Category Archives: Photography

4K displays – latest thoughts

Mac Pro

Getting there.


Click the picture for the Seiki site.

A better graphics card:

In anticipation of eventually adding a 4K display, I have upgraded one of my Mac Pros, with an EVGA nVidia GTX680 2GB PC graphics card. The card fits in the #1 PCIe expansion slot, where its double width does not block any of the three other slots. This machine currently uses a $220 Seiki 32″ 1080p TV set as a display, running at 60Hz over HDMI. The ROM in the GTX680 has been flashed by the seller to allow display of the opening splash screen with the Apple logo and cog wheel on start/restart. This is not essential, but nice to have when doing an Option-Restart which will display all bootable drives on the screen. If you don’t miss the splash screen, buy a used PC GTX680, for under $300. It will work fine. You can flash this yourself if you are running Windows in BootCamp – I cannot as Windows is not permitted chez Pindelski, sanity trumping choice. I bought the flashed card used on eBay for $400, compared with $670 for a new ‘Made For Mac’ GTX680.


The EVGA GTX680 in the Mac Pro. The two six pin auxiliary
power cables attach to sockets on the backplane board.

The former GT430 compared with the GTX680:


A significant increase in performance. Call it five times as fast.


The new card reported in System Information.
Link speed is 5GT/s.

Don’t overdo it!

Along with the ATI Radeon 7950 (200 watts maximum), also available in a ‘Made For Mac’ variant, the GTX680 is the most powerful card available for the Mac Pro which does not risk overpowering the power feeds. The maximum power available to the card is 225 watts (75 watts on each of the two PCI cables and a further 75 watts from the PCIe slot), which compares with the maximum draw of 195 watts for the card. Cards which can draw more than the 225 watts available, and thus risk damage to the Mac Pro include (but are not limited to) the Radeon 7970, 7990, R9 280, R9 290, GTX580, GTX590, GTX690, GTX770, GTX780, GTX780 TI, and GTX Titan. If you propose using any of these hard, a separate power supply is indicated.

Sound over HDMI:

Additionally, OS X 10.9.2 broke sound over HDMI (thank you Mr. Cook – Apple’s Ballmer) but a smart person has posted the fix at MacRumors and you can find it here. Be sure to check my message (#68) in that thread if you run into problems. The kext (driver) provided by the original poster works fine and HDMI once again shows as a working choice in System Preferences->Sound, delivering sound over the HDMI cable to the TV’s built-in speakers.

The state of 4K displays:

Nine months ago I wrote about the early state of play regarding 4K displays, which offer 3840 x 2160 pixel definition. Until now, the highest pixel density available has generally been the 2560 x 1600 available in 30″ Dell Ultrasharps and in the discontinued 30″ Apple Cinema Display.

Things have moved along and there are now several choices of 4K display for the Mac Pro (2009/4,1 or 5,1 and later, and new Mac Pro) user:

  • Dell P2815Q 28″ using twisted nematic display technology – $700
  • Dell UP3214Q 32″ – LED – $2,500
  • Dell UP2414Q 24″ – LED(?) – $1,200
  • Sharp PN-K321 32″- LED – $3,100 or $3,500 from Apple for the foolish
  • Seiki SE39UY04 39″ – LED TV set – $500

For reasons attributable to the genius in charge at Apple, none of these will run OS X at the usual 60Hz which delivers smooth cursor motion. All run at 30Hz in OS X, whereas the first four will run Windows in BootCamp at a full 60Hz. Way to go, Timmy! Your OS runs Windows better than it does its own native apps while Apple touts the 4K capabilities of the new Mac Pro ….

The fifth, the 39″ Seiki TV, runs at 30Hz only in either OS X or Windows, owing to hardware limitations in the TV set.

So my Mac Pro is ready for 4K but which display to use? I’m not about to pay $2-3,000 for a display and the latest rumor has it that Seiki will be selling a revised version of their 39″ TV set in Q2/2014 for maybe $800, sporting 60Hz screen refresh rates. 39″ is huge – 2.1 times the display area of a 27″ display and at twice the definition, and 3.6 times the area of a 20.5″ display. If that happens, I should be seeing 4K here soon. 10.9.3 will be required to support 60Hz and it is in advanced beta test as I write.

There are issues with 4K implementation in OS X Mavericks, not least being very small font display at 4K definition. My proposed use is simply to display large realtime charts of stock market data (my day job) during working hours, so text size is not a key driver for my purpose. However, I will be testing the display with Lightroom and Photoshop and reporting my findings in due course. Color calibration with a colorimeter should not be an issue as the Seiki TV has extensive color adjustments built in, with more secret stuff in the Service Menu, which you can access by hitting Menu->0000 on any Seiki TV’s remote.

Cheap Arca plates

Hardware

From Desmond.

One of the things which irritated me about the otherwise excellent Surui K-40X ball head for my old Linhof tripod was that the Arca plates for additional cameras (it comes with one) were overpriced at over $40 each.

I needed additional plates for my 350mm and 500mm Nikkors, each with lens mounted tripod fixtures, a clamp for my Manfrotto monopod, and a small plate for the Pansonic GX7, and was not about to be hosed down for overpriced pieces of alloy with simple, machined v-notches.

Shopping Amazon I chanced on the Desmond brand of knock-offs (a knock-off of a knock-off) at Amazon and proceeded to order the following:

The first two are for the Nikon D2x and the 350mm Nikkor. Hullo! $6.50 each! (The 500mm Reflex Nikkor already has an original, overpriced, $40+ Surui). The second row is for an Arca-compatible clamp for my monopod which sports an old Leitz ball & socket head (superb!), replacing the previous Manfrotto QR plate. And the last is for the GX7, a very small plate for a very small body.


The full-sized plate for the Nikon D3x/D2x


The clamp for the Leitz B&S head. Comes with a 3/8″ to 1/4″ reducer.


The camera plate for the Panasonic GX7.

All the plates come with a D-ring for the retaining screw as well as a generously sized slot which will accept a variety of coins for torquing down.

Reactions? All fit fine. The safety locking slot/button on the stock Surui clamp works perfectly.

And the lot costs about as much as one Surui ‘original’ knock-off. In fact I like the big camera plate so much I have replaced the Surui on my D3x with the Desmond, relegating the Surui plate to the less used D2x. Life is too short for all that screwing ….


On the Nikon D2x.


On the 300mm Nikkor.


On the Panny GX7 – small enough to be left in place.
The battery/SD card remain accessible, but
you can no longer flip up the LCD.

The Desmond plates have a 0.48″ wide dovetail at the broadest point, compared with 0.53″ for the Surui. This means that fewer turns are needed on the unlocking clamp on the ball head to release the camera – 0.75 turns of the locking knob for the Desmond compared with 2.75 turns for the Surui plate. Nice.

Nicely made and dirt cheap, what’s not to like?

Full frame bargains

Canon 5D, Photographs

From Canon.

One of the signal advances for photographers has been the continuous improvement in processing software. The enhanced capabilities for shadow recovery and highlight taming in products like Lightroom 4/5 (and doubtless in others like DxO, CaptureOne and Aperture – none of which I use, but competition always does its thing) give new life to old picture files.

Case in point, my first serious DSLR was the original Canon 5D (2006). When I pull up images from that body in LR5 they appear with an exclamation point lower right alerting me that an older version of LR was used to process them. Update those to the latest version (Develop Module->Settings->Process) and your images can enjoy the benefits of the latest in processing technology.

I have gone back and re-printed some of these and the results really are impressive.


The indoor pool at Hearst Castle.

The above 5D Mark I image has high dynamic range. Updating to the 2012 Process from the original 2003 in LR5 allows easy recovery of the shadows and taming of the highlights with the related sliders. A touch on the Noise slider takes out what ails the shadows. A quick click in the Lens Profile section has the 15mm Canon Fisheye image de-fished for a linear rendition, into the Print module and the 18″ x 24″ print will knock your socks off.

Sure, neither the original 5D or its ‘pro’ equivalent 1DS Mark II had sensor dust removal, but I can assure you that my Nikon D700 did and it was almost useless. You still had to clean the sensor with moist alcohol swabs, as I now do with my Nikon D3x. The price of a lightly used, amateur owned 5D or 1DS Mark II? How about $450 or $800? If there’s a better bargain for a photographer looking to make really large prints from full frame negatives I do not know of it. And you can forget the overpriced ‘red ring’ Canon ‘L’ lenses. The 15mm f/2.8 Fisheye (discontinued), the 35mm f/2 USM, the 50mm f/1.4 USM and the 85mmf/1.8 USM ‘cooking’ variants deliver all the quality you need, at bargain prices. Just avoid the cheap and nasty zooms if you are printing big. For web display any FF DSLR is overkill.


The exceptional Canon 1DS Mark II.

Nikon? There are no FF bargains yet. The D700, which has an excellent low noise sensor sells lightly used for a surprisingly high $1,300, the D3 (same sensor, pretty much) for $1,800.

New prices of the 5D and 1DS Mark II? How about $3,000 and $8,000, respectively? Do you really need the latest and greatest or would a small fraction of the extra money be better spent on a large format printer, paper, ink and some mounting supplies so you can really show your work for once?

Mounting Big Prints revisited

Printing

Cutting costs.

The ‘archival’ acid free issue:

When I first wrote about heat mounting of big prints over 7 years ago I advocated the use of premium priced acid free mat board and acid free mats. I have reconsidered that advice and have concluded that it is not correct.

A quick look at the specifications for Seal/Bienfang mounting tissue explains why, but first let’s take another look at the physics of the equation. The ‘sandwich’ comprising a mounted print consists of the mat on the top, the print, mounting tissue and the foam board. Heating the sandwich in a press causes the adhesive in the mounting tissue to melt on both sides, forming the bond between tissue and board and between tissue and print.

Here are the spec sheets for the mounting tissue:



Note the pH rating of the adhesive which contacts the print and the board – it’s 7.0. Acid free. Neutral. The tissue itself is 6.9, very mildly acidic, and buffered by the neutral adhesive at that. About as close to neutral as you can get. As for the mat, the area of the mat contacting the print is minuscule – a small border contact, if that, as the mat is not in high pressure contact with the borders of the print.

Best mounting press temperature setting:

I now print exclusively on HP Premium Plus Glossy Photo Paper, preferring the punch to prints made on Matte paper. There are two drawbacks to glossy paper. First, every defect in the mounting process will show – loose hairs, dirt between print and board, creases in the release paper, any dirt on the heated platen in the press. All will leave a mark. This is bitter experience talking. Second, the warmer the press, the more of the gloss is lost in the process.

After much experimentation, I have found that a setting of 170F (compared with the 190F recommended by Seal/Bienfang for their Colormount tissue) is optimal. Is that a real 170F? I do not know as I have no way of verifying the accuracy of the temperature meter on the 160M Seal press I use. So you may have to experiment with yours. This low setting has two advantages. Much less gloss is lost than if you use 190F. And the mounted print can be pulled off the board for repositioning or removal of debris. The other day I had an ugly bump in the center of a glossy, mounted print. I peeled off the print, sure enough confirmed that a small piece of foreign matter had somehow crept in between print and mounting tissue, remove the offending dirt and reheated the print in the press. Perfect.


The 170F (77C) setting has been marked on the dial.

I always use release paper between platen and print and recently found some which has a very high gloss finish, which helps even further with gloss retention. And the release paper must be devoid of creases or they will become imprinted on the photo paper’s surface. It’s available inexpensively in long rolls from Artgrafix and highly recommended. Be sure to store the cut piece of release paper in a glassine bag between uses or it’s back to dirt, debris and printed surface damage again.

Even prints exposed to direct, long term sun have shown no sign of lifting from the mounting board using 170F for mounting.

Mat openings – key dimensions:

I typically mount both 13″ x 19″ and 18″ x 24″ prints on 22″ x 28″ boards. The HP DJ90 and 130 leave a 1/4″ border top, left (long side) and right (long side), with a bottom border of 9/16″ (short side). For the HP Designjet 90/130, after allowing another 1/8″ for safety,the mat openings are as follows:

  • 13″ x 19″: Opening is 12 3/8″ x 18 1/16″
  • 18″ x 24″: Opening is 17 3/8″ x 23 1/16″

Standard 1/2″ undercut mat openings will not work (17 1/2″ x 23 1/2″, for example) with the Designjet. Get custom cut mats from MatBoard&More. This vendor only stocks foam boards of 1/8″ thickness, so use Readimat for 3/16″ foam board supplies.

Conclusion:

1 – Foam mounting board:

22″ x 28″, 3/16″ thick, ‘Acid free’ foam mounting boards sell for $7.10 at Readimat.com. The non-acid free version is $4.10, or 42% less. I conclude that using ‘acid free’ boards is a waste of money with no material impact on longevity of the print. I continue to recommend 3/16″ thick boards over 1/8″, especially if, like me, you do not glass cover and frame your prints, opting instead for inexpensive mirror hangers to hold the ‘sandwich’ to the wall. The thicker board resists warping far better.

2 – Mats:

Acid-free mats 22″ x 28″ external, 17 3/8″ x 23 1/16″ opening cost cost $24.68 each. The non-acid free version costs $12.79, or 48% less. I recommend you use the non-acid free mats. Get custom cut mats from MatBoard&More.

3 – All-in price:

Excluding frame and glass, the cost of board and mat for an 18″ x 24″ print mounted on a 22″ x 28″ 3/16″ foam-core baord is $16.89 non-acid free, compared with $31.78 for acid-free. A savings of 47%. Buy in bulk and the savings grow.

The mirror hangers I use run $2.50 a set of four plus call it $0.10 for 4 x 3D 1 1/4″ nails, making the cost of a 22″ x 28″/18 x 24″ mounted hung print:

  • Mounting board: $4.10
  • Custom HP DJ 90/130 mat: $12.79
  • Mounting tissue: $0.50
  • Mirror hangers: $2.60
  • Paper and ink: $3.00
  • Total cost: $22.99 plus shipping costs for the mats and boards

That is a very attractive all-in production price for a large unframed print.


Nothing beats a big print.

D & K:

D & K bought Seal/Bienfang, the press maker, in 2010, so it may help to also search under that name when looking for supplies.

Enhanced indexing of this site

Photography

Finding things made easier.

As the archive of articles here has grown, finding things has become harder. Browsing for fun also became trickier than it should be.

Accordingly, I have enhanced the masthead links to provide indexing of articles.

Click on ‘Indexes’ and you now get:

Click on ‘Photographers’, for example, and you will see:

Click on ‘Book Reviews’ and you will see:

Further, the many technical articles here have now been grouped under ‘Technical’ in the masthead:

Each of the drop downs has its own index once you click on it.

Combine these new indexes with the topical, random, recent and archival sorts at the bottom of the page, together with the Search and Sitemap links at the top, and most things can be found fairly easily.

Enjoy!