Monthly Archives: October 2011

Correcting verticals

A simple Photoshop routine.

The eye is exceptionally sensitive to parallelism and hence to leaning verticals. Hang a picture on the wall just a few minutes of arc out of level and anyone will spot the error immediately. Leaning verticals in photographs, where none are called for, are every bit as objectionable.

Correcting these is easy and better done in Photoshop than in Lightroom with its limited controls.

Click the picture for the instructional video and watch out for the phone call at the end! It seems that no matter how hard one tries to switch of all the sounds that pervade our lives, there’s always at least one sound source to be missed.

Click the picture for the video.

The video is 8 minutes long.

The Glif

A QR tripod mount for the iPhone 4/4S

Steve Jobs was right. ‘Simple is hard’, he said, when talking of sweating the details of a design. And, sadly, most of the accessory makers for the iPhone have tried for quick bucks and refused to sweat the details. ‘Think Different’, whatever the grammatical shortfallings of that mantra, is one foreign to their thinking, or lack thereof.

And so it is with tripod mounts. The plenitude of offerings out there is underwhelming to say the least. Most take the guise of snap-on backs or ugly straps which go across the face of the iPhone. But one, brought to us by the same funding mechanism which saw the outstanding success of the Luna-Tik iPod watch band, Kickstarter, really does Think Different.

The makers of the Glif had a similar success in raising capital for the funding of the injection molding process required to manufacture the device, though as I had decided to pass on the flawed iPhone 4 I had no interest in it. Now that the identically sized and shaped iPhone 4S is here with none of the antenna issues of the iPhone 4, I bought a Glif from Amazon and tried it out.

Suffice it to say that this is the iPhone tripod mount for thinking people. Small, light, take-anywhere and superbly functional, you can see it in use below.

The Glif can also function as an iPhone support, so check their site if eyestrain is your thing.

The Glif holds the iPhone securely and shaking it as hard as I could I was unable to make it part company with the iPhone. A GorillaPod would make a perfect mobile tripod accessory for the Glif. Until now I have resisted buying one as it just seems too flimsy for even a small DSLR. But given the iPhone’s low weight, the GorillaPod will likely be finding a home here soon.

For taking movies just start the movie from the iPhone. For still shots, as there is no remote release available for the iPhone making the likelihood of camera shake higher, blow $0.99 on the Camera+ iPhone app which includes a nice self timer. Touch the self timer screen and it switches between 5, 15 and 30 seconds.

Bertie poses for Camera+ with its self timer.

More importantly, if you are into the whole ‘lone figure in the landscape’ thing, the self timer is just what the doctor ordered when you have to be the model.

If you use a screen protector or a case or some other encumbrance on your iPhone, forget it. The Glif is not for you.

iPhone 5 update: When Apple came out with its toy-like iPhone 5, a device whose flimsy feel and compromised assembly (uneven seams in mine) does not remotely live up to that of the 4/4S, it also made the phone thinner, rendering the above Glif useless. There’s now a slimmer model available for the iPhone 5 and it works just as well.

William Albert Allard

Book review.

Click the picture to go to Amazon US where you will also find a video presentation by Allard.

Photographers like National Geographic’s William Albert Allard and Sam Abell pretty much put the nail in the coffin of tired and increasingly pretentious hack monochrome work. We live in a world of color and refusing to see it thus mostly testifies to the skill of the photographer, or lack thereof. Sure, every now and then something works better in black and white but mostly that’s for the artsy-fartsy set or for collectors of vintage images. Yes, HC-B is better without color, but he is in a class of one.

This is a magnificent book. The color photographs, their reproduction, Allard’s text – the whole thing is as good as it gets. Allard never pulls punches but that does not make his work in any way crude. Some of the slaughterhouse pictures will offend tender sensibilities.This is a great color photojournalist at work.

Highly recommended for anyone wanting to broaden his vision.

Allard writes:

“I think I can feel color … I can’t explain it, but I can feel it. In my photography, color and composition are inseparable. I see in color”. Bravo!

My favorite? ‘Outside my window’ taken in, where else? Paris, Le Marais on page 153. The cover picture of the Sicilian beauty Benedetta Buccellato, above, is interestingly not especially representative of his work, so don’t expect a book of fashion pictures. However, I can only agree with his friend’s comment on seeing the actress’s portrait gracing the cover of National Geographic: “A beautiful woman on one cover is worth ten months of monkeys”. You can keep the monkeys and you won’t find any in this book. The work here is that of a color street snapper par excellence.

Background Blur

Making the subject pop.

I have referred to the need to blur backgrounds in pictures made with short focal length lenses often. As cameras get smaller, focal lengths shorten. The 35mm FFE lens in the iPhone 4S, for example, has a focal length of but 4.3mm, meaning just about everything is always sharp. At a given aperture, depth of field is solely a function of focal length, having nothing to do with sensor size.

To put this in perspective, the 50mm FFE lens on a full frame 35mm camera or DSLR become 150mm on a 4″ x 5″ sheet film monster, 80mm on a 6×6 medium format Hasselblad, 25mm on an MFT body and just 6 mm on the typical cell phone with its microscopic sensor. Compared to a 6mm, the depth of field of a 150mm lens is miniscule – everything is in focus with the former, little is with the latter. So selective focus on small cameras, absent help from software, is not going to happen ‘in camera’, yet.

If a picture is worth a thousand words an instructional video is an order of magnitude more efficient, so I have made a brief video explaining how to confer background blur using Photoshop CS5, which you can see by clicking the image below. While I start and end the process in Lightroom3, that’s not a required part of the workflow. Use whatever database you like for storage.

And remember, the only people who will know you used this technique will be those you tell in advance.

Click to view the 8 minute video.

One day this technology will be built into software in cameras. The user will be able to restrict the zone of sharpness to the main subject. Cameras already have face recognition. Selective focus is a rational extension of this thinking. Meanwhile, PS CS5 does just fine.