San Francisco's Palace of Fine Arts served as a lovely backdrop for photos of the bride and groom, as well as the owner of this antique Cadillac, who modeled as the chauffeur. Blair directs the model who posed as a bride for the weekend photo shoot. In most locations, no auxiliary light was necessary to create the soft illumination, like this image, photographed in a building's open shade. This glamorous black-and-white illustrates one of the DC4800's various "film" choices. Outdoor Locations Outdoors, Blair demonstrated his ability to work in a variety of lighting conditions. Later that morning, he posed the couple in the hotel garden in open shade, using just his "Touch of Warmth" reflector to bounce a little light onto their faces. That afternoon, Cantrell arranged to have a man with a restored antique Cadillac drive the wedding couple to the Palace of Fine Arts, our next photo location. Once there, Blair photographed them next to the car (the distinguished-looking car owner, Luther, also modeled as the chauffeur). These pictures were a lot of fun to set up, and the weather complied with high clouds that offered some great diffuse light—no auxiliary lighting was necessary. A little atmospheric fog rolled in as we went to our last location of the day, Baker Beach, with a beautiful view of the Golden Gate Bridge on a clear day. Blair photographed Corinne and Laurent (now attired in casual street wear) walking on the beach against a backdrop of beach homes on a cliff. These were the type of images he might shoot for a couple's engagement. In addition to the couple, he also photographed two boys—Cantrell's son and nephew—with her blonde labrador retriever. At the end of the day, we commented on Blair's seemingly boundless energy, to which he joked, "It's only my first day on the job." The Streets of San Francisco The following day, we continued our classic portraiture quest with a pretty new model, Jasmine. She began the photo shoot in a beautiful wedding gown, and Blair posed her reclining on an art-deco style couch near the hotel's lobby. Here, he took advantage of the DC4800's creative "film" and filter choices—and shot some in black-and-white, sepia, and a few in color. The results were very striking and really resembled glamour portraits of a bygone era. It looked as though Blair had gone to great lengths to set up studio lights in the classic "butterfly" lighting mode, when in fact, Jasmine was lit only by an ambient ceiling spotlight. We followed this up outdoors in a location right across the street next to a brick building with a predominately blue mural. Beforehand, Jasmine put on blue lipstick and nail polish for a slightly more offbeat look. We used Blair's reflector to block the harsh late-morning light on Jasmine's face, and she held a blue rose to complete the picture. These were some of the most striking images of the day. That afternoon, Fisherman's Wharf and the streets surrounding it became our primary locations. In an area near some docked ships, he utilized a wide-angle lens attachment and Jasmine was part of the scenery. In other locations, he shot portraits in open shade. The DC4800 takes high-resolution 3.1-megapixel images. Utilizing a wide variety of locations and lighting situations over the course of two days, Don Blair said he enjoyed the digital experience all in all. "I'm turned on to digital because it's instant; now," he said. "But it won't replace what I'm doing with film."