Photographs, Photographers and Photography

January 17, 2010

HDR for street snappers

Filed under: Technique — Thomas Pindelski @ 3:00 am

If it moves, forget it.

I gushed on about High Dynamic Range photography ages ago here, meaning that the curative aspects of time have done their thing and forced me to reconsider.

You see, unless you have one of those blitzoid megabuck Nikons which take a bazillion snaps in the blink of an eye, HDR is useless if your subject moves. And this is not just the case with the street snapper’s target. A wavering leaf or a flying bird – if the images differ in subject matter, forget HDR. They cannot be merged without ghastly ghosting effects.

And as I’m a street snapper at heart, traditional HDR techniques do not work. Heck, it’s tough enough getting one good snap, let alone the three or more dictated by HDR. So, somewhat unconsciously, I have found that I am using the localized adjustment tools in Lightroom 2 a lot more. When I have a subject with challenging dynamic range, I will underexpose by a stop or two to tame the highlights and then bring back the shadows with a spot of localized exposure adjustment.

Here’s an example of what I am talking about. The underexposed original saw me bringing back the detail in the vendor’s face while leaving the reflective sculpture alone:

Chrome vendor, Maiden Lane, San Francisco. G1, kit lens.

So yes, this is still HDR, albeit with a street snapper’s twist.

September 12, 2009

HP DJ90 with Snow Leopard

Filed under: Printing — Thomas Pindelski @ 5:18 am

Phew!

Long time readers will know that I use a Hewlett Packard DesignJet 90 to make large prints using my iMac. I suggested it made little sense to rush into the OS 10.6 upgrade (Snow Leopard) until many of the incompatibility issues were resolved. Indeed, Snow Leopard has already had one upgrade to address security issues since I wrote that piece.

Well, some good news. HP has released new printer drivers for the DJ 30/90/130 series (respectively 13″, 18″ and 24″ wide) as stated in this Apple Support document. This is great news for those of us using what may be one of the best ink dye printers made. While recently discontinued, I confess prints made with it today look every bit as good as they ever did! My only grumbles have been the occasional blocked printer head, easily replaced. Click ‘Printing‘ on the right for more about this outstanding piece of hardware for serious sized printing.

August 26, 2009

An excellent Lightroom book

Filed under: Technique — Thomas Pindelski @ 10:58 am

Evening writes good English.

It’s now coming on for two years since I made the painful switch from Aperture to Lightroom and scarcely a day passes when I do not rejoice in that decision.

From the resource intensive Aperture (sells more ‘newer, faster’ Macs, I suppose), illogical and buggy application to one that is logical, has yet to lock-up on me and is blisteringly fast on my middle-of-the road iMac, Lightroom (I’m on version 2.4) is a joy to use. I visit some of the Lightroom blogs now and then and find I am always picking up new tips, no thanks to the lack of a proper instruction book from Adobe, as none is bundled with the software.

Indeed, to my own surprise, I actually find that after 50 years of processing pictures, I’m beginning to enjoy what is ordinarily a drudge. Anyway, a while back I decided to get a good book on the product as it was increasingly irritating to find out more or or less by accident about features that really helped the processing step along.

In selecting my book of choice, the first dictate was that it had to be written by a photographer who can actually take good pictures. Why on earth would you want to learn any skill from an academic, clueless in real life application of his expertise? That dictate promptly excluded most of the many books out there – some of these people really have no right to be preaching about Lightroom when they cannot take a well composed, decent photograph.

The second driver was that the author has outstanding communication skills.

Having watched some of his instructional videos on the web the book to choose was easy – Martin Evening’s The Adobe Photoshop Lightroom 2 Book: The Complete Guide for Photographers. (Disclosure: The link is to Amazon – I get no ‘click through’ payment if you click on it. I have no position in AMZN at the time of writing.)

My main reason for buying a good reference manual, dictated by the poor quality of the materials included with the software and the generally poor Help files within LR – was that I wanted to be absolutely sure how best to integrate two catalogs of pictures. I wanted to add the one from my laptop to the master on my desktop computer. While I have daily back-ups of everything, I would rather get this right first thing than scramble to recover from mistakes by resorting to the back-up.

Evening’s book not only walked me through this in accurate detail, I found that it added value in many other areas where the apparently simple user interface of LR hides many special functions, often invoked through the use of the Alt key on the keyboard. Areas where I find real value was added include:

  • Importing and creation of import profiles specific to a camera or lens
  • Using filters to find images
  • White balance corrections
  • Sharpening – a whole chapter, much of it addressing magic simply invisible to the normal user
  • Custom profile printing

The book, at 600 pages, seems long, until you realize that much of that is the result of copious illustrations which make it much easier to follow along. I still think of it more as a dictionary – something you look up to learn from – than a tutorial, but I find I keep it at hand when processing and frequently dip in to learn a new trick or two.

It’s published by Adobe Press (I only learned this after buying it – it was most certainly not a reason for purchase) which simply begs the question why it isn’t included with the software in the first place.

Quibbles? On p. 582 Evening states “The graphics card does not play such a vital role in Lightroom’s overall performance.” This contrasts with my experience which shows that screen rendering of previously generated previews when flicking between images is considerably faster with the new nVidia 7600 GPU (256 mB RAM) in my iMac 24″, compared with that using the nVidia 7300 GPU (128 mB) it replaced. But I have no objective measurements to bear this out and it may just be the placebo effect at work as I try to justify all the time I have had to waste in repairing my faulty Apple computer.

Overall, it’s a fine manual by a real, working photographer who has had the benefit of a proper education in the use of the English language. Highly recommended.

August 6, 2009

Meet my new view camera

Filed under: Photographs, Technique — Thomas Pindelski @ 9:16 am

A Panasonic G1? Are you crazy?

I have absolutely no reservations about cropping and manipulating an original picture if it results in a better result.

Never does this apply more than in architectural photography.

The other day, making my way through the horrors of the UCSF-Mission campus in south east San Francisco, I was struck yet again by how ugly much modern architecture is. Given the incredible cost of land, bribes to officials and unions, the cost of design and materials, how much more would it take to make something beautiful rather than just another precast, soulless box? And this is on a campus of higher learning, for goodness sake, where you are meant to encourage open communication, sharing and ample leisurely exchange to help brains grow. How do you do that surrounded by architecture seemingly inspired by concrete makers and designed by structural engineers?

Gazing at the horrors around me I was reminded how Prince Charles has been pilloried over the years for his stance on keeping British architecture beautiful. Whereas he was written off as a privileged nutter with nothing better to do but gripe about buildings and talk to his daffodils, we now increasingly see him as a voice of wisdom in an ugly urban world and a pioneer of the green movement. UCSF-Mission needs him.

Back to the topic at hand, architectural photography. When I know I cannot but have leaning verticals, I make a point of leaving plenty of space around the subject as it will be needed when correcting these at the processing stage, if correction is needed.


Before and after. G1, 41mm, 1/250, f/8, ISO 100

Here the G1’s kit lens was almost fully extended to bridge a building lot in front. I knew that what I wanted was a borderless image of the multi-colored glass (a movement originated by Cesar Pelli in New York, if I am not mistaken). The lamp standard lower right was simply icing on the cake. Here’s an example of the use of modern materials in a lovely, refreshing manner, providing visual interest and harmony in an otherwise uninspiring box shape. And some of the windows actually open! Nice work.

Once the RAW original was in Lightroom 2, I exported it to PS CS2, set up a background layer and used the Edit->Transform->Perspective function with the Grid turned on (Command-Apostrophe) to aid in aligning the verticals. This corrects leaning verticals but shortens the image, squashing it vertically, so to return the correct aspect ratio to the windows I switched to Edit->Transform->Distort and simply stretched the picture vertically until the windows looked right. Finally, before saving (PS integrates with LR so the ‘Save’ creates a second stacked image in LR – nice) I go to Layer->Flatten to keep the file size small – no need for the bloat of layers in the LR catalog of images. I use a lossless TIFF format to save the PS-processed image.

So there you have the G1 as a compact view camera! Here’s the final image. It will make for a nice 30″ square print.

June 8, 2009

The Race Track improved

Filed under: Panoramas, Photographers — Thomas Pindelski @ 7:35 pm

Dykinga was good. Edwards is better

There’s a magical place in Death Valley, Arizona and it’s called the Race Track.

Jack Dykinga illustrated it in his magnificent book which I reviewed a couple of years ago. Simply stated, stones of substantial mass move, magically, yet no one has ever seen this occur. I choose not to dwell on the reasons. Some things are simply magic. The Race Track is one of those.

Why not leave it there?

Well, because a fine photographer whose work I have been privileged to mention here on occasion, has done it better.

Rod Edwards, a UK professional, is that photographer and he has taken Dykinga’s work to a higher level in his rendition of that phenomenal place in Death Valley.

I have been unsuccessful in monetizing my QTVRs, much as I have tried. I would take my iBook around various wineries in central California and show them to proprietors, only to be met with blank stares. Indeed, when I had my one man show I considered including a couple of big screen TVs to better show them off, sound effects and all, but gave up on the idea based on those self same stares.

However, to Edwards’s credit, he has persevered and has been justly rewarded with a commission from Britain’s National Trust – an institution which you can best learn about from the wonderful writings of James Lees-Milne, a magnificent conservator and writer about the early years of the NT. Simply stated, the National Trust is charged with the preservation of the UK’s architectural and cultural heritage – a rare good use of taxpayer monies.

No need to dwell further on the subject – just click on the picture below.


Rod Edwards’s Race Track

April 6, 2009

Going glossy

Filed under: Printing — Thomas Pindelski @ 9:49 am

Just doing what it takes

I have been unsparing in my criticism of Apple’s cynical move to producing only glossy screens on its displays. The thinking is identical to that of the jeweler who installs strong quartz iodine spotlights in his store. That 1 carat bauble that so impressed in the store, thanks to the Hollywood lighting, leads to a sense of dismay when viewed at home. It’s no different for Apple’s glossy screens.

So what on earth was I doing ordering glossy printing paper for my HP DJ90 the other day?


An engineering company. Note the micrometer and the Swiss manufacturer!

Well, I may dislike glossy when it comes to making and printing my photographs, but I am not beyond learning from the ace salesmen at Apple, Inc.

Simply stated, I have not submitted a photo for publication since 1977 when I left England and started getting paid for my labors in America. So great was the increase in income and reduction in tax (the top income tax rate when I left the UK in 1977 was 83% ….) that the modest amounts that publication brought no longer made sense. I could earn more the easy way and use the money to take the pictures I wanted to take, not the ones some editor preferred to see.

But the bug bit again recently and while I have no intent to make any money from getting my stuff in print (and the odds of doing so are, let’s face it, pretty remote in an internet world), my ego can now afford it. And as first impressions are 100% of the battle with photographs, when that editor opens my envelope of snaps I want them to say ‘wow’. Glossy paper does that.

So the medium, not the content, may be the message, but if it ghastly glossy paper helps get me into print, so be it. Just don’t expect these prints to be gracing the walls at home any time soon.

This is my first experience of using HP Premium Glossy (it’s made by Hahnemuhle) and when prints first come off the printer they look simply awful. The inked areas are matte whereas highlights where no ink was deposited retain the original high gloss of the paper. However, after drying for a couple of hours the inked areas take on a good gloss, although not as high gloss as virgin paper. So it’s a bit of a mess and may explain why some later printers now use a glossing agent to restore high gloss to a print – the DJ90 does not have this technology. You get something approaching glossy but a critical viewer will immediately notice the higher gloss of ink-free regions. In other words, I will be sticking with Premium Photo Satin for the big stuff for wall hanging.

April 4, 2009

Picture Packages

Filed under: Printing — Thomas Pindelski @ 11:12 am

A useful Lightroom technique

When I make large prints on the HP DJ90 dye printer, it’s usually strictly a ‘one at a time’ sort of thing. The prints are 18″ x 24″ (’Super A4′ is the uninformative European description), which is as large as my HP will go and, after an obligatory 24 hour ‘drying’ period to let the ink dyes set, they are dry mounted and framed.

However, with my new found determination to get some work published again, smaller prints were called for – 9″ x 12″- and these just happen to divide an 18″ x 24″ sheet into four equal parts.

Rather than cut up the paper first and then do four print runs, it proved just as easy to make one combined print job and do the cutting last.

First I went into the Library module of LR2 then clicked on Library->New Collection. I dragged the candidates into this new collection and oriented them all vertically (Photo->Rotate Left/Right). These candidates had been processed and cropped just so, so that no further adjustments would be required.

Into the Print module of LR2, where I clicked on Tempate Browser->Lightroom Templates->2×2 Cells. Lightroom comes with this template installed. Moving the mouse cursor to the base of the screen to disclose the filmstrip – which I have set to hiding mode so it is ordinarily invisible – I simply highlighted four contiguous images, which then appear on the print ‘canvas’.

The screen now looked like this:

Then it’s off to the races, printing in the usual way. It takes a lot less time to do than to explain and you have the benefit of applying the same print settings to all pictures on the ‘canvas’. Of course if you process the originals poorly, then you may end up with four clunkers, but I seem to have lucked out.

Note the personalized nameplate at the top left of the Lightroom pane in the last picture above. You can do this by going to Lightroom->Identity Plate Setup.

March 9, 2009

At the grocer’s

Filed under: Photographs, Technique — Thomas Pindelski @ 6:29 pm

Amazing what you can find when you try seeing

I really do not like pineapple. Too tart and acidic for my constitution, yet I was struck by the incredible complexity and beauty of the fruit at the local grocery store.


5D, 100mm Macro, ring flash at f/8, 4 images, Helicon Focus Pro

So I picked one up (carefully!) and took four differentially focused snaps, stitching them in Helicon Focus.

The ring flash head was half covered with black tape to add some modeling.

January 9, 2009

Sound recording

Filed under: Sound — Thomas Pindelski @ 9:17 am

It’s a lot easier now.

When the hero of Jean-Jacques Beineix’s 1981 movie, Diva, sets to making his bootleg recording of the operatic soprano who never records, he is hiding the best portable analog tape recorder ever made, under his coat. Simply stated, the Nagra was the Leica of its time.


Actor Frédéric Andréi starts the Nagra

Seconds later, soprano Wilhelmina Wiggins Fernandez lights into Ebben ne andro lontana from Alfredo Catalani’s opera La Wally – you know the tune even if you have never heard of Catalani.


Wilhelmina Wiggins Fernandez – mediocre voice, non-mediocre looks

The movie is a splendid example of the very best in French film, which means it’s awfully good. Quirky, avant garde, beautifully filmed and a great plot.

I was reminded of the movie when asked for a recommendation for a really good digital voice recorder the other day. Naturally, I mentioned the Edirol R-09 which I am delighted to see Edirol has improved, enhancing the finish and redesigning the fragile battery door. We have been using ours for more than two years – with external microphones to mostly record my wife and son’s piano playing – and remain delighted with the fine sound quality this device offers. Unlike our protagonist’s beautiful Nagra, it can fit in any pocket.

For anyone interested in just how good French movie making can be, Diva is highly recommended. For anyone liking great photography, it’s a must have movie.

Here’s a track of my wife playing Misty Blues, recorded on the Edirol, using nothing but its internal microphones. Editing was done using Audacity with the LAME MP3 plug-in to permit MP3 output generation. This is a wonderful, and free, sound editor which I recommend for easy editing of sound tracks.


Misty Blues – recorded on the Edirol R-09

December 16, 2008

Lightroom 2 keyboard shortcuts

Filed under: Technique — Thomas Pindelski @ 8:29 am

LR2 displays few of these

When you want an on-screen reminder of the many keyboard shortcuts in Lightroom 2, you press the ‘Command – /’ key pair for a heads-up display on your screen, thus:

Click on the pop-up display to dismiss it.

The snag is that this display only shows a small fraction of what is available. You can download a PDF of all LR2 or LR1 shortcuts here. Surprisingly,I can find no such LR2 guide on Adobe’s web site.

Dense as it is, it repays study.

For example, I have found use of the adjustment brush frustrating in that one has to view the red mask to see the area which has been brushed. You do this by hovering the mouse cursor over the mask pin (the little blob which appears on your screen). If you want the red mask to show continuously when using the adjustment brush you can toggle full time display while the adjustment brush is in effect by hitting ‘O’ on your keyboard. This makes masking very easy and allows you to adjust exposure/brightness etc. after you have delineated the area of choice for adjustment.

In the above example, after switching on the adjustment brush in the Develop module I hit ‘O’ and, thereafter, could see the red mask as I applied it by brushing areas of the image. Once satisfied that the right parts had been brushed, I switched the red mask off (hit ‘O’ again – it’s a toggle) and then applied adjustments as required.

If the default red color interferes with the image and your assessment of the masking you have applied, you can cycle through mask color options using the Shift – O key combination while the adjustment brush is live. In the following example I have changed the mask color to green using the ‘Shift – O’ key combination.

Very handy. There are many more gems in this long list and a few are even worth learning! Now if only Adobe could add all their keyboard shortcuts to their ‘Command – /’ key on screen display.

Follow-up: A reader has kindly pointed out that Adobe’s version of the short cuts is to be found here and the presentation, which is by module rather than in aggregate, is far more useable.

November 24, 2008

HP Designjet paper profiles in Lightroom 2

Filed under: Lightroom, Printing — Thomas Pindelski @ 8:44 am

Trust HP to design this for engineers, not humans

In yesterday’s column I mentioned the existence of aftermarket profiles for some interesting papers made by the likes of Hahnemühle and Arches. These are swellable papers designed to absorb the ink dyes used in the HP DJ 30/90/130 printers. That’s all well and good, but how on earth do you get these to show up as choices in Lightroom when you are in the Print module? Especially as the instructions from HP for the right place to install these simply do not work.

Well, HP is first and foremost an engineering company which means that things obvious to engineering graduates are gobbledeegook to regular humans. Mercifully, your instructor, Dr. Pindelski, happens to have an engineering degree, so if you use an HP Designjet 30, 90 or 130 printer, follow the instructions below and all will be well …. so long as you have the good sense to get a life and use a Mac. PC users can probably figure things out from what follows, but please do not ask as I neither use nor propose to ever use a PC again.

Here’s the Print module in LR2:

Click on ‘Managed by Printer’ then click ‘Other’ and you get a listing of the standard HP paper profiles:

Now go to Finder and click on the Library (this is the Mac’s library on the root of your internal hard drive, not the one under your name in Users) and navigate to the directory show – navigation is from bottom to top:

Your Finder screen now looks like this:

Now Control-Click on the file named ‘hp_designjet_pm.plugin’ then click on ‘Show Package Contents’:

Now drag and drop the downloaded package of profiles (see yesterday’s entry for the download link) onto the directory named ‘ICCProfiles’:

The ‘designjet’ directory is the one with the new profiles, which you just dragged and dropped.

Click on the ‘designjet’ directory in ‘ICCProfiles’ and you will see all the additional profiles, thus:

The remaining task is to edit the ICC profiles of your choice so that they will show up in the LR2 drop-down box. The snag is that you have to use one of the tailored HP name strings to force the choice to show. This means two things:

1 – You must use a file name identical to one of the existing ones used by HP for their papers
2 – You will have to embed your profile description of choice in the replacement new paper profile for it to display meaningfully in the LR2 drop-down box.

First, then, we have to determine which of HP’s standard paper choices we can dispense with. That’s easy, because you didn’t buy this fabulous printer to use Brochure or Proofing paper or for that matter generic Coated paper, so that means at least nine of HP’s file names can be reused. Further, if you stick with the ‘Max Detail’ drivers, you get even more redundant file names to use – and why would you want anything but maximum detail in your display prints?

First, determine the new papers for which you would like to install profiles – here’s the list from the file downloaded from HP:

I’m intrigued by the Arches, Hahnemuhle and Ilford papers. so in the following screen snap I have erased those imported profiles which are not wanted and also erased all the clutter from the inclusion of the HP Z2100/Z3100 profiles which are for HP’s latest – and very expensive – wide carriage pigment printer, thus:

As I am adding nine new profiles I will need to reuse nine of HP’s file names to make these show up – here’s the ‘conversion’ table:

To embed these paper names in the new profile ICC files we have to edit the profiles, rename them using HP’s cryptic file naming convention, rename the original files rather than erase them, in case they are needed in future, then move the new files down one level in the directory so that LR2 can read them.

Double-click on the first new file, the one for Arches Infinity Smooth 230 paper. You will see this as Colorsync opens:

Click on ‘Localized description strings’ and enter the name you want for the paper of choice – the default looks like this:

Those names are awful (this is the text which will show up in LR2) so I make them more user friendly, like so:

Now save the file in Colorsync (Command-S) and move on to the next one, repeating as necessary with descriptive names for each paper.

Next we have to rename the original files which are no longer needed; I do this by simply appending the text “.old” to the name of the original file; use the conversion table you created above to determine which files need to have ‘.old’ appended to their names:

Next, rename the new paper profile files using the old HP file names – the same ones where you just added the “.old” extension, like so, repeating for each new profile and making sure to use unique HP file names from the original files, with no duplications:

Here all all the name changes on the new files:

Finally, drag these renamed .icc files down one level to where the “.old” files reside, thus:

Load LR2 and click on Profile->Other in the Print module and this is what you will see:

To further clarify matters, I then add the text “HP” to the HP paper profiles, using Colorsync as before, with the following result – compare with the previous screen snap:

Now check all the boxes thus to make these properly named profiles show up in future when you click in LR2 and hit ‘OK’:

Next time you click profiles in the LR2 Print module you will see this:

Select the profile of your choice, load the appropriate paper in the printer and off you go! But do first make sure your display is profiled properly and, of course, I highly recommend Dr. P’s free screen profiling approach which will not only save you money on the colorimeter you do not need, but will get you more accurate colors to boot.

I took the additional precaution of making the new, renamed .icc files ‘read only’ to make sure that any new profile or application updates do not overwrite the files created above. You can do this by control-clicking the .icc file, clicking on ‘Get Info’ and making it ‘read only’ in the dialog box that pops up.

Why use printer-managed profiles rather than application managed colors? For the simple – and vital – reason that when you hit Print->Preview in LR2, Apple’s Preview application will display a Preview; at the lower left you will see a box for previewing the print on the screen using the color profile you have chosen – so much for all the ‘experts’ who maintain that you cannot soft proof with applied paper profiles in Lightroom:

You are now viewing a Print Preview of your picture with the paper profile of choice applied to the image. And you can use a selection of non-HP branded printing papers. What’s not to like?

And I can think of no better time to buy one of the truly great wide carriage printer bargains – HP still lists the Designjet 90 (18″) for $995 and the Designjet 130 for $1,295 (24″). I would not hesitate to buy another today and do, on rare occasions, rue the fact that I did not buy the 24″ model as the form factor is much the same with six inches added to the width. Either takes up little room for such a large format printer. OK, so they go ‘clankity-clank’ when they print, but you can afford ear plugs from the $2,000 saved on not buying their latest Z series machines. And ink use is so frugal, even a Scot would approve.

November 23, 2008

Latest ICC color profiles for HP Designjet dye printers

Filed under: Printing — Thomas Pindelski @ 9:27 am

HP updated these recently

While I have been a happy user of HP’s branded papers exclusively for my Designjet 90 18″ wide dye printer, HP does not entirely neglect the aftermarket for paper makers.

Indeed, HP has recently updated a bunch of color profiles for some well known papers which feature the swellable/absorbent surface of HP’s paper, allowing the printer’s dye inks to be properly absorbed. These are for use with the Designjet 30/90/130 series of printers.

Here are the papers supported, with details of how to feed the paper into your printer – tray, rear slot or roll (by the way, I always use the tray to (multi-)sheet feed my 13″ x 19″ and 18″ x 24″ HP Premium Plus Photo Satin paper and have had no issues):

As you can see, HP recommends that many of the heaviest papers are loaded one sheet at a time. For reference, HP’s Premium Plus Photo Satin weighs in at 286 grams/sq. meter, whereas the heaviest William Turner is 310. I suspect, but cannot confirm, that HP’s papers are made by Hahnemühle which has been around since 1584, so they just missed making the stock for Gutenberg’s bible, printed in the 1450s. Hahnemühle references the HP relationship here.

Here’s their data sheet on the heavier William Turner paper:

Many stockists carry it, not least of all Atlex which I have found to be reliable. The William Turner comes in sizes up to 17″ x 22″ or in larger rolls – these you would have to cut down first. Sounds like an interesting option for HP users and, as I mentioned recently, I would be a buyer of the HP DJ 90 or 130 (24″ wide) today – it’s not like parts and supplies are about to disappear for a printer which shares consumables with the DJ 30 (13″ wide) which sold in vast numbers to photographers everywhere. And, at its price, the wide carriage HP has no competition.

Finally, why dye based inks in preference to pigments which now dominate the market? Can you say lousy blacks? Bronzing? We dye printer users know nothing of those issues.

In tomorrow’s column I will provide a step-by-step guide to making new profiles of your choice, for non-HP branded papers, display correctly within Lightroom 2 because, goodness knows, HP’s installation instructions are about as wrong as you can get. Suffice it to say that if you follow mine, your profiles will display correctly in LR2 thus:

November 18, 2008

Linhof S168 tripod

Filed under: Technique — Thomas Pindelski @ 8:02 am

Made in West Germany – which quality once called home.

Back in the fifties, the final flowering of the machine age, if you wanted quality in photo gear you used a Leica. However, if you wanted real quality in your pictures, we are talking billboard sized prints here, you used a Linhof. This apogee of field camera design, in the many Technika models, came mostly in 4″ x 5″ size and was the love of industrial photographers across the world. In addition to a broad range of Zeiss and Schneider lenses, you could fit any number of accessories to your Linhof and make it sing. But the only thing you would fit your Linhof on was a Linhof tripod. Naturally.

I have owned mine some twenty years and it will likely go to the grave with me, though I suspect it will refuse to melt when my body is subjected to the fires of hell in the incinerator. I have never understood why one would want to waste valuable real estate on all those tombs, Père Lachaise and Hampsead being the only exceptions where this sort of thing makes sense. A world where we cannot commune with Chopin would be a sadder place.

All my recent work with multiple images – HDR, panoramas and now Helicon Focus – suggested a piece might be in order about the tripod I use as these techniques dictate one is used. No, its not a $1,000 carbon fiber Gitzo, much as that would be nice to have.

My Linhof tripod came (for very few dollars) with a Linhof pan and tilt head, useless for still photography, so I replaced it first with a Leitz ball and socket head and, later, with the funky Novoflex Mini Magic. Plus, of course, a Manfrotto QR plate. The nice Leitz head now happily makes its home on my Manfrotto monopod.

Over the years I have had to install three new rubber feet (they are retained with circlips) and had to glue the broken center column knob with epoxy after it disintegrated. It now looks worse but is much tougher and I sure as hell was not going to pay Linhof $40 for a replacement. The use of light alloys makes the tripod easy to carry though not as light, maybe, as the latest, costly carbon fiber and basalt creations. I console myself with the thought that the extra exercise is good for me!

Despite my best efforts to destroy the sliding legs with multiple immersions in sand, mud and sea water, the Linhof laughs at my amateurishness and soldiers on. After a day at the beach I flush it with tap water, pad it dry and it’s ready to go. No nasty, sticky, dirt-loving lubricants needed. Further, the main leg sections are rubber coated, so your tripod does not accrue that totally ghastly scarred look after a few years’ hard use.


The Linhof S168 – 29″ tall when collapsed

There is only one right way to enhance stability and that is with cantilevers. Ask any bridge builder. Linhof got that totally right with these light yet strong ‘C section’ beams.


Massive cantilevered legs

To be useful a tripod must be capable of rapid deployment, and the push button sprung lower leg releases means erection is a matter of three or four seconds. For the most part the long, two section center column suffices for the rest of the extension. The Manfrotto plate means that attaching the camera is instantaneous – obsoleting yet another reason to avoid using a tripod.


Quick release lower leg section. The twist collar releases the upper section.

If you are working on an uneven surface, the twist collar sections can be selectively deployed (the push button sections are ‘all or nothing’) to even things up. I rarely use them.

The leg tips can be extended for hard surfaces.


Extendable rubber tip. Note the coarse threads which aid in dirt removal under the tap.

Or retracted for slippery ones.


Spike for your favorite oak floor

The column knob benefitted from some epoxy a few years ago. The built-in spirit level works fine …. and is totally useless.


Epoxied plastic knob. Germans and plastics simply do not mix ….

And you want to go really high?


Did I say this thing was tall? I’m 6′ of the total extension!

The Linhof S168 gets so many things right I would be rushing out and searching for one if I were you. Tripods simply do not get any better and a couple of enhancements (ball head, QR plate) make it the most quickly deployed and most sheerly useable tripod there is. If you are searching for a good, used Linhof, I strongly advise looking for a model with the cantilevered legs as these add tremendous stability for a minor weight penalty, and greatly ease deployment. It’s worth the wait for the right one as this will be the last tripod you buy.

The other manufacturer I would look at from that period were I searching for a top quality heirloom tripod would be Schiansky. It’s a name you no longer hear but they made a superb range of tripods at the time the Linhof S168 was on the market.

November 17, 2008

The 400mm close-up lens

Filed under: Technique — Thomas Pindelski @ 7:58 am

Helicon to the rescue.

Go to Helicon’s web site and you will, understandably, see many examples of the use of this application in insect photography. That’s a natural given the miniscule depth of field for such small subjects in extreme close-up.

But how about at the other end of the spectrum, when used with really long lenses?

Well, it turns out Helicon Focus is every bit as capable.

In the following example I was taking snaps of the maple tree, in full fall color, at a very close distance (maybe 15 feet) using the 400mm lens at maximum aperture. This renders the background as a complete blur, but also very much restricts depth of focus in the subject, as this picture discloses:


Maple leaves. 5D, 400mm ‘L’, 1/500, f/5.6, ISO 250

I took nine images with the lens on manual focus focusing through the depth of the subject. Helicon refused to combine these, so I took out the first and last (which, on closer examination, had nothing sharp anywhere) and tried again. Success.


Composite of seven images using Helicon Focus. Manual exposure setting.

Why not simply close down the aperture and take one snap? First, that would dictate a very slow shutter speed with the attendant risk of camera shake even though the camera was mounted on a solid tripod. Second, there’s no guarantee at these short distances that everything would, in fact, be sharp, as 400mm lenses have little depth of field at any aperture, and depth-of-field preview in SLRs is near useless at small apertures. The Helicon approach generates an image which simply pops from the background while in no way changing the blur. Formerly blurred twigs now no longer detract from the image and the result is dramatic and natural looking.

Snags? Well, your subject has to be stationary, you must use a tripod and on close examinaton you can see some ghosting here and there:


Detail of ‘ghosting’ in the combined image

But when you realize that this enlargement is consonant with a print size of 40″ x 30″ and the effect is not objectionable, it’s something I can easily live with when balanced against the advantages of the technique. And who knows? When Danylo Kozub and his fellow geniuses at Helicon release the much awaited updated Mac version maybe even this minor issue will be resolved?

So Helicon is not just for the macro and microscope photographers amongst us.

November 12, 2008

More Helicon macros

Filed under: Photographs, Technique — Thomas Pindelski @ 8:50 am

Make your macros sing.

I wrote about Helicon Focus recently and for this new inductee to the macro world it’s fair to say that the software opens up new realms in macro photography. This application requires that you take several pictures of your subject, each focused slightly differently, after which it applies some serious processing to stitching together the sharp zones of each into one sharp whole. Magic!

Now your subject must be still and you need to use a tripod (unless you are very lucky doing this handheld, which I think is a long shot) to permit proper stitching of the sharp zones from your constituent images.

I import the originals into Lightroom in the normal way and stack them using the ‘time between pictures’ slider, which allows automatic stacking of pictures taken close together. I then export the stack in TIFF, making sure there are no export size constraints in the Image Sizing section of the export panel. The exported images are then dropped into Helicon Focus, I hit ‘Run’ and ‘Save’, then import the composite image back into Lightroom where it is added to the top of the stack, like so:

The deeper the required depth of focus the more images you need. For reasonably square on subjects with some depth I find 3-5 images works fine. For more drastically sloped ones, more may be needed. Digital film is cheap! Take too many rather than too few. The processing times in Helicon on my MacBook (C2D) are short – four uncompressed 72 mB TIFFs are combined into one new one in the space of thirty seconds. These are full frame TIFFs generated by Lightroom from the RAW originals taken on my Canon 5D.

Even though these images were taken at f/22, the close focus distance and the 100mm focal length of the Canon macro lens make for very shallow depth of field, so I simply set the lens to manual focus, focus on the nearest part of the image and take a picture, repeating with a small adjustment of the focus ring every 8 seconds, the time it takes for my ring flash to recycle to full power. That’s important – you really want your images identically exposed.

And here is the result – taken yesterday after more time spent wading in the tide pools at my top secret Highway One location on the Pacific coast, 22 miles west of home. This chap was hanging out on the underside of a big boulder waiting for high tide. If you do this sort of work, check the tide tables before you go – the best being revealed at low tide. He is maybe 3″ in diameter.


Starfish. 5D, 100mm macro and ring flash, 1/60, f/22, ISO 400, tripod. Four constituent images.

Do this sort of thing at sunset with glancing rays from the sun and add a touch of ring flash to reduce the contrast range and make all tones easily visible (much easier than doing HDR), and you get something like this:


Kelp at sunset. 5D, 100mm macro and ring flash, 1/45, f/22, ISO 400, tripod. Five constituent images.

It’s no surprise if I tell you that the Canon Macro plus Helicon Focus are in the running for my Best Gear of 2008 award.

If you want to see Helicon Focus applied in the more traditional area of photomicrography, take a look at the beautiful images crafted by Charles Krebs.

November 8, 2008

HP Designjet 90 still available!

Filed under: Printing — Thomas Pindelski @ 8:23 am

A great bargain.

Click on ‘Printing’ in the left hand column and you will see that I am a huge fan of HP’s previous generation DesignJet 90 18″ wide printer. A small footprint, fade free inks, great reliability and …. cheap for what you get. HP’s current large format printers start well north of $2,000.

I thought that the HP DJ90 was no longer available, but a quick spot of Googling and it seems they are still available new.

The print quality is beyond reproach, not least owing to the use of dye inks which results in a really deep black. As for the fade free claim, I can attest to one print I have at a friend’s home, under plain glass, which is in bright sun 8 hours a day and has been for two years. It’s as good as new.

So if large prints are your thing, check out the HP DJ90 or 130 (which will print up to 24″ wide).

Update: Check the Comments to this piece for a discussion of paper and supplies availability. I have also added extensive details about HP’s newly released (2008) profiles for many non-HP papers.

November 2, 2008

A little tweak here ….

Filed under: Photographs, Technique — Thomas Pindelski @ 8:10 am

…. a little color there.

The beauty of the adjustments in Lightroom (I’m on 1.4.1) is that the results are seen instantly on the screen and the sliders for these are really quite intuitive – not something that can be said of the industrial might of Photoshop with its poor user interface. Further, unlike Aperture, which I no longer use, you do not need the latest liquid helium cooled MacPro with 16 gB of RAM and the latest $2,000 graphics card to run the thing at half decent speed – an old iMac G4 more than suffices and you can probably pick one of those up for $50 with a nice big screen at a yard sale.


Canon 5D, 24-105mm at 58mm, 1/250, f/8, ISO 100

Here you can see the bland original (underneath) and the final versions of this snap. The final adjustments can be seen here from Lightroom’s History panel – look at the right hand column of data.


Adjustment history for the image above

That seems like a lot of work until you realize it took about a minute or so to do, aided by the nice large 21.6″ Samsung LCD screen attached to my MacBook. Exotic? Hardly. Available today for under $200 from many makers. Viewsonic now lists a 22″ screen for as low as $160 – a perfect accessory for the MacBook’s small screen whose gloss finish does little to help photographers. The aftermarket screens come with matt surfaces, as they should. Another example where Apple’s marketing focus does little to serve users. Unless you are in a pretty dark room, the glossy screen is a real pain to use, but Apple no longer markets a matt screen version.

The Vibrance and Clarity sliders are especially useful in giving your image ‘pop’, but I find it’s easy to overdo things. A little goes a long way. Unlike the 50mm Canon f/1.4 optic, the 24-105mm L zoom used here displays no color fringing. Instead you get severe barrel distortion at 24mm, not something that’s visible here.

September 18, 2008

Immersive media

Filed under: Panoramas — Thomas Pindelski @ 6:47 am

A step up from QTVR.

I have written a lot in this journal about my discovery and adoption of QTVR 360 degree virtual reality photography using Quicktime and a special camera mount. If you would like to see some of the results of my efforts, please click here.

Now all of that is old hat!


Immersive Media’s Dodeca 360 camera

How about a 360 degree movie version? Click here for a demonstration. The camera, by Immersive Media has no fewer than eleven lenses and can be worn on the head, for those seeking to emulate the man from Mars. It seems pretty light.

Now where’s my check book?

August 26, 2008

Large prints on canvas

Filed under: Printing — Thomas Pindelski @ 7:39 am

Up to 86″ a side!

I came across this site while looking for a large print service.

They certainly use the right printers and fade free inks as this excerpt from their FAQ states:

“What kind of equipment are you using to print on canvas?

Photogonia uses state of the art printers like HP DESIGNJET 5500 series and EPSON STYLUS PRO 9800. These large format printers deliver high quality print jobs that fit the high standards that Photogonia sets for our products.

What kind of Ink are you using?

PhotoGonia uses ONLY original factory Inks like HP 83 UV Ink Cartridges for our HP printers and 8-color Epson Ultra Chrome K3™ Ink For our Epson printers. PhotoGonia doesn’t use refills, third party Ink or generic Ink. ”

A 40″ x 30″ ‘gallery wrap’ canvas (the printed edges are stretched over the frame) is $322.50, shipped. Not cheap, but the alternative of buying an ultra-wide carriage printer for one or two prints a year is hardly a viable choice. For that matter, unless you regularly make large prints, this sort of service makes sense for any photographer limited by the 13″ carriage width common on home ink jet printers.

August 22, 2008

Ring flash

Filed under: Technique — Thomas Pindelski @ 7:50 am

An awful lot to like.

The ring flash I have been using on the 5D with the 100mm Canon macro lens is proving to be a real joy. It’s pretty much set and forget. All I do is adjust ISO to procure an f/11 aperture with the camera on shutter priority and 1/200th (the fastest sync speed) and the circuitry in the flash takes care of balancing natural and artificial light. In use I simply leave the flash switched on all day – battery drain is only significant when recharging as opposed to maintaing a charged state. My current set of four alkaline AA batteries has lasted for some 16 hours and two hundred or so snaps, and shows no sign of dying.

F/11? That, I find, gives the best balance of definition and depth of field. Smaller apertures introduce diffraction and definition begins to fall – that’s physics, not Canon. Wider apertures at close distances result in very shallow depth of field – appropriate for plane, perpendicular surfaces only. ISO seems to end up in the range 100 to 400, which is the sweet spot for the 5D’s sensor. Nice!

Reflections of the tube in the ring flash can be an issue – though the sort seen here just enhances the sense of curves.

Occasionally, with reflective subjects, you get a nasty image of the flash tube reflected in the subject, like so:


Note reflections from the sun and the ring flash

I do not know whether the enhanced localised processing controls in Lightroom 2.0 could fix this – I”m still on 1.4.x and await 2.1, presumably suitably debugged. In the meanwhile, it’s back to that old dog Photoshop (Lightroom has a direct export and save function) and a few seconds with the Magic Eraser:


After using the Magic Eraser in PS CS2

That’s more like it. French Racing Blue never looked better. The wide brimmed individual on the left is none other than famed racing driver and backdrop man, Franklin Rudolph.

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