Tuesday was a big boat day for us. We had a two tank boat dive for our group in the morning, and for the afternoon, several of us signed up for the afternoon boat dive.
Today was the first day of diving for the half of the group that arrived through Houston yesterday. We had a brief re-orientation from Augusto, the manager of dive operations here; everyone in the group had been here before, so he just highlighted a couple of changes, and reminded us of the park rules. Then it was time to get in the water. Continue reading
I took my mother to see Andrew Lloyd Webber’s Love Never Dies at the Providence Performing Arts Center last night; the tickets were her Christmas present. The play is a
sequel to The Phantom of the Opera, taking place ten years after the original. Continue reading
I got this year’s Christmas tree relatively early. We were expecting rain and snow later in the week, and I figured most of the trees for sale this year had already been cut anyway. So one day in the first week of December, I went over to the garden center to pick up a tree. I found this one, well shaped and thick, and brought it home, and set it in a pan of water out in the garage for a couple of days. The person at the garden center put a fresh cut on the end. Continue reading
When I first bought this laptop three years ago, I really wanted to buy it with a one terabyte Solid State Drive (SSD). It was replacing a laptop with a nearly full 500 GB hard drive. I was buying it in a hurry, because the old laptop died, and I thought long and hard about ordering one with a larger SSD. I finally decided I couldn’t wait to order one custom-built, and I couldn’t afford the nearly $3000 price tag at that time. I’d been out of work for a couple of months in the summer, and it was nearly Christmas. I decided I’d go with a 500GB SSD.
As it turned out, when I migrated my data, I picked up about 50 GB of space, probably from deleting unneeded logs. Still, my photo collection continued to grow, and I offloaded my iTunes library to an external hard drive. This helped for a while, but once again space was getting tight. I’d already removed everything I easily could.
I did a little looking, and found that I could swap out my factory 500 GB SSD for a one terabyte model. I ordered the OWC Aura Pro X Complete SSD from MacSales. There was a video showing the upgrade procedure and it looked straightforward and something I could handle. The kit came with the special pentalobe and Torx screwdrivers needed to open the laptop case and remove the old SSD, and an enclosure to put the factory SSD into, to make it easy to transfer over my data.
The physical upgrade was the easy part. You have to use the five-pointed pentalobe screwdriver to remove the 10 tiny little screws holding the bottom of the computer in place. Then the battery has to be disconnected, the old SSD removed, and the new one slid into place and screwed down. While I had the computer open, I noticed a thick layer of dust clinging to the fans, and blew them out with some canned air.
The next step was to put the original SSD in the enclosure that came with the kit, so that it could be used as an external drive. Easy-peasy.
Getting the computer back up and running was the hard part. I plugged in the now-external hard drive and started it up, and nothing happened. Fortunately, I had the iPad, and was able to do a re-read the data transfer instructions. The next step was to try to start the computer in Recovery Mode, by starting up while holding down Command (⌘)-R. It connected to the internet, downloaded what it needed, and then showed the OS X Utilities. Unfortunately, neither the new internal SSD or the old external SSD showed up in the disk list. Fortunately, I tried reinstalling the OS, and when it did, it became clear: Recovery Mode was set up for Yosemite, and both SSDs were formatted in the new APFS (Apple File System) format, which Yosemite doesn’t recognize.
Back to the web. I had to figure out how to get the High Sierra version of Recovery Mode. Fortunately I found this support document on Apple’s site. With a computer like mine, that’s been upgraded, macOS Recovery will recover different versions of macOS depending on which keys you hold down when starting up. When you hold down Command (⌘)-R, as I’d done before, you get the version that originally came with the computer. This is why I’d gotten the Yosemite installer. What I wanted was Option-Command-R, which upgrades the computer to the most recent version of the OS available for the computer.
Once I did that, I got the High Sierra version of the macOS Utilities, which recognized both SSDs. I reformatted the new SSD, installed High Sierra on it, and checked permissions. Then I rebooted the computer and ran Migration Assistant on it to transfer the data from the old SSD to the new one. It was interesting to see how much faster Migration Assistant ran this time, copying data between two SSDs rather the Time Capsule and an SSD. When it first started up, it said it would take about an hour and a half to transfer the data, but the estimates quickly dropped. I’m not sure exactly how long it took because I had to go out and get the ice off the driveway.
So far, so good. The process was bumpier than I anticipated, but once I got to the High Sierra installer, I was pretty much able to run through the steps MacSales outlined on their website. It seems to have copied everything successfully, including my Keychain with my stored passwords, and now I don’t need to worry about filling up the computer when I import pictures.
I’m not exactly sure where the idea for this year’s Christmas card came from. I started mulling it over in late November. Last year’s Snow Globe was easy and successful, but I wanted something more than just a picture of a Christmas decoration. I wasn’t sure if I wanted a scenic, but I couldn’t think of anything in my library that would suit. Finally, I remembered the tradition of leaving a snack out for Santa, and everything fell into place. I’d imply a scene of Santa relaxing, taking off his hat, having a sip of his milk, and taking a bite out of his cookies. The actual scene would be the hat, the milk, and the cookies. Once I had the idea, it simply became a matter of shooting it.
I tried two different approaches. The first was on a small table from the living room, shot in the arch between the dining and living rooms, with the dark living room behind the scene. I chose that spot because I could bounce flash off the white dining room ceiling. The second approach was to use the same table top studio that I used for the snow globe last year.
I placed the table and scene in the arch, and then started shooting without the flash, to just get a sense of how to frame the scene, and place the items in it. Then I put some milk in the glass, added some cookies to the plate, attached the flash, and started shooting. Once I finished, I set up the table top studio, placed the scene inside it, and took some more pictures. After a few shots, I decided the hat needed to be a little “peakier” and placed a can inside to make it stand up some. After shooting some more scenes, it was time to see what I’d gotten.
They weren’t good.
Truth be told, I actually liked the very first, test shot I took best.
I liked the clean look of this frame, and the “Old Master” feel of the existing light and dark background. In addition, I decided I liked the original placement of the hat best. Unfortunately, this frame was handheld, so there is motion blur, and it’s a test shot, so I hadn’t placed the milk or cookies yet.
I reshot it the next night. This time, I didn’t bother with the flash; instead, I used the tripod. I tried to replicate the look of the hat, used a nicer glass for the milk, (after taking a sip of it) and a more festive plate. This time, I came up with a shot I was happy with:
I then took the picture into Photoshop for some relatively minor modifications. Because of the existing light, the milk and plate were kind of yellowy-green. The inner part of the hat needed to be lightened up. And finally, I noticed that the top of the table had some scratches in it; after all the dust and scratches I’ve retouched out of slides, fixing the table was a piece of cake. Finally, I added a rough, deckle edged mask to the edges of the picture.
I then took the picture into Pages. I made a copy of last year’s card layout, placed the picture into it; and experimented with the placement and font of the text.
For some reason, it hadn’t occurred to me before to see if this printer supported two-sided printing, so I’d been in the habit of using two layouts, and running them in batches. This year, the light bulb went off; I checked, and sure enough, the printer supports it. So I changed the card layout to two pages and ran them off two-sided. When I think of all the years I spent feeding card stock sheet by sheet into a balky printer, this was so quick and easy.
Merry Christmas everyone.
One thing I left out of the last post was a little game I play with myself — how quickly can I figure out “Which season an episode is from?” Although a lot of the footage from M*A*S*H’s main title was shot for the pilot, changes in cast required periodic alterations.
Unlike the rest of the series, the pilot does not begin with the main title; instead, it begins with a montage of off-duty scenes of hijinks, which ends when Radar hears some incoming choppers. The main title then begins, a more extended version of what was used for the rest of the series. There are “funny” scenes of people leaving their tents, and the process of getting wounded off the helicopters is shown in more detail.
Seasons 1 – 3
The series uses the same main title for the first three years. Jamie Farr and William Christopher are not listed. You can spot this version as soon as Alan Alda’s credit appears — cast member names are in a much smaller font than the title “M*A*S*H”.
The cast changes in Season 4 required revisions to the main title. Mike Farrell replaces Wayne Rogers in second spot, and Harry Morgan replaces McLean Stevenson. Jamie Farr was added to the main title in this season.
You can tell this is a post-original cast episode as soon as Alan Alda’s credit appears; cast member names are now only slightly smaller than “M*A*S*H”.
The two things that make this season unique are the shot of BJ, and the absence of William Christopher’s credit. In this season, they use a straight on shot of Mike Farrell running straight toward the camera.
In this season, they replace the running shot of BJ with one of him by the side of the helicopter, saying “He’s OK”. This shot would be used for both seasons 5 and 6.
In this season, William Christopher gains his name in the title; in addition, Executive Producer Gene Reynolds gets a credit — the only year a non-cast member’s name would be shown.
This season replaces Larry Linville’s credit with David Ogden Stiers.
Season 7 is the year BJ grew his mustache, so they replaced his season 5 shot with a new one of him with the mustache, kind of popping up into the frame.
This season is the last one with Radar, so this the last year the main title begins with a shot over his shoulders looking out toward the mountains toward the incoming choppers; this version is the only one with this shot and BJ’s mustache.
Season 8 and Beyond
With Gary Burghoff gone, the main title now starts with a newer, aerial shot of helicopters flying over the mountains. There are a few season 8 episodes with inserted shots of Radar on R & R, plus his farewell episodes; these have an additional credit added, “with Gary Burghoff as Radar”.
I’m not sure if visually, the main title changed beyond that for seasons 9, 10 and 11; I have noticed that different seasons do seem to have slightly different arrangements of the theme. It would not surprise me if there were minor differences in some of the shots as well.
It may come as a surprise to people who know how much of a Trekkie I am, but my all time favorite TV show is not one of the incarnations of Star Trek, but M*A*S*H. I first started watching it sometime during the second or third season of its original run, and then continuously through to the end. Nowadays, it’s the one show I make time for, now on MeTV.
I think a big part is Alan Alda’s Hawkeye, which is interesting, because he’s not very much like the Hawkeye of the book. I recently re-read the original novel, and it’s interesting to see how the characters diverged. In the book and movie, Hawkeye is brown-haired, married, has glasses, and is a general surgeon. The novel shows Hawkeye explicitly planning the strategy that is an implicitly shown in the series:
“This Blake must have a problem or he wouldn’t be sending for help. Maybe we’re that help.”
“Right,” the Duke said.
“So my idea,” Hawkeye said, “is that we work like hell when there’s work and try to outclass the other talent.”
“Right,” the Duke said.
“This,” Hawkeye said, “will give us enough leverage to write our own tickets the rest of the way.”
(In the novel, the character of Duke Forrest was a third surgeon, slightly more important to the story than Trapper John. In the movie, he was played by Tom Skerritt).
The Hawkeye of the book and movie has no trouble voicing the kind of racial slurs that the Hawkeye of the series found unacceptable. All three version show him as a prankster and schemer, but the book never shows the kind of bedside compassion the series Hawkeye has. The series Hawkeye is more principled — sometimes too much so — than the novel’s Hawkeye. The book’s Hawkeye lacks the Groucho-esque wordplay that I love about the series Hawkeye.
Once of the things I find interesting is that physically, Wayne Rogers is more like the novel’s Hawkeye, and Alda is more like the novel’s Trapper John. Some traits were switched between the characters — in the novel, Trapper is the thoracic specialist, and becomes Chief Surgeon; in the series, it’s Hawkeye.
One of the reasons Wayne Rogers gave for leaving the series is that he had been told that the two surgeons were going to be equals, but that Trapper was given less to do as time went on. It’s interesting to speculate on what would have happened had the roles been reversed, but I suspect in the end, Alda still would have wound up as star as the show. Actors have much more influence in television production; aside from gathering a following which gives them clout, they also inspire writers. If an actor comes up with an interesting bit of business, or does something particularly well, the writers will see that in the dailies and start writing to it. I think Alan Alda’s portrayal would have had that kind of effect whether he was playing Hawkeye or Trapper.
M*A*S*H is unusual in that it survived several major cast changes. I remember being very upset that Henry Blake and Trapper John left, but at this point, I greatly prefer Colonel Potter and BJ to their predecessors. Colonel Potter is a lot more believable as a commanding officer than the series’ Henry Blake, and in fact, bears some resemblance to the Henry Blake of the novel, being a regular Army man whose first priority is the operation of his unit, and is willing to tolerate a lot of nonsense in exchange for surgical excellence. Trapper as a character wasn’t really different enough from Hawkeye, and this hampered him in some ways; it was harder to bring something different to the table. Mike Farrell’s BJ Hunnicutt, on the other hand, brought a different set of values to the show; it was easier to play the contrast between him and Hawkeye. He was a family man, where Hawkeye was not, he was less outraged by the war than Hawkeye, and at least in his earlier seasons, more likely to be amused by what he saw.
I’m still less pleased with the change from Frank Burns to Charles Emerson Winchester. I still feel the show lost a lot when Larry Linville left. Charles is an interesting character, but he lacks the inspired lunacy of Frank Burns. Linville left because the character had become narrow and strident, so they replaced him with a character with more headroom to grow.
Finally, the show lost a lot when Gary Burghoff left. It actually lost two characters, because Klinger the company clerk was not the same as Klinger the Section 8 candidate. I understand why it made sense from a production standpoint, but I would have preferred that they had gone in a different direction. I think it would have been interesting to have seen an all new character — possibly a patient coming through who happened to reveal a talent for clerical work, or to have promoted one of the recurring cast. It would have been interesting to see Igor as company clerk.
One of the things I’ve realized is that with each cast change, the kinds of stories the show could tell changed. When Henry Blake died, you could no longer tell stories about Frank and Hot Lips getting upset and going to the brass; Colonel Potter would have never stood for it. On the other hand, the writers gained a straight talking fatherly figure the staff could bond with. When Trapper left, Hawkeye lost his wingman and to a certain extent, a fellow carouser, but the writers gained the ability to tell stories about trying to be faithful about a loved one at home, and dealing with guilt when one fails. When Frank Burns left, they lost the crazed Wile E. Coyote foil, but gained the ability to tell stories about a much more sophisticated nemesis.
As good as M*A*S*H is, it has a number of episodes that are simply not great, especially in the later seasons. There is one episode that makes me angry, though, and that’s “Abyssinia, Henry”, where Henry Blake is killed off. The writers have taken a lot of credit over the years for the way they did it, and I totally disagree.
For those who haven’t seen it, at the beginning of the episode, Radar comes into the OR and tells Henry he has all his points, he’s being discharged. The rest of the episode is about the camp saying goodbye to Henry. Hawkeye and Trapper take him over to Rosies for one last night, and give him an over the top civilian suit. Next morning, wearing the suit, he says goodbye the camp, then heads for the helipad where the camp sees him off.
Dissolve to OR, where a shaken Radar comes in, and announces that Henry’s plane was shot down over the sea of Japan, and that there were no survivors.
What bothers me is that the last scene was literally tacked on at the end — it was hidden from the actors in order to get a stronger reaction, and was added to make a point about the war.
I don’t have a problem with writers writing to make a point. I have a big problem with the way they handled this. Essentially, they had a happy goodbye story, and then they tacked on one scene that really has no relationship to the rest of the episode. There was no foreshadowing, it didn’t flow from the rest of the story, they didn’t even put Henry in a particularly risky position.
You want to kill off a regular to make a point? Fine. Let’s do it right. Let’s foreshadow it some. Let’s put him in jeopardy first. Let’s use this thing we’re going to do possibly open up some avenues for other characters. Let’s see him die, and not in vain. Let’s see the other characters starting to come to grips with it. Maybe for some reason, he and Frank have to visit an aid station or attend a conference or something. Let’s say Frank does something stupid, but not serious, and suddenly things go all wrong. Frank tries to make it right, and fails. And is uncomfortably aware that he failed, at least at some level. And he gets Henry back to camp, but he’s too far gone, and Hawkeye and Trapper are unable to save him, and they all have to live with that.
The writers could have still made their point this way. But the ending would have flowed organically from the rest of the story.
The Seasons of M*A*S*H
M*A*S*H went through several phases, most of which tended to correspond with the seasons. In the first season, M*A*S*H was to a certain extent, an Army hijinks show. It was not doing well in the ratings, and the network wanted it to be more of a comedy. There was more of a focus on capers. The show also had a number of subsidiary characters that were phased out by the end of the season. On the flip side, we had a sense that the camp was bigger than just the Swamp men; we saw other doctors, and a dentist, and other staff members.
By seasons two and three, the show was hitting its stride. It was still slightly surrealistic, but the stories were starting to become a little more character driven, and there was less emphasis on caper stories.
Season Four saw the introduction of Colonel Potter and BJ Hunnicutt. It was the last season where Frank and Hot Lips were together, and the last season written by Larry Gelbart.
For me, Season Five is the best season of the series. There is a certain jauntiness in the performances, more of a sense that the characters enjoy playing off each other. Colonel Potter is plain-spoken, but hasn’t yet developed the annoying verbal tics that he had after Season Eight. You can see the affection between Potter, Hawkeye, and BJ, and the growing respect between the Colonel and Margaret. Hot Lips and Frank have broken up, and Margaret is becoming more of a free agent. Frank is there, and still funny.
Seasons Six and Seven see the series becoming more serious. Without Larry Linville, it’s just not as funny as it used to be. Radar’s absences are starting to become noticeable.
The series really started going downhill beginning with season eight. I’m not sure whether it was the writing team in place for the last three seasons, or simply a matter of running dry, but it was really starting to show its age after Radar left. Potter developed a set of really annoying speech patterns. Some of the performances started to get broader and louder. And the stories got preachier, and less interesting. I’m generally happy to see most of the earlier episodes again; by the time the later episodes come around, I get choosier. There are still some good ones, but there are also a lot that I’ll skip.
M*A*S*H‘s Point of View
M*A*S*H was always a series that had a point of view, that war was evil and wasteful, that the Army was silly when it wasn’t brutal. This is correct in many ways; Isaac Asimov once wrote that “War is the last refuge of the incompetent”.
And yet, looking at it historically, I can’t help but feel that the Korean War was justified. The UN (at the behest of the US) went to Korea to defend South Korea which had been invaded by North Korea. It was a defensive war to repulse an invasion. I can’t help but look at the two Koreas now – North Korea in periodic famine, run by a despotic dynasty, and South Korea, one of the richest economies in the world. Satellite pictures at night starkly show the difference between the two economies. South Koreans have a large amount of personal freedom, North Koreans are under the thumb of the Dear Leader.
M*A*SH’s point of view lead to some missed opportunities as well. Colonel Potter was portrayed as pretty realistic, but he was a career army officer. We were told why he got into the army, but we never explored why he stayed. There was always a lot of complaining about the war, but we didn’t really see any of the surgeons take more than momentary satisfaction in their work. Their work was important, and meaningful; I think that would have been emotionally sustaining, especially for people, like them, who lived through World War II, but it really wasn’t shown much.
Margaret was always shown as competent and strict and by the book, but the flip side of competent people with high standards is that they are very proud of their people, and protective of them; it would have been interesting to see an episode where for some reason, she had to protect one or more of her nurses, either from the Army or some decision of Colonel Potter’s.
We had a couple of really nice fatherly scenes with Potter and Pierce, Radar, Klinger, and Margaret, but I don’t remember ever seeing a one on one between him and BJ, which is strange, since they had a lot in common, being faithful married men who missed their wives. There were several episodes where BJ went off the rails because he missed Peg; I think Potter could have helped him.
And finally, I think Frank Burns could have been handled better. It was difficult, because Larry Linville was such a talented physical actor, but a big part of the problem was that he had no redeeming qualities at all. In the book, Frank Burns is written as technically competent, but medically thoughtless, with a penchant for blaming others for his mistakes, and an intolerance for others who didn’t share his affluence. (He is also a captain, like the others; his character was merged with a religious major for the movie).
I think “technically competent, but medically thoughtless” would have been a lot more sustainable for the series, than the complete idiot he was written as. It would have made him a more believable character. It gives the writers a little more flexibility – if they need him to do something stupid, he does it out of carelessness, but gives him a baseline of competence so that he’s not completely unreal.
I also think it would have given the character of Frank Burns more headroom to grow if the new characters introduced in Season four were more tolerant of him than Hawkeye. There is too much history between him and Hawkeye for them ever to be more than enemies, but I think they could have written BJ as at least tolerant of him. And I can imagine a nice walking scene between him and Potter where Potter makes it completely clear that he regards the 4077th is a hospital first and an Army base second, and somehow manages to get Burns at least somewhat on board with that.
I’ve discovered a fan site (bestcareanywhere.net) that has some fan fiction. Some of it is really poorly written, even at a grammar level, but a few of the stories are quite good. Some are alternate episodes, some show the characters after the war. One of the rather surprising things for me is how many stories pair up Margaret and Hawkeye. I just don’t see it myself. They always had professional respect for each other, and a certain amount of physical attraction, but as Hawkeye says at the end of “Comrades in Arms”, they’re just too different personalities.
In the end, M*A*S*H the series lives on because it was so well executed, especially at the beginning. The protagonists are likable and funny, many of the stories are well written, and transcend the “Army hijinks” format of the original. It’s now been around for over four decades, but it can still make me laugh.
This past weekend I took my first overnight trip on the FJR, back up to New Hampshire and the White Mountains. I’ve been wanting to take it on a longish trip, and leaf peeping seemed just the thing. Saturday, I followed the same basic route I’d done with the rental FJR, and Sunday, with more time available than I had last year, I took a trip on the Conway Scenic Railway, and did a little more puttering on the way back.
I left the house on Saturday, with a little light mist. When I came out of the O’Neill Tunnel, it was actively raining, but happily, I was wearing my overpants, which can handle a little light rain. By the time I reached the state border, I was in the sunshine.
In New Hampshire, Route 3 and Interstate 93 entwine around each other like a vine on a string; I-93 is the highway; a straight shot north, except for the Franconia Notch area. Route 3 is a local road; you do run into some intersections in towns, but it’s scenic, and there are long stretches with not much traffic, and you can do a fairly decent speed unless you wind up behind a slowpoke. I much prefer it. The two roads do intersect often, and you can easily switch between the two.
At the point where I transferred to Route 3 on Saturday, there was a sign directing me to a bridge. It turned out to be an old covered bridge, so of course, I had to ride over it, ride back, then stop and take some pictures.
(Aside: Covered bridges are covered to protect their members from rot. I’ve often wondered if it would be cost-effective in the long run to add a cheap, easy to replace roof to overpasses).
I headed north to Route 112 and the Kancamancus Highway, where I got a shock. It was bumper to bumper, stop and go all the way to the first overlook. This is the FJR’s one Achilles heel: it does not handle slow speed traffic well, or at least, I don’t handle it well at slow speeds. It’s fine while moving, but once the speed drops below a couple of miles per hour, it’s top-heavy and has a real tendency to tip or turn.
After the outlook, traffic at least moved descending the Kancamancus on the way to Conway. By this point it was near sunset, so I stopped for dinner at a family restaurant. I was leaving just as a fireworks show started nearby, so I stayed until the end before heading out along Route 302 to find someplace to stay for the night. I wanted to stay somewhere between Conway and Bartlett.
I hadn’t factored in the time of year. There were No Vacancy signs all over the place. Even the dumpy little motel I’d stayed at before was full. I remembered passing a motel in North Conway that was showing a Vacancy sign, so I hurried to get back before they filled up. I got my room for the night.
The next morning, I had to figure out what to do. I’d originally planned to take 302 out to Sugar Hill, then have breakfast at Polly’s Pancake Parlor, but here I was, close to Conway, and I’d seen the Conway Scenic Railway signs. I decided to go for the train trip. I had breakfast locally, then got a ticket for the 11:30 Valley Ride. This is a 55 minute, 11 mile jaunt through the woods.
The trip was fun, but not quite as scenic as one would hope; you spend a lot of time going through the woods, with trees close on both sides.
After the train returned, I headed west along Route 302, through Crawford Notch, past Mount Washington, to Route 3, and the slow ride home. This part of the ride is made for motorcycling — not much traffic, and scenic, curvy roads.
While I was riding through, I could see the Notch Train in the distance, running up along the side of the mountain. It made me a little sorry I hadn’t taken it, but not much; I’d rather take the bike than the train through there.
By the time I was headed south on Route 3, it was mid afternoon, so I stopped at the Indian Head Resort for lunch. It’s old-time 1950’s type tacky, but the view while I was eating was nice.
By the time I finished lunch, it was 3:30, and time to head home. For the most part, I took Route 3 back – it was getting close to sunset, and the light and the foliage were superb. I did skirt Laconia, as I’ve found there are a lot of intersections there. Finally, as I approached Concord and dusk fell, I switched back to I-93 for the rest of the ride home.
I am still pretty happy with this bike. At speed, it’s like riding a magic carpet, smooth and responsive and with plenty of power. I feel more comfortable passing for some reason on this bike than I did on the other two. I was mostly in the lower part of the engine’s RPM range except for one moment passing when I reached an absurd speed in second gear. It made me wonder what it can do at red line in top gear.
I do need to get better at stop and go with this thing. It tends to catch me by surprise when it loses gyroscopic balance and it starts to yaw. Part of it might be top-heaviness, part of it may be my short legs.
I was definitely feeling a little saddle-sore by Sunday evening. Not too bad, and nowhere as bad as the Katana, but I was feeling it. I may look into Yamaha’s comfort seat, a gel filled replacement saddle.
Finally, I was definitely missing my Nikon on this trip. It’s still out of commission, and I was limited to iPhone photography. The iPhone camera is really good, but its lens is fixed, and semi wide-angle. It also tends to pick up fingerprints.I tend to “see” narrowly photographically, and miss my zoom lens. I also miss having a raw file to work with and manipulate. At this point, I’ve exhausted all the do it yourself options I’ve read about; it sounds like the camera definitely needs repair. I may just decide to replace it instead.
I packed a lot into my last days in London. I had a nice one on one with the CEO Friday, and after work, took advantage of the National Gallery’s extended hours to pay a visit after work. I spent about 90 minutes wandering the galleries, looking at the paintings.