kiuaskivet (stones) and also into the air of sauna room.

Positioning the rough-cut olivine diabase rocks on top of each other, trying to create a suitable labyrinthine, yet also solid internal structure inside the kiuas.

We use olivine diabase as the sauna stones – this is what Tulikivi also recommends. This is a rather durable and heavy rock material, meaning that it will not break under temperature change strains quickly, and since it is a heavy stone, it will also store and release heat. We use also small number of rounded olivine diabase stones at the top of kiuas. This is mostly for decorative purposes, even if some experts claim that rounded stones will also spread löylyvesi (water you throw into kiuas in Finnish sauna to get löyly), as water flows smoothly from rounded stones, end up deeper inside kiuas, and thereby produce more smooth löyly.

It should be said that selection of löylykivet, their positioning, and all such details of “sauna-knowhow” are subjects of endless passionate debates among the Finns. You can go e.g. into this good site (use the Google Translator, if needed) and read more: https://saunologia.fi/kiuaskivet/ .

Now, we’ll just need to take care of those lauteet, too. – Meanwhile: Hyviä löylyjä!

Ensimmäisiä löylyjä odotellessa…