Category: photography

About taking pictures

Preset looks

After a year of bouncing rumors and requests among friends and watching Adobe erode Apple’s marketshare, Aperture 3 is finally out. As far as I’m concerned, the people who are disappointed in the update probably shouldn’t have bought Aperture in the first place.

One of the things in the new Adobe Lightroom that is implemented (and improved on) in Aperture 3 is the concept of presets. This is one step closer to having me abandon my insanely slow Photoshop workflow for something that is fast, can be undone, and doesn’t chew up disk space. But the thing that was bothering me was, will it blend? Can I really get away with not leaving Aperture unless I really, really have to.

Let‘s see what I can create in a few minutes of fiddling around.

Vintage Film

The Fallout75’s Vintage Film effect tries to mimic the fading that occurs when a photo starts to fade over the years: the process is outlined here. Here is what I get in Aperture when I try to follow the same rules:

Paul Kim - Vintage Film

Paul Kim -Terrys Vintage
Automattic, Embarcadero, San Francisco, California

Leica M8, NOKTON Classic 40mm f1.4 S.C.
1/750sec, ISO160, 40mm (53mm)

This is my Vintage Film preset. Mouseover the image to see the original.

Here is the output in Adobe Photoshop CS4 when the action is run:

Paul Kim - Fallout75 Vintage Film

Paul Kim -Fallout75 Vintage Film
Automattic, Embarcadero, San Francisco, California

Leica M8, NOKTON Classic 40mm f1.4 S.C.
1/750sec, ISO160, 40mm (53mm)

This is Fallout75’s action. Mouseover the image to see the original.

You can see that Fallout75 has two undocumented effects: a brightening of the center region and a vignetting on the edges. I can emulate this, but I didn’t know what I created the current version of the action. I suppose that’ll be for later.
Continue reading about One more preset and downloads after the jump

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Unsupported RAW workflow in Apple Aperture revisited

Now that Aperture 3 is out, I need to update one area of my previous article.

No, Aperture 3 doesn’t support the Olympus E-P1/E-P2/E-PL1 or Panasonic GF-1 RAWs (yet).

There is a workaround, however, for doing sorting, selecting, and metadata in Aperture 3.

  1. Select un-viewable RAWs in Apple Aperture 3’s thumbnail view
  2. Cmd-click to get a contextual menu and choose “Set JPEG as Master.”
    Aperture 3: Setting JPEG as Master

    Mouse over the image to see what happens after “Set JPEG as Master.”
  3. Do work to create a select, rate images, and the like.
  4. Catapult workflow with some adjustments. You’ll now need to be in 32-bit mode on Apple Aperture 3 to use it.
    Aperture 3 in 32-bit mode

    How to open Aperture 3 in 32-bit mode (always).

    Trying to return to “Set RAW as Master’ and then Catapulting yields and “Editing Error” as the backdoor used by Catapult is now closed. 🙁

    Editing Error in Aperture 3

    Therefore, you must export masters manually to the drop folder, generate RAWs, and then Catapult. If you do so, you can’t reimport the sidecar xmps, currently.

Here is some proof:

_2050608

The House
North Beach, San Francisco, California

Olympus E-P2, Cosina-Voigtländer NOKTON 50mm f1.1
1/8sec5, ISO200, 50mm (100mm)

Image processed from ACR in Aperture. Try as you might, you can’t recover clipped highlights.

(BTW, the images were uploaded with the new built in Flickr support, so we’ll see how good sync is—it appears to be uni-directional. For instance, I just found out movies aren’t supported in Flickr sync, so videos are synced back as stills.)

Mushroom rice with grilled prawns looks like it’s alive
The House, North Beach, San Francisco, California

Olympus E-P1, Cosina-Voigtländer NOKTON 35mm F1.2 Aspherical
00:15, 1280×1070, 30fps

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2010-01-16 Melanie’s Bday

From a previous article, I finally found a way to work in Aperture again. But since I’m also trying to pick up photography again, I thought it’d be fun to write a little bit showing a few experimental images taken from that day.

This will be a way to test out a new WordPress plugin I just wrote to do mouseovers. As long as you’re on this blog article, you can run your mouse over the image to see the pre-processed original image.

The specials are…

The specials are…
Mission Beach Cafe, The Mission, San Francisco, California

Olympus E-P2, M. Zuiko Digital ED 14-42mm 1:3.5-5.6
1/5sec @ ƒ3.9, iso 1600, 17mm (35mm)

I arrived a little late as usual, but just in time to order dinner with everyone else.

This was actually the first image I used to test out whether the workflow works. Because of that, the DNG output was 8-bit, not 16-bit. That may have accounted for the overaggressive smoothing, or it could be the lack of dynamic range in an ISO 1600 µ4:3 CMOS sensor (roughly 1/4 the size of a 35mm frame). Then again, maybe it’s the setting on Topaz Adjust plugin. In any case, it does have the painterly look that you get when you start remapping dynamic range of an image. Not too sure if I can still call this a photograph.

If you mouseover the image, you may be wondering how I pulled color from the black-and-white original. The original is the JPEG, but the image was generated from the RAW. For documentary photography, on cameras which resemble rangefinders like the Leica M8 and the Olympus E-P2, I prefer black-and-whites previews, which force me to concentrate on tone and not color—but it’s always nice to be able to grab the color channels from the RAW if I change my mind.

This exposure tests the outer-limits of the kit lens: 1/5 of a second at a borderline too-high-for-this-camera ISO at the largest aperture for this 35mm EFL. Had I my old 17mm pancake, I’d have gotten a full stop faster. Still, it got focus-lock and the in-body image stabilization allowed me to shoot handheld braced against elbows on the table. Yeah!

More photos in later pages…

Pages: 1 2 3 4 5
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The Olympus E-Pnext

Olympus launched a teaser site for the next E-Pnext:

Coming Soon

When I first saw this yesterday, it said “You can’t hide creativity…” and it’s since been changed to the unimanginative, “YOUR next camera is coming soon…”

For reference, I decided to see if I could glean it for MY last camera which came last month… the E-P2

MY last camera came last month…

MY last camera came last month…
San Francisco, California

Nikon D3, Nikkor Nikkor 85mm f/1.4D
1/5sec @ ƒ4, ISO200, 85mm

I didn’t have a 17mm pancake like in the picture and my “man-hands” are blocking some of the details, but the E-P2 extends out to my palm, while the photo shows the next one extending out to the woman’s knuckles. The length of my hand should be about right so it’s at most about an inch smaller and just as tall.

Continue reading about Guesses about the next Pen from Olympus after the jump

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What (entry) dSLR (to buy)? [The entry kit dSLR Part 4]

(Article continued from part 3)

Unlike in the article four years ago, I’ll be covering specific models. I’ll cover them in the reverse order to my original article, because I felt I gave the less popular brands a short shrift last time.

Pentax

The Pentax K-x ($550 from Adorama, B&H, Amazon)

The Pentax K-x is available in 100 color combinations in Japan.

Four years ago, I stated that Pentax makes shooter-centric cameras at a great value. In fact, I mentioned that Pentax was the first entry in this dSLR price category, and this was in line with Pentax’s history: to bring those people on a budget a quality camera.

Continue reading about Pentax, Sony and Olympus entry dSLRs after the jump

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What dSLR (not to buy)? [The entry kit dSLR Part 3]

(Article continued from part 2)

I wrote an article about purchasing an entry dSLR four years ago. What it so surprising is how much of it has stood the test of time—only small details and features have changed: Nikon autofocus now has more points than Canon (as well as better coverage and the use of color); Olympus no longer is the only company with Live View (even Pentax does it), nor the only company with dust shake (all the others, starting with Canon, now offer it); Sony is not the only company with sensor-shift image stabilization.

Still, the essence is still true: Canon and Nikon remain among the last three holdouts adamantly against sensor-based image stabilization. Canon settings are still bulletproof; Nikon still is light focused: with the best autoexposure system and the best high ISO performance. Olympus and Panasonic are still cramming the coolest tech into the smallest space, Sony is proving their engineering chops, and Pentax is still putting photographic value first.

Nikon D5000 w/AF-S Nikkor 50mm f/1.4G
South of Market, San Francisco, California

Olympus E-P2, M.ZUIKO Digital ED 14-42mm 1:3.5-5.6
1/6sec @ ƒ5.2, iso 800, 36mm (72mm)

It’s still best to forego the kit and stick a fast-wide-cheap prime on your camera. This Nikkor 50mm f/1.4 lens is not cheap, but Nikkor 35mm f/1.8 DX lens is the 50mm equivalent for Nikon APS-C and costs about the same as a kit lens. I’ll talk about lenses in a later section.

The rounded right side of the camera is actually an extremely well thought out way for resting smaller these smaller cameras in your palm. It’s a tiny detail, I’ve not seen in the other Nikon models, but it’s just one of the reasons why people rave about Nikon small body dSLR ergonomics.

The advice hasn’t changed: When you buy a first dSLR, it is still the best to forgo the kit lens and plaster on a cheap, fast prime. Lenses still get more expensive, and bodies still get cheaper. Every manufacturer makes a camera for your budget with a negligible price difference…

And the problem is all the cameras are still too good.

In fact, the most significant difference from four years ago is only that the “entry level dSLR” has dropped below $700 for an entire kit, (in addition to) the $1000 “body-only” category—redefining the latter as an “enthusiast” category. Not only that, in many cases, manufacturers have issued multiple models in this sub $700 category, all offering at least one full kit below $550. Three of these sell kits for less than a Canon G11 pocket camera!

Continue reading about The mistake not mentioned after the jump

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Why dSLRs (and not pocket cameras)? [The entry kit dSLR Part 2]

(Article continued from part 1)

Bigger in photography means, faster, better, stronger (and more expensive).

Many people will say the only advantage of a digital SLR is that it gives you the flexibility of interchangeable lenses.

I think that’s bullshit.

If it was true, then the days of the dSLR are surely numbered—EVIL has arrived. EVIL, for those of you who don’t know, is an acronym so new, it doesn’t have a Wikipedia page yet. EVIL stands for “electronic viewfinder, interchangeable lens” and they are a new class of camera I’ll talk about another time. Suffice it to say, EVIL will not replace SLR photography—in the same manner that APS-C has not yet dethroned 35mm (much to my surprise). Besides, a lesser-performing EVIL camera costs nearly twice as much as the kits in this article.

I believe the biggest advantage can be found in its name: Single-Lens Reflex.

In order to have a single-lens design, in order to house a reflex mirror, the dSLR has to be big—and bigger, in this case, means faster, better, stronger (and more expensive).

Marie the shooter

Marie the shooter
Elite Cafe, Pacific Heights, San Francisco, California

Leica M8, Carl-Zeiss Biogon 2,8/25 ZM T*
1/45sec @ ƒ2.8, ISO160, 25mm (34mm)

This portrait of Marie and her new Nikon D5000 entry dSLR kit was taken by an APS-H camera, which sits between APS-C and “full frame” in size. Even though this is taken with a wide-angle lens (25mm), you can easily see she really pops from the background.

From your art classes, you may have learned that perspective helps a 2D image show the 3D dimensionality. In photography, another tool, in addition to perspective, is focus via depth-of-field. Focus helps draw the eye, through the visual clutter, to the subject. This tool is nearly non-existent in a pocket digital.

By the way, the lens used in this photo is the highest resolution lens in its class ever produced—the parts that are in focus are really quite sharp. Computed depth-of-field is about half a foot (20cm).

Continue reading about Sometimes bigger is better after the jump

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All hail the entry kit! [The entry kit dSLR Part 1]

Yesterday, a friend was interested in purchasing a dSLR at Costco and asked me which he should buy: a Nikon or a Canon. I get asked that a lot.

Costco dSLRs
Costco, South of Market, San Francisco, California

Olympus E-P2, Lumix G Vario HD 1:4.0-5.8/14-140 ASPH. Mega O.I.S.
1/60sec @ ƒ4, ISO250, 14mm (28mm)

From left to right: The Nikon D3000, the Nikon D5000, and the Canon 500D (called the Rebel T1i in the U.S.).

The higher pricing is because Costco usually sells supersets in order to be above the manufacturer minimum advertised price but still yield a decent value to the consumer. For instance, the Nikon D5000 kit contains not only the 18-55mm VR lens, but also the 55-200mm VR lens, a camera bag, two Nikon school DVDs, a book, and an SD card.

The Canon 500D is the most expensive of the trio because Canon and Nikon avoid competing head-to-head by interleaving price and features in models. The 500D sits between the Nikon D5000 and the enthusiast Nikon D90. The 1000D (a.k.a. Rebel XS) was introduced to compete between the Nikon D3000 and Nikon D5000 price points and wasn’t for sale the day I took this photo. (Update: Last time I was at Costco, the Canon 1000D, Nikon D5000, and Canon 500D were for sale. During the writing of this series, Canon introduced the 550D)

“Uhh, the Nikon D3000.”

…

“Well that’s because they stopped selling the other dSLRs there.”

“Yeah, I noticed that. Why was that?”

“Partly because the Canon 1000D is old. Everyone expects it to be updated.”

“It’ll be updated?”

“Most likely if Canon wants to sell any cameras. It’s been a year and a half, which is a long time to have a camera in that category. The D3000 just came out.”

…

“You know what camera I really like? The Nikon D5000. In fact, I ordered one the other day. It’s arriving this evening.”

Nikon D5000 kit
South of Market, San Francisco, California

Olympus E-P2, M.ZUIKO Digital ED 14-42mm 1:3.5-5.6
1/60sec @ ƒ3.5, iso 12500, 14mm (28mm)

Actually, this was purchased for Marie, not myself.

It sounds strange that someone who owns a Nikon D70IR, Nikon D200, and a Nikon D3 would purchase an entry level Nikon dSLR. Over the next week, I’ll explain why by going over the Why, What, How, Where and When of a good first dSLR purchase.

And don’t worry. While my experience is with Nikon, I won’t give the short shrift to the other brands.

Table of contents

  • Why dSLR?: Why a dSLR produces better images than a pocket digital
  • What dSLR?: Don’t buy a dSLR that is too much dSLR for you
  • What dSLR? (2): The Pentax, Sony, and Olympus dSLRs and about entry dSLRs compact size
  • How DSLR?: The Canon and Nikon dSLRs, a big spreadsheet, return policies, and what I bought
  • Where dSLR?: About first lenses and things to buy with your first dSLR purchase
  • When dSLR?: About books, videos, and classes

(Article continued in part 2)

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Posted on by tychay 11