Google Art Project

Paintings

Exceptional.

I make no bones about my dislike for Google’s ‘anything for a buck’ raison d’être but its Google Art Project, which has been around a couple of years now, is really special. You can wander through the halls of many of the world’s great art collections, manna for photographers and the visully inclined everywhere, and examine these at a level of detail and in simply stunning definition that no docent would ever permit, lest your nose make contact with the hallowed canvas in question.

Here’s a perfect example, Holbein’s extraordinary portrait of Thomas More in the Frick Collection in Manhattan:

Click the picture for the interactive site.

The extent to which you can zoom in, with the image refreshing for ever greater detail, is breathtaking.

MOMA NYC, The Met, The Uffizzi, The Frick, Versailles, The Hermitage – they are all there. Sadly, the Louvre is not.

And you want to feel Van Gogh’s passion in his vase of gladioli? Look no further than his eponymous museum in lovely Amsterdam.

For many viewers these picture are simply too remote to be seen in person. You might argue that the Google Art Project experience is superior. You need Flash to view, so iDevices will not work.

Metropol

Dining, Photographs

Another from the storefront series.

Metropol. G3, kit lens @43mm, 1/250, f/5.6, ISO 1600.

The original needed quite a bit of work, and there was no way of avoiding the utility pole at the time I pressed the button.

Original snap.

Content Aware Fill and the Clone Stamp tool, taken in several small bites, got rid of the lamppost and selective application of Curves lifted the dark interior. On Sutter Street in San Francisco.

iPhone auxiliary lenses

iPhone

Clutter or value added?

A friend sent along a link to Olloclip (eh?), a maker of auxiliary lenses for the iPhone 4/4S. Click the picture to go to their site.

Click the picture

This particular variant adds wide angle, fish eye and macro capabilities when clipped over the iPhone’s rear facing lens.

Auxiliary lenses are nothing new. Zeiss Ikon in their Contaflex and Kodak in their Retina IIc/IIIc folders and Retina Reflex cameras used this approach in the 1960s. The standard lens would have a small removable element which could be replaced with wide and long focus front elements, invariably gargantuan and, in the case of the Contaflex, there was even a macro and a monocular adapter. The bulk and clutter these added to the camera bag were in no way repaid by image quality. The wides were not very wide, typically 32-35mm, and you could get better long focal length quality by simply enlarging the 35mm negative more, in preference to using the attachment. Most of the ‘teles’ were 75-80mm with the Retina Reflex boasting a 200mm.

Accordingly, I confess I have mostly negative opinions of this sort of thing. First, auxiliary lenses seldom are much to talk about when it comes to definition. Look at the fish eye examples on that site and the definition is pretty awful. Second, you are fiddling about with attachments rather than taking pictures.

So the Olloclip device, and its cousins, none of which I have used by the way, fail the test of ‘small and simple’. Futzing about with add on gadgets when snapping with the quite decent camera in the iPhone 4S seems, to me, to destroy the small and fast concept, and the displayed images suggest that anything larger than a wallet sized print will embarrass both photographer and viewer. On the other hand, I just made some 13″ x 19″ prints from my naked 4S and the quality needs no excuses. I see no pressing reason to mess with that.

Little Italy

Photographs

A fine mural.

This gorgeous mural is in San Francisco’s Little Italy.

G1, kit lens @14mm, 1/1250, f/5. ISO 320.

The original, however, cannot be approached at the right angle. It’s high up, the traffic prohibits safe access and it was in shade the day I snapped it.

Here’s the original snap:

This is where the Photoshop technique I illustrated here for correcting verticals really shines.