DYNEX Technologies + PROGEN

You surely know me for crafting polished still imagery for brands and commercial clients, but you might be surprised to learn that I bring the same precision, narrative, and compelling visual impact to motion; like this recent promotional video I produced for DYNEX Technologies, showcasing their medical laboratory testing equipment and announcing a new industry partnership.

DYNEX has trusted me to capture stills for their marketing and leadership for years, so when they approached me to film this promotional spot, I was excited to be entrusted with the creative freedom to bring their script to life.

After the usual planning and scouting, all shots were completed in one full day of filming, including all scripted imagery along with B-roll vital to tying all shots together.  Post-production was carried out in collaborative stages, and was completed in time for DYNEX to exhibit the promo alongside live product demos at tradeshows to begin the year announcing their new partnership with PROGEN.  This project also provided the pleasure of once again working with a voice actor in addition to the on-screen talent.

Videography is a creative and technical skill I love being able to exercise in visualizing my perspective and share it with the World.  2025 was my most videography focused year in recent history; looking forward to the next vivid video project!

2026 Washington Auto Show

In 2025 we got to see Buick’s Wildcat EV, and this year brought the new concept car’s roots to the show in the form of the original 1985 futuristic testbed (and legendary Hot Wheels).

First unveiled in 1985, the Buick Wildcat concept was a sleek, forward-looking statement of where General Motors imagined American luxury performance could go: low, wide, unapologetically futuristic, and packed with then-cutting-edge digital instrumentation.  Seeing the original Wildcat on the auto show floor this year made for a striking time-warp moment, especially when viewed through the lens of last year’s Wildcat EV debut.  While the 1985 concept leaned into Bézier curves, aviation influence, and analog futurism, the modern EV reinterpretation carries that same experimental spirit forward with smooth surfaces, bold proportions, and an all-electric ethos.  Nearly four decades apart, both Wildcats serve the same purpose: less about production reality, and more about Buick staking a claim on what its version of the future looks like.

The Washington Auto Show sadly seems to shrink every year these days, and this year felt especially small, with fewer attendees due to the snowstorm still impacting the region, and large swaths of missing attendance - I remember the days when German manufacturers were on display, and luxury marquees such as Lexus, Porsche, BMW, Mercedes, Lincoln, Cadillac, and Jaguar were all highlights; this year, not even Nissan was included in the Japanese offerings - very disappointing annual downsizing.  Based on this, I was shocked Alfa Romeo and Land Rover both had small displays.
Exotics are always present in some capacity, but these are halo cars for the average attendee; I’m speaking about the missing makes attendees previously would have been able to experience the product.

After the show, a cool scene of chilly, ice covered DC:

2025 Washington Auto Show + HDR Commentary

Today’s post comes with a giant 🤓nerd-alert🤓, as I discuss technical details in an evolving World of imaging, applied to car geekery.

Like most years at the Washington Auto Show, I spent my time at 2025’s expo exploring the show floors with a camera, using the event to casually experiment and hone skills in between exploring the latest automotive offerings.  Practicing upcoming techniques in no-pressure situations is a great risk-free way to keep skills on the cutting edge.

Last year I gathered footage to practice with my HDR video editing workflow.  This year I did the same with some proper 120fps footage, and also edited all still images from the day in HDR, as HDR still formats are upcoming and I like always staying knowledgeable and prepared.

I’ve edited several personal photosets in HDR to practice and learn how the new formats accommodating expanded range of luminance is currently able to be edited and to ensure backward compatibility with SDR displays - for video, HDR is widely available and supported, with practically all new TVs and productions available in HDR formats.  Photos, surprisingly, however, are supporting HDR after video, with the format war still raging on; the predominant image format and paired colorspace has not been determined yet.

HEIF/HEIC seems to be the best choice, closely related to the HEVC video standard most end-user and web HDR video is deployed as: its high efficiency compression and support of gain maps and modern colorspaces like P3, however end-user support is still limited so it has not flourished except for Apple’s usage encouraging support to expand.  AVIF is a similar format that is promising, but even less widely supported than HEIC.  JPEG XL is not new, but is a much modernized expansion of the original staple JPEG format.  Then there is finally standard JPEG, which can be encoded with a gain map to enable HDR on HDR-compatible devices and applications, and is backwards compatible with SDR in the existing standard, however it is the least efficient of these filetypes, and gain maps are something of a tack-on making these files not always interpreted correctly by some applications.

Possibly a larger issue is how HDR stills can currently be edited.  One can edit a RAW file in HDR using the standard color and contrast edits we all know and love, however editing software may also offer SDR compatibility proofing and grading, which I’ve found is not able to exactly match the HDR grade - this is a critical shortcoming in terms of backward compatibility, and ensuring a consistent deliverable to end-users.  Furthermore, editing HDR images in Photoshop and maintaining the correct grading and luminance mapping is spotty, with use of Generative AI tools strangely returning SDR results in Photoshop while the same generative utilities used in Lightroom directly on a RAW file returning HDR results (or a result that is at least properly mapped to the image’s luminance - I must assume it is generating an SDR image and an HDR gain map to pair).

In short, despite HDR video being widely supported, support of HDR still images is still extremely limited, and is not currently ready for widespread use: compatibility is king, and SDR still images are still the standard one should be using for anything mission-critical, ie client deliverables.

NOTE: The images in this post are NOT HDR; they are SDR-only; my hosting provider currently does not support HDR filetypes, as it converts all uploaded media to standard SDR JPEGs for web efficiency - hopefully some day in the future HDR data will not be stripped, and modern filetypes will be supported.  These images were natively tone-mapped on export for viewing in SDR as close as possible to their HDR versions.

BMW XM Launch Cocktail Party

If you’re a regular follower, you know I frequently attend various car events.  Some of my favorites are those sponsored by automakers showcasing their latest performance and technology offerings, which often has a driving or interactive component.  I have to say, of all the manufacturer events I’ve been to thus far, this cocktail party absolutely wowed me the most.

BMW definitely knows how to run events, I can confidently say from experience after last Summer’s BMW Ultimate Driving Experience featuring an autocross component of their i4 M50.  Likewise, BMW definitely knows how to throw a party.

This wasn’t my first time at the Long View Gallery; in 2015 I attended McLaren’s unveiling of their new 570S, so I expected something like that; I was pleasantly proven wrong before I even got inside the gallery.  The music could be heard from out front, and the mood lighting was a spectacle capturing the attention of passers by.  Inside, guests were welcomed and invited to enjoy signature cocktails at one of the multiple open bars, sample the numerous hors d'oeuvre, (including sushi and ceviche served on a BMW branded ice sculpture), and mingle around the cloaked BMW XM.

Also, any event with a cigar roller is going to automatically win points from me.  This is exactly the second time I have seen this; the first was a wedding I photographed over a decade ago.  This cigar roller had cigars for every taste and experience level, with mild, medium, strong, and amaretto; I’m admittedly not knowledgeable about cigars, but I know enough to know I enjoy the extremely occasional one with an Old Fashioned or glass of single malt.  I grabbed a few for myself for a special occasion, and a few for some friends; although there were matches and cutter available, nobody in attendance indulged at the event.

There’s a bit of a joke that I can’t go anywhere without being recognized, and while that’s not entirely true, chance would have it that I got spotted by a fellow commercial photographer also attending the party, and we enjoyed chatting off and on throughout the evening.

Soon it was time for the big reveal.  A brand VP and engineer gave an introduction of the vehicle, and discussed the XM’s vision and performance as the performance crossover was unveiled.  A notable design point of the XM is that it is the first M series SUV to have its own fame design, not sharing its platform with any other model in the BMW lineup; the XM’s platform is entirely BMW M.

Inside, the XM is all performance, with large flappy-paddles, and dedicated M Performance buttons on the wheel.  Passengers are pampered with ventilated leather, and treated to moodlighting and geometric design cues.  In the boot is a custom leather BMW XM travel bag, with dedicated strap and hook to ensure it stays put during spirited drives.

In the alley behind the Long View Gallery sat the original BMW M1, which served as inspiration for the XM.  The mid-engined coupe sports a more traditionally enjoyable 5 speed manual transmission, and propelled 277HP to the rear wheels; only 453 examples exist.

Inside, artist David Garibaldi began live-painting a BMW-inspired piece combining the DC skyline with the BMW XM’s headlight design.  The canvas was also live-silent-auctioned while he was painting.  The entire process took around 30min, but seemed much faster.  It was fascinating seeing his mixed tool process, switching between brushes, blades, and his fingers between strokes.  By the end of his painting, his glasses were smeared, his suit was speckled, and his hands were completely covered in various colors of paint.

Although the main events were finished, the party was still going, with many still lingering to enjoy drinks and get their chance to explore the XM.  With the playlist spinning, I’m surprised an impromptu dance floor never broke out.

On my way out I captured a few photos of the gallery front since I didn’t get any on my way in; besides, it looked better at night with the lights from the party still bumping inside.  BMW had fed us well, but I knew I’d be hungry again a little later after getting home, so I grabbed a go bag from nearby Ghostburger to enjoy as a midnight snack later in the evening.  It’s a spot I’d like to go back to when they’re not about to close - it definitely rounded out the theme of the evening, which was pretty colored lights.

2023 Annapolis Irish Festival • Gaelic Storm

To kick off my birthday week, and give myself a well-needed break, I took myself to the Annapolis Irish Festival.  Having the whole day to myself with no expectations or responsibilities to others hanging over me for the day was such a refreshing sensation I can’t remember the last time I felt, and filling it by being surrounded with my own Irish heritage with a backdrop of Celtic music, my soul felt overwhelmingly unhindered happiness and freedom.

I explored the vendors for some time, mainly in search of a Claddagh ring to hold me over until I settle on options for a bespoke piece; unfortunately, shopping for rings for myself is akin to shopping for pants, because I’m between sizes, and half sizes simply aren’t stocked at such a craft fair.  After browsing, and finally getting something to eat, I settled in to enjoy some of the music more purposefully.

Bastard Bearded Irishmen

Bastard Bearded Irishmen were in the later portions of their set once I finished eating, and I took some pictures of them playing a few of their last songs of the afternoon.

They finished their set with a cover of Sweet Child o’ Mine.

Gaelic Storm

The star act of the Festival was Gaelic Storm; a Celtic band headlined by Patrick Murphy on lead vocals, accordion, and spoons, and English guitarist Steve Twigger, the two remaining original members of the band that shot to fame after being featured performing in 1997’s Titanic.  They are joined by percussionist Ryan Lacey, Peter Purvis on bagpipes and flutes, and the group’s newest member, Natalya Kay, a talented fiddler who joined the ensemble last Summer.

I admit, I’d never heard of Gaelic Storm until a few months ago when a friend in another state saw them perform at an earlier stop on this same tour, and raved to me about them.  (I also have still somehow never seen Titanic in its entirety.)  Coincidentally, the Annapolis Irish Festival had already been on my radar for several months, so between the rave review by a friend, and a sense of reclaiming a tarnished St. Patrick’s Day, I was absolutely going to make sure to see Gaelic Storm play, whether at the Annapolis Irish Festival, or the night before at Leesburg’s Tally Ho.  In the end I’m glad my festival plan ultimately came to fruition.

Suffice to say, Gaelic Storm has a new “storm chaser” (what their fans are known as). I’m not new to Celtic music; I’m a lifelong fan of The Corrs, and was lucky enough to see The Chieftains perform a few years ago, but having already previewed and enjoyed some of Gaelic Storm’s music in the weeks before their concert, I was excited to finally see them live.  As the sun set, Gaelic Storm took to the stage, and I think the pictures will do the rest.

Video

I did take some video, but wasn’t intending on focusing on video, so the audio is trash using the internal mic.  This served me well, however, because it gave me a great set of files to learn on - I’ve been teaching myself Final Cut Pro, as Adobe Premiere Pro still doesn’t have a proper DolbyVision / HDR workflow (come on Adobe, get it together; it’s been 3 years, fix your Rec. 2100 support!).