Speaking of ol' Ansel

...just found this:

"I believe that the electronic image will be the next major advance. Such systems will have their own inherent and inescapable structural characteristics, and the artist and functional practitioner will again strive to comprehend and control them."

—Ansel Adams, 1981

...ain't THAT the truth.

GEEKZONE: Controlling the Histogram- EV +/-

My students hear it all the time. The single most powerful tool of digital imaging is the histogram, whether on the camera, or in “Levels” in Photoshop.

A histogram is a graph of the tonal values in an image. Simply put, the histogram on the camera lets me see the actual tonal values of the photograph, as I’m taking the picture. The histogram in Levels lets me see exactly where tones fall, and with a little experience, how they will print. The trick is learning how to understand the histogram, and how to use it.

Let’s look at an image that is low contrast, and look at the histogram we get. The tones in the image range from medium-dark gray to medium light gray, and the histogram shows that very clearly. None of my tones map out to the extremes of the “graph”. Nothing hits the far-left, pure black, and nothing hits the white at the far right. My camera meter tries to average everything out, what my Dad used to call trying to “see everything as gray”. It will measure the entire scene and place the range of values, from light to dark, smack in the middle, giving me this histogram that sits right in the center of the graph.


I can shoot a black dog and my camera will try to make her gray. A snowy field? Gray. Here’s a great example. Look at the thin lines to the left and right of the main black area of the graph. They are perfectly centered between the pure black and pure white extremes.

This, if you let it, will print just as you see it. Gray. You can adjust it in Photoshop, of course, but the better thing to do is to capture it where you want it, mapping the whites to the white values, the grays to the gray values, and that is the question… how do you tell the camera where you want to put these tones?

The answer is with the EV +/- control. Let’s assume you want to shoot with Auto Exposure, either in Shutter or Aperture Priority. The EV control lets you tell the camera to over- or under-expose the image, or simply put, make it brighter or darker. Going to the “+” side makes my snowy scene brighter, it pushes my tones up on the histogram and makes the gray values more white. A little practice will show you how much to boost it, but the histogram on the camera will show you precisely what the effect of the boost will be.

Here’s what it looks like when I boost the exposure “+1”. Immediately you can see the white snow reads, and even prints here as white, but more importantly, I can see on my histogram exactly how white that is. It’s just a small amount away from the pure white of the far right of my graph, indicating that it still has tones… the file is not “blown out”, or reading no detail in the highlights.



Watching the histogram on the camera, and judicious use of the EV +/- control, along with my vision of the final photograph allows me to capture the information I need, in the places I want it, to get the most information from my capture and ultimately make the highest quality photograph.

I remember seeing a great film about Ansel Adams, and there was this scene where he took a print out of the wash and popped it into the microwave (then, a very new contraption, often called the “Radar Range”). By drying it down, he could then read the blacks and whites in the print (with a meter) to make sure he’s getting the purest white and deepest black out of his paper and his negative. This is exactly what the histogram gives us.

Imagine if Ansel had that information at his fingertips as he was making his exposures! Crazy stuff!

Linearization- A Brief Note

In the discussion about profiling and calibration, I think the term “linearization” gets a little lost. Linearization is sometime described as calibration, or standardization. I’ve even quoted Bill Atkinson as saying “the Stylus 9800 printers are extremely linear, they are the closest thing yet to the great mother printer in Japan”, the implication being that it is more of a standardization process. It’s that, in part, but really it’s more of an issue of making a smooth “response ramp” for a device.

Let’s start with, well, how about a pixel on a chip. I’ve described it as a little light meter, making voltage corresponding to the amount of light that shines on it, actually, that’s not quite accurate. Pixels are actually more like little valves… you have to give them some current, and they actually let more or less of that current “through”, depending on how much light they see. The end result is the same, you get volts coming out corresponding to the light falling, but I wanted to clear that up so Bruce Radl and Joe Holmes could sleep at night.

The problem is, for each little light meter, we don’t get a smooth response to light across the board. Our little pixel may be very good at seeing low levels of light, and not so good at the medium levels. It may totally blow out the higher responses. The process of linearization is simply to take the response out of a device, any device, and smooth it out, make it linear. We want it to read zero at zero. If we load it with a little light, we want it to go up a little. If we feed it twice as much light, we want it to respond with a number that is double.




Here is a printer linearization curve, from the ColorBurst RIP. This is what Bill Atkinson was talking about… it is a map of each ink, and how it “tracks” from light to dark, with the appropriate corrections. Let’s look at the magenta graph. Magenta plays pretty well up until around 50%, but then the RIP has to boost the amount of ink dramatically to get it to be linear. I would guess from this, that if you printed out a series of neutral gray patches from the 7800 without linearization then you’d see, at middle gray, a dramatic drift to a green cast in the gray values. The linearization curve fixes this by feeding in more magenta.

Every printer is an individual device, ideally needing individual linearization, but Bill’s comment simply was saying that the printers were, first, pretty standardized (they are all pretty close to performing identically) and at that standard point, pretty linear.

Linearization is the process of smoothing out the bumps in any device. And by the way… every single pixel in the chip is going to have a different response curve. We have to linearize the readings of every single one, of thousands, of pixels on the chip to get a balanced and predictable image.

RAW PIPELINE is SHIPPING!!

Barnes and Noble here...

wooHOO!

Henry got the FIRST ONE.



...and holy crap! Color Pipeline is already on Amazon! Release date is January, you can preorder here...

friday diversion: drawdown

I'm starting to enjoy this friday digression/diversion. I've been really interested in the youtube, especially as a new venue for, well, photographic art. Give me some feedback... let me know what you think!

Galbraith: Nikon D3 v1.10 firmware corruption problem

From Rob' site:

Thursday, April 17, 2008 | by Rob Galbraith

Firmware v1.10 for the Nikon D3, released earlier this week as a download from Nikon support sites, appears to have introduced an intermittent photo corruption problem to Nikon's flagship digital SLR.
We've been bitten by it, received a handful of reports from other D3 shooters who have too, while a thread on a popular Web discussion forum is filled with posts showing or describing precisely the same offset ghost image phenomenon we've experienced since loading the new firmware on Tuesday.


...the Galbraith site and full story is here.

nice.

addendum: from Nikon
IMPORTANT - Termination of D3 Firmware Ver. 1.10 Download

PhotoRescue: my data recovery secret weapon

OK, time to dish. This is what I used for years to recover data from camera media. It takes a little know-how, and the version I used is the "Advanced" version, but teh "Wizard" ver. works good too, give it a try.

Site and downloads here.

Leaf Capture 11.1

Site here.

Camera Back Compatibility
Leaf AFi 7, Leaf AFi 6, Leaf AFi, 5
Leaf Aptus 75S, Leaf Aptus 65S, Leaf Aptus 54S, Leaf Aptus 75, Leaf Aptus 65
Leaf Aptus 22, Leaf Aptus 17, Leaf Valeo 22Wi, Leaf Valeo 17Wi
Leaf Valeo 22, Leaf Valeo 11

AP photographer freed by US after 2 years in custody

Bilal Hussein released. Via Washington Post.

Wikipedia: Aperture, Shutter Speed

OK, I love the Wikipedia. I know people have issues with it, but here are two of the best descriptions of aperture and shutter I think I've read. I especially like the time-lapse showing the shutter speed effects on the stream shot.
Shutter explanation here
Aperture here

Nikon D3 Firmware update 1.10

here

Willie's QT panos

Willie VanTassel, from "Opening Day".
Willie is here:Phototeknik Boston

I LOVE this stuff.

updates: Adobe Camera Raw 4.4.1 and Lightroom 1.4.1

information about the updates and links to all at the Adobe site
here.

direct links:
Lightroom(Mac, Win), Camera Raw(Mac, Win)

software: Vertus Fluid Mask 3

This looks outrageous.

Vertus Fluid Mask 3 is an incredibly powerful package that, above all, speeds your masking workflow. The site is here. There is a free 14-day trial, and if you want to buy it, they've offered a $20 discount to you, just 'cause you read it here! Use the coupon code MSHEVERTUS22.


It gives you a whole raft of control... some of which shown here, but you can see a complete list on the "features" page of the site, and in the excellent help dialogs and resources. They really want you to know this stuff, and do everything they can to help you along.

My big deal is the ability to go in and re-edit, and this does allow you to go in and save the mask, and alter it later by building the edits into the metatdata (presumably). I have some questions about the Smart Object workflow that I'm waiting for answers on, but here's my current workflow...

Start with a Smart Object layer and rasterize it so Fluid Mask can do it's thing. Make your masked image. Once you have that, you can simmply select that layer and go to the plugin again, to get access to the mask controls.


Once I have my masked layer I want to make a conventional Layer Mask so I can slam it on a Smart Object. I select the background of the layer with the lowley magic wand, and then hit the mask icon, and bingo, I have my mask. Alt (Option) drag the mask to my Smart Object and I'm done.

I can go back to my Fluid Mask layer and remake the mask, and then reapply it... I save that layer as a working layer, turned off, but there to make modifications as needed.


Like I say, I have questions, and maybe there is a better way to achieve a non-destructive workflow... look back for an update.

Thanks to the Vertus US Sales Manager, Mornee Sherry for the help and the discount coupon!

site: The Online Photographer

"Great Photographers on the Internet"

site here.

TRULY hysterical.

firmware updates for Canon 40D and Nikon D40

Nikon: here.
(Select "Firmware Downloads" tab.)

Canon: here.

It looks like there are some other firmware updates for various cameras, including the Nikon D300 and D80, Canon 30D, and 5D, Olympus E510 and E3, and the Sigma SD14. Be sure to check your camera's support page.

Re: i hope sanchez didnt already get to you

ok...

My standard joke is a location assistant needs to be able to bench-
press more than me. Thus, rosenholtz.

It really depends on the job. I usually only need location
assistants, and that pretty much fits the description of roadie. For
one-day jobs, if you are reasonably knowledgeable about the gear, are
good company and presentable, that's all I need. The longer the job,
the more the "good company" part counts.

Many photographers need help with production as well as roadie work,
so in that case it's a whole different story, and speed and perfection
with the software is essential.

My absolute best assistant was really experienced with the equipment,
had done a lot of travel with photographers, watching her go through an airport was like watching a symphony conductor. Working with her was effortless... which, now that I mention it, is pretty much really the
most important thing... the whole purpose of an assistant, or
assistants, is that all I need to worry about is making the pictures.
All the other crap associated with a production should fade into the
background noise, so I can just worry about the images. Anything an
assistant does to make that happen makes them invaluable.

The worst assistants I've had are high-maintenance, incapable of self
direction, smell bad, eat cheetos and drink grape soda (together)
unprofessional to the client and to me, etc, etc. The best get
everything done, and are almost invisible... or if not, fun to be
around.

I almost never want the assistant making any suggestions whatsoever
about how the shot should be executed. On the other hand, I have no
problem at all with an assistant asking why I'm doing something... I
figure they are there to learn, as much as anything else.

Professionalism? Of course, you need to be professional at any point
in a business relationship... interview especially. If you can't be
professional there, I'm assuming you can't be professional period, and
I won't hire you. I don't need experience as much as a willingness
to work and learn, and a basic mechanical aptitude.

btw: It is ALWAYS handy in this digital age for the assitant to have a
good backup laptop just to carry along. If the photographer's
equipment blows up on the job, and you whip our your spiff MacBook
Pro, you can imagine how that will go... if the photographer does not
lay himself at your feet after that then he's a jerk and you don't
want to work for him again.

Check out photoassistant.net

this is so awesome I'm posting it.

ted

On Apr 7, 2008, at 10:02 AM, Paris Visone wrote:

> dear ted,
>
> I have this assignment in "professional directions" asking to ask a
> photographer in the field what he or she looks for in an assistant.
> If you have time would you be able to answer that for me? Some
> specific questions would be, How "professional" should they be in
> the interview? Is it a matter of just getting along with the person?
> If there is someone that doesn't know much about the field but
> really wants to learn, do you choose them just from their drive?
> Does it matter if they look strong (to carry lights, etc.)? I
> already know the answer to that one.... (sam rosenholtz...)
>
> u know, no rush. i just need it by tonight. hahah.
>
> if you cant do it, its fine.
>
> Thanks
>
> Paris
>
> p.s. sanchez is in this class with me. If he asks u to do it too,
> dont.

Setting up Your Keyboard Shortcuts

OK, enough of racing sanders, RVs and Steve Jobs. Time to get back to work.

Making a copy of a Smart Object layer is kind of a pain… the process is to go to Layers, and go Smart Objects>New Smart Object via Copy. (If you just duplicate the Smart Object using the usual “Duplicate Layer”, or by dragging it to the little icon in the Layers Palette, it’s going to make a Smart Object that is linked to the one you copied it from… everything you do to one, will get done to the other.)

Here is an example of a place that making your own keyboard shortcut can save you a raft of time.

Go to Edit>Keyboard Shortcuts. Here’s what you’ll see. You want to scroll down to whatever command you want to make a shortcut, or modify a shortcut for, and select it. Then you’ll get a little window that lets you put in your choice. If it conflicts with something that is already set up, as mine does, you’ll get a notice. Since I never “Copy Merged”, I click “OK” and accept the “conflict”.

Now I just hit Command+Shift+C and snap! New Smart Object layer.

Adobe says 64-Bit Photoshop Creative Suite 4 a problem (PC World)

"Adobe will introduce a 64-bit enabled version of Creative Suite 4, but initially only Windows Vista users will get 64-bit versions across the board. Mac users have to wait for 64-bit versions of some aps, including Photoshop, and Carbon is the culprit, the company explains."

Full story at PC World here.

Thanks Amy!

site: fotagraft

woah.

This looks awesome... really nice online galleries that are actually professional looking and acting. Check out the samples, etc, these are designed by the Adobe guys I guess.

site: here

whoops! see the comment, NOT associated with Adobe. THANKS!

site: dispatches in america

new photo magazine (by photographers): here.

from the site:

"mission:
dispatches aims to help meet a desperate need in a 21st-century world that can barely keep up with itself. At the pace we all function, there are no solutions, only promising directions. No one power can dominate the rest, nor can any single philosophy prevail over others. As resources rapidly dwindle, human ability to wreak havoc develops at a harrowing pace. In the face of this, nations, societies, and individuals continue to act in their own narrow interests.
...
"Our mission is to help fill this growing void with an independent look at challenges facing an imperiled world. We seek to spark curiosity and provide factual bases to inspire discussion, protest, and change. Our target is not only the professional world watcher but also citizens who want to make a difference and students who must deal with crises they inherit. With a fresh design and innovative delivery, we aim for the widest possible appeal. Yet we are rooted solidly in the journalistic tenets of integrity, credibility, and accountability; this, in the end, is paramount."

Adobe Photoshop Lightroom 2.0 Beta

site here.
New stuff (from the site):
* Localized corrections — Enhance specific areas of an image for unsurpassed nondestructive flexibility and control reminiscent of the traditional darkroom dodge and burn experience.
* Improved organizational tools — Find the images you need quickly and easily.
* Multiple monitor support — Add an additional monitor to efficiently manage photographic workflow and presentation.
* Flexible print package functionality — Create custom layouts containing multiple sizes of a photograph on a single page.
* 64-bit support — Lightroom 2.0 now takes advantage of the latest hardware architectures with improved memory handling and performance.

Smart Collections are now available. Specify the criteria for a smart collection and images will be automatically added to the collection if they meet the criteria.

bring it ON baybee!

site: PRC APRIL 2008 FEATURED ARTIST- Jared Leeds

from the PRC site:

"Featured online are selections from his series “Mass Ave,” featured recently in Boston Magazine and in the "Exposures" section of their December 2007 issue of Photo District News (PDN).

"This series is a study of Massachusetts Avenue via portraits of those who live and work along its 16.1 mile long stretch. From Dorchester to the gentrifying South End, from Cambridge to the suburban Lexington, “Mass Ave” is fascinating study of people and neighborhoods."
- Leslie K. Brown, PRC Curator

story here.
Jared here.

congrats Jared!

equally random: Steve Jobs quote

from Forbes:

"We did iTunes because we all love music. We made what we thought was the best jukebox in iTunes. Then we all wanted to carry our whole music libraries around with us. The team worked really hard. And the reason that they worked so hard is because we all wanted one. You know? I mean, the first few hundred customers were us.
...
"So you can't go out and ask people, you know, what the next big [thing.] There's a great quote by Henry Ford, right? He said, 'If I'd have asked my customers what they wanted, they would have told me "A faster horse." ' "

...interesting.

Here's the thing. I've thought a lot about why this quote struck me, and it's because it's exactly what I decided after a long time shooting freelance. If I asked the client exactly what they wanted, the photograph would look like they took it. They wanted it to be my photograph, my vision... not theirs. That's why they were paying my day rate, to get my work.

The client can only say, "...a faster horse". It's up to me to know what that means. Ford's customers didn't want a faster horse, they wanted to get to where they were going faster... the horse was the only way they knew to do that. When a client tells me they want "a killer image", it's up to me to understand what that means, in terms of what I do.

My advice to many students has been "trust your edit, trust your vision..." Listen to opinions, but, in the end, no one else can do what you do. Your best work you ultimately are doing for yourself.

...not so random after all.

The racing sander, on the other hand... well...