Photoshopworld opens with pre-conference workshops the day before the conference really starts. Yesterday, I participated in Real World Concert Photography. That was serious fun!
Today, opening day, began with the keynote address. At PSW, these things always involve a great deal of joking around … mixed with some serious stuff. The joking comes from the good folks at Kelby Training (official sponsor of PSW); the serious stuff comes from Adobe.
Well, just taking a break here to share a photo (from my phone) of the expo floor. I am missing out on some good info and inspiration, so I’m heading back in now.
Typically, to create a print-on-demand custom photo-book, you download easy-to-use free software from the vendor/printer, layout your book pages, then upload the result for printing. But, alternatively, some vendors allow you to use other page-layout software. For my latest book, I used Adobe InDesign.
Having used the free software from three different vendors, I found them all quite similar and mostly intuitive to learn. On the other hand, Adobe InDesign is just a bit more complicated to learn, but much more flexible. If you can imagine it, you can do it. For example, a frame can be virtually any shape at all (a frame is a container for text or images). I used this flexibility several times throughout my book.
Adobe InDesign
There is one important difficulty to be aware of. The printing equipment used to print your book is almost certainly based upon CMYK inks, not RGB. All images must be converted to CMYK. When you use free software (downloaded from your PoD vendor), this conversion is done automatically for you. But when using other layout software, such as InDesign, you are responsible for doing conversion to CMYK.
Converting images from RGB to CMYK can be ugly. The conversion will necessarily shift some colors. And because CMYK is a smaller color space than RGB, some colors simply cannot be represented in CMYK.
In the case of my recent book, Wildflowers of RiverPark, I converted each image to CMYK using Adobe Photoshop. In general, rich green colors did not convert well to CMYK; no matter which conversion method I used, greens became horribly muted. With practice, I learned how to compensate for this. I was able to create a custom action to help this process, but it was still annoying and time consuming. Furthermore, one image in particular features vivid purple-magenta (flower is Deptford Pink) that could not be represented in CMYK.
In doing the conversions myself, and using the soft-proof feature in Photoshop, I gained one important benefit. The colors in the printed book are very accurate. If you rely upon your PoD vendor to automatically convert your images, you may get some unexpected color shift in your final printed book.
Specifically using InDesign provides another small benefit: InDesign works well with Adobe Bridge and Photoshop. From InDesign, create an emtpy frame, then hop over to Adobe Bridge, click on an image and choose: Place into InDesign. The image is inserted into the frame you created. After the image has been added to your book, making changes to the image is simple. Right click on the image and choose: “Edit Original” to edit the image in Photoshop. When you save your Photoshop changes, InDesign automatically picks up your changes and updates your InDesign document.
Having acquired a stellar small tripod last fall (Mo’ Gitzo) I subsequently needed to outfit these legs with a small-ish ball head. What is small-ish? It should weigh no more than 1 lb and should support a camera (with lens) of 20 lbs.
Because I equip my cameras with a quick-release system that called “Arca-Swiss compatible”, I immediately eliminate any possible choices that will not support Arca-Swiss quick-release. (So, for example, I rule-out some tripod heads by Manfrotto, Giotto, Benro, etc.)
Markins Q3T ball head is designed with a diameter that is perfect match for a Gitzo GT1541T tripod. However, while the Q3T is ideally suited for the GT1541T, it offers no particular advantage when paired with the GT1542T, which I have. (If you are taller than 5’7, the GT1542T is a better choice than the shorter GT1541T
Some other possible choices include Really Right Stuff BH-30, Fiesol BC-40D, and Induro BHL1. But, in the end, I chose the PhotoClam PC-36NS. The size is perfectly suited for the GT1542T and it only weighs just a bit more than 12 oz (350g). The variable friction is extremely smooth and requires no break-in period. Includes a built-in bubble level. $209 from reallybigcameras.com.
Three terrific ball-heads
Shown in the photo above: Linhof Profi III (big, very expensive, smooth like butta) with a Kirk Enterprises clamp, Arca-Swiss Z1 (the standard in professional ball heads), PhotoClam PC-36NS.
Last year, I shared the beginnings of a project with you, a book documenting the wilflowers that grow at a local buisiness park. Since I there is not much opportunity to create new wildflower images between November and March, I had planned to begin the book layout in December. Now February, I am finally piecing together the book layout.
In the past, I have used book layout software provided by the book printer (Mpix, Blurb, PhotoBook America). This time, I am using Adobe InDesign. This being the first project of any significant size for which I have used InDesign, I have found that the learning curve was not particularly difficult. I quite like InDesign.
Pokeweed
Here are a couple images that I am including in the book.
The first is a relatively common weed, but I find it very interesting because it looks like small green peppers. I really like this image because it shows two slightly different stages and because the background is very soft, not distracting from the foregound subject.
Common Verbena
Click on either image for a larger view.
The second image is Common Verbena (which is not particularly common in my experience). The flowers begin at the bottom of the flower spike and progressively bloom toward the top of the flower spike. I really like this image because of the somewhat unusual background, which I think is not readily obvious. There is a pool of water, with trees reflecting in it, and a grassy embankment.
When snow covers the landscape like a white crystal blanket, it is an undeniable visual transformation. But when the deciduous forests are not blanketed in white, they are dominated by greys and faded browns; it can be photgraphically challenging.
Lumix G3 - ISO 400 - f 7.1
The warm light of sunrise and sunset adds a burst of color to an otherwise bleak pallette. And reflections in the river add an ever-changing texture that is unpredictable and full of surprises.
Somedays, I happen by the river and see something interesting. On other days, I anticipate a visual image, with the sun low on the horizon or the changes in the ice.
In 2011, wildlife photographer Jeff Wendoff told me that I must add wildlife to my photography portfolio. Got some tips on basic backyard bird photography from Jeff and photographer David Middleton. The wheels of my progress may move slowly, but they do move.
( Click on any image to see a larger view )
By end of 2011, I had prepared a place to hang bird feeders within clear view of my home windows and I hung my first bird feeder. Within two weeks, the birds began to find the new feeders. However, having created natural perches for the birds in precise locations where I wanted them to land, they were not perching here.
A few days ago, I saw the birds begin to perch in the places I had prepared. When I awoke this morning, there were many birds and they were perching in the right locations. So I photographed backyard birds for the first time. It just so happened that snow was falling, which added an extra special touch of beauty.
Sitting next to a window and photographing from the comfort of my home, these birds are perhaps 35-ft away. I found that my telephoto lens did not have quite enough reach. The birds appear quite small in the original images; so the photos attached here are cropped about 50% from original size.
I used a class of camera known as Micro Four-Thirds (MFT) with a 45-200mm lens at maximum telephoto (200mm). If I had used my Full-Frame DSLR, I would have needed a 400mm lens to capture the same field of view. That’s because the image sensor on any MFT camera is 1/2 the size of Full-Frame (for you Nikonians out there, that means “FX” format). To get a tighter shot, I will need big glass.
If your photography travels this winter will take you down a trail or up a mountain, here’s a short summary of winter footwear for both warmth and safety.
Winter boots are also known as snow boots or pac boots. These are designed for walking, snowmobile, hunting, snowshoeing, etc. The fit is typically loose and comfortable.
Mountaineering boots are very stiff and the soles have little or no flex. The biggest reason for this is to allow the use of crampons. Truthfully, most mountaineering boots are designed with emphasis on ice climbing, to the detriment of walking comfort. Most feel rather big and clunky (like the shoes of television character Herman Munster). Some have a plastic shell much like ski boots. Perhaps the most important thing to know is that not all “winter” mountaineering boots have insulation for warmth.
Some insulated boots can have insulation that is removable; some don’t. If you intend to do any winter camping, choose boots with removable insulating liner. Overnight, keep the liners close to your body so they don’t freeze up.
Insulated mountaineering boots range in price from $250 to $850. However, it is not impossible to score a pair of boots on sale for under $200. You can also get used boots at stores that accept trade-ins.
Crampons (pointy metal teeth that attach to the bottom of your boots) are most often designed for ice climbing, but some are designed for trekking (hiking/walking). Crampons for climbing typically have 12 points (teeth), though some have 14. Trekking crampons typically have only 10 points.
Not all crampons fit any boot. Crampons attach to your boots either via straps or a metal bar at the front and rear. Straps can be attached to just about any winter boot or mountaineering boot. However, it is important to note that some crampons have more flex than others. If you plan to use crampons on non-rigid winter boots, look for strap-on crampons that have a good deal of flex in the middle.
“Step-in” crampons clamp onto your boots with a metal bar or clamp at the toe and heel, requiring mountaineering boots designed for this. See the photo attached to this post.
Some “hybrid” crampons (also called semi-step) have a metal bar/clamp at the heel and a strap at the toe. But as with full-step-in crampons, your boot must have the proper design to accept this type of crampon.
This week I took advantage of a trade-in program offered by Manfrotto and Gitzo, to replace my small tripod with smaller “traveller” model, small enough to pack in a suitcase.
I tend not to be brand-loyal about anything, though I have owned three Gitzo tripods. I looked at Giotto when they began offering carbon fiber tripods a couple years ago, but I did not like the fact that the leg locks require more turning compared to Gitzo. This week I looked at tripods by Fiesol (www.feisol.net); solid lightweight carbon fiber construction and 30% less expensive than Gitzo. However, with a trade-in and a rebate, the cost of a Gitzo was reduced to a price akin to Feisol. Price no longer a differentiator … I bought my fourth Gitzo. (www.gitzo.com)
In the trio of tripods shown here, notice that two do not have a center column. I personally like this configuration because the tripod can lower all the way to the ground without the center column getting in the way. The big model 410 shown here is quite heavy and is overkill for most applications. The mid-size tripod is carbon fiber, to replace the big heavy 410. The small one with center column was just replaced, but I could not justify the large price tag without trading-in the one shown here. The old tripod was more than 20 years old, made in France before Gitzo was purchased by Vitec Group.
Recently travelling through northern New Hampshire, I was driving along the Ammonoosuc River shortly before sunset. This short video is a compilation of shots all filmed that evening along the river. The key scene is a dolly move along a metal bridge.
Driving that evening, I was looking for photo opportunities along the river when I spied the new bridge next to the old bridge. Then I noticed the long smooth railing and and remembered that I had the CineMover dolly with me.
The CineMover is an inexpensive dolly created by J.G. Pasterjak. Take a look for yourself here:
The CineMover is designed with vertical wheels and horizontal wheels, ideal if you have a long flat rail with a square profile. However this railing here did not entirely favor the CineMover as the railing shape is basically a half oval. There is nothing here to insure that the wheels track straight. Additional care was required because the rail had a significant dent that could easily cause the rig to jump a bit. But after several attempts, I managed to keep the rig mostly level along the 12 or 15 feet of uninterrupted rail; this move is not flawless, but it is pretty nice shot!
A picnic this week provided opportunity for my fIrst test drive of the Panasonic Lumix G3.
I am very pleased with the ease of use and the image quality. I was super impressed by the face-detection auto-focus and the LCD-touch-screen focus selection.
Shown here is my favorite shot, Balasankar dishing up a nice overhand serve. As you can probably guess, I am holding the G3 over my head for this shot. An articulated/swivel display screen is very helpful for overhead shots and also down-on-the-ground shots. I quickly learned to love this feature on the C-5060 (very few cameras had this feature back in 2004/5) and I absolutely required it for a replacement camera. The 3-inch swivel-touch-display on the G3 is a sweet upgrade.
ISO 800, f\6.3, 1/800 sec, auto white-balance
Shot as JPG (not RAW)
(click the image for a larger view)
And here are a couple more shots with the same 14mm lens (equivilent to a 28mm on a full-frame DSLR).
