Thanksgiving?

Questionable, but reversible.


Macy’s Parade, November, 1981.
Pentax ME Super, 28mm Takumar, Kodachrome 64.

Oscar Wilde once opined that foxunters were the unspeakable in pursuit of the uneatable. Adapting his saying to modern times one can only conclude that American voters are the deplorable in support of the unconscionable. Were I to tell the proverbial visitor from Mars that a majority of the voters of this nation just again elected a traitor/felon/rapist/grifter/multiple bankrupt/moral and ethical degenerate then that little green man would vamoose back to Mars real pronto. Well, looking on the bright side, I suppose that makes us immune to a Martian invasion.

Yet this, my 48th Thanksgiving in The United States, finds me as optimistic as ever, largely based in the belief that this too shall pass.

Yes, there are many things to dislike in addition to the recent election results.

There’s the one trillion dollars we spend annually on a military which has drawn or lost every conflict it has foolishly entered in the past 79 years. There’s increasing moral degeneracy where gender at birth is denied so that a handful of perverts can use the little girls’ restroom. There’s an electorate most of whom define “low information”. Our public schools are a disaster. There is a fading work ethic. Americans are becoming lazy, like Europeans. There is a level of inequality comparable to that found in the Gilded Age. And there is a massive obesity and health crisis caused by the addictive nature of ultra processed foods backed by the fast food industrial complex. And the cretinous – there is no other word for it if you passed Econ 101 – ideas of mass deportation and punitive tariffs will inflict great damage on the American economy, if they come to pass.

None of this is good.

Yet consider. America leads the world in every field of technology, has the best medical care on earth (if you can afford it), remains the most philanthropic nation on earth, is home to most of the greatest institutions of higher learning, has the best managed economy on the planet, in the jewel that is New York City lays claim to being the cultural center of the earth and the nation continues to offer the near certain chance of economic success to any one – native or immigrant – willing to work hard. No genius level brains required. I should know.

I continue to take inspiration from Milton Friedman whom I was privileged to meet on his 90th birthday in 2002, still as sharp as ever, who reminds us that “A society that puts equality before freedom will get neither. A society that puts freedom before equality will get a high degree of both.” I passionately believe that, once they come to their senses, Americans will live up to Friedman’s dictum. And as that great half-American reminds us: “Americans will always do the right thing, having first tried all the alternatives.” Winston Churchill.

Happy Thanksgiving.

Affinity Photo 2

Hasta la vista, Photoshop.

Much as the many enhancements in Lightroom Classic, compared with my decade old Lightroom version 6, reduce the need for Photoshop, there are still those images which require the more granular processing capabilities of a Photoshop-like application. However, on upgrading my 15 year old Mac Pro to the latest Mac Mini M4, Photoshop CS5 refuses to boot. That’s sleazy Adobe for you.

I think I have found a solid replacement for Photoshop: Affinity Photo 2. No subscriptions, just a one-off payment of $34.99 with a full 7 day trial period, no watermarks. That’s Black Friday pricing. Some research discloses that Version 1 of Affinity Photo was continually upgraded over a seven year period at no cost to owners, so paying that sort of sum every few years is not exactly something to grumble about. Affinity only asks for money for major version upgrades.


Purchase options.

I needed traditional PS tools to edit this image and clean up the background people, plus add selective lens blur. LRc is just not sophisticated enough to do that. (The image was taken on a Panasonic GX7 micro 4/3 camera. One inherent issue with micro four thirds sensors is that the short focal length lenses which are standard with the sensor come with high depth of field. That’s physics, not Panasonic’s fault).
Here’s the before and after, the ‘after’ processed in Affinity Photo 2:


North Beach, San Francisco.

The Affinity interface is very much like PS. Adobe is asking $23 to $35 a month, meaning $276-$420 annually, which I think is exorbitant. And that’s on top of $120 annually for LRc. You pay for Affinity in a couple of months by comparison, and you own it. I set up LRc to allow round trips just like in the old PS days (Option-Command-E to export to Affinity – you set this up in the Lightroom Classic Preferences->External Editing panel) and then just a Save in Affinity will return a modified .tif file to LRc. The original RW2 file above is from Panny RAW in the GX7.

Given the similarity of the tools and commands to PS the learning curve is not all that bad, and layers are supported. Here’s the interface – I have tailored it to light gray finding the default black hard on the eyes:


The processed image and the Affinity interface.

The 7 day trial period delivers a fully functional app. I downloaded mine from the Apple App Store, the safe way to go.

There are many good tutorials available on You Tube. For a round trip from Lightroom Classic I find that the exported .tif file pops up in Affinity Photo 2 in some four seconds on my base spec Mac Mini M4. I have never seen a beach ball in Affinity which processes everything very quickly. Affinity is optimized for Apple Silicon. From their website:

“The new GPU represents an industry inflection point—we now have compute performance surpassing nearly all discrete GPU hardware, but retain the key benefits of unified memory. This required us to step back and think again about where performance bottlenecks might be, as it’s clear the ‘old rules’ no longer apply.

“The results of this work yield a benchmark score of around 30,000 for the M1 Max 32-core GPU, absolutely obliterating any other single GPU score we have ever measured. Our changes have also improved performance on the previous M1 chip, which is now roughly 10% faster in our benchmark in version 1.10.3.”

Apple says it recorded up to 5.6x faster combined vector and raster GPU performance in Affinity Photo with the 16-core M1 Pro, and up to 8.5x faster with the 32-core M1 Max.

So there. Mostly BS, but you get the idea.

One word of advice. One of the really well implemented enhancements in Lightroom Classic is the Denoise function. This does an excellent job of taking out chroma noise in files without destroying detail and it’s very processor heavy, typically taking 30 seconds on the speedy Mac Mini M4. (Chroma noise is very common in files which are produced by small sensors in micro fourth thirds cameras). Once you round-trip an image to Affinity (or Photoshop) it comes back as a .tif file which Denoise cannot currently handle. At this time the function only works with most stock RAW files and will not work with either Apple Pro RAW, .tif or .jpg formats. So if you are going to use Denoise along with a round trip to Affinity, do so before the round-trip, while you’re core file is still in RAW format.

While Photoshop has a deeper AI focus – Photoshop’s neural filters will allow you to change a dour face into a smiling one if that’s your thing – the key AI feature of PS is available in Affinity. This has been around in PS for over a decade and is named Content Aware Fill. In Affinity it is called the “Inpainting Brush Tool”, and can be found in the drop-down menu for the Blemish Removal Tool. It’s a useful tool for removing extraneous items from images and works every bit as well in Affinity as in Photoshop. Further, the Magic Lasso outlining tool, frequently used in conjunction with Content Aware Fill in Photoshop is identical in Affinity. Both do an excellent job of selecting an area of choice to which you wish to apply localized changes.

Affinity also offers applications for graphics designers and publishers. These are also attractively priced. I have no need for those, but if you are into those fields they’re probably worth checking out. All apps come in both Mac and Windows versions. Now if only Affinty would clone the excellent database and cataloging features of Lightroom I could ditch sleazy Adobe for once and for all.

North Beach candids

Did you catch that?


North Beach, San Francisco.

If the streets of North Beach, San Francisco are always interesting, the people are fascinating. Two dozen favorites:


Sharp pup.


Chinese in Italy.


Sharp kid.


Celibate.


Young and old.


At the hatters – thinking of Degas.


Beautiful girl.


Million dollar fixer upper.


Working out.


Yeah, right.


Shadow man.


Stair man.


Skeptical man.


Cooks – soon to be deported.


North Beach artist.


Antiquarian map seller.


Nuts.


Chihuahua and coffee.


Strip club bouncers.


Passing.


Toothsome.


Helpers.


Cobbler.


Fitting.

Mostly snapped on the Panasonic GX7 or the Nikon D3x, many with the fabulous Sigma 35/1.4 Art lens.

North Beach street scenes

Eclectic.

During the five years through 2015 I visited San Francisco weekly from my home in the Bay Area peninsula. Looking at the catalogs in Lightroom two areas have the most images from those trips – the Italian North Beach and the Hispanic Mission District. It’s almost impossible to take bad pictures in this eclectic city and North Beach makes the task even easier.

Here is a baker’s dozen favorite snaps:

Mostly snapped on the Panasonic GX7 and the Nikon D3x.

For people snaps in North Beach click here.

Studio Dogs

Three dozen formal portraits.

Once I got my home studio set up with an elevated platform I set to collaring local dog owners for a session with their dog. The platform places the animal at eye level so that no neck craning is involved, and the cement breeze blocks supporting the sturdy plywood and steel base permit easy height adjustment. Sturdiness is key, with the largest animal portrayed weighing in at 150lbs! I have a variety of backgrounds to suitably set off the animal, and a supply of squeaky toys and quality treats to keep the dog involved. Most of the direction is by the owner. After all, who knows the animal best?

Dogs are far harder to photograph than humans. They have short attention spans, are easily distracted, often disregard instructions and can be quite unruly. I have found that, after letting the animal roam my home for a few minutes to get settled, the first ten minutes of the session are vital. In that time I typically take 40 images and a free large matted, mounted and framed print is given to the owner after a favorite is picked on the wall mounted display.

Because dogs tend to be active, I use a zoom lens on the Nikon D800 to permit easy framing of both full body shots and big head close-ups. Lighting is by my three decades old Novatron strobes which have never failed me. Look at the image below and you will see I use three strobes – the top one for the ‘Hollywood glamor’ effect, the right one for catchlights in the eyes (essential to bring the dog alive) and the umbrella one at left for fill lighting. The model in the picture below is my teddy bear who is as old as I am but unlike me has glass eyes. That allows me to check that the main light at the right is delivering good catchlights.

To keep cabling down I use an inexpensive RF trigger on the Nikon with the receiver plugged in to the Novatron power supply. The Nikon is tethered by a physical cable to an old repurposed MacBook Air running Lightroom and connected to a wall mounted monitor, permitting viewing of the images a couple of seconds after pressing the button. This is an invaluable tool in helping the owner select favorite images. Instant gratification and there’s at least one image in each session which generates the “Wow!” reaction. Because the connector for the USB cable in the Nikon is flimsy I reinforce the attachment with a cable tie around the cable and through the left strap eyelet. Otherwise it will typically fall out right in the middle of a session.


Click the image for the gallery.

This project took nine months. All photos were made using the 28-300mm Nikkor AF-S zoom, mostly at f/9.5-f/11 at ISO 100-200 with the strobes on half power. With stepped muzzle dogs where the nose is distant from the eyes – and you ideally want both sharp – I spot focused on a point half way up the muzzle. An 85mm f/1.8 AF-S Nikkor and a Nikon Micro-Nikkor 105mm AF-D were used for a couple of images. The blue rug is far more than decorative, serving to cover the power cables to the strobes, making for one less tripping hazard.