Blue Planet Photography

There are several applications out there for processing multiple image files to stretch the dynamic range of a scene (HDR, or High Dynamic Range). The two most popular are Photoshop and Photomatix Pro. Generally, the reviews of Photoshop Merge to HDR are less than stellar while Photomatix Pro is all the rage. I use Photomatix Pro for most of my HDR processing, and I own Photoshop, so I thought I’d see for myself what the issues were. I believe you should use whichever application best suits your needs, but also that one application is not necessarily all you need.

I selected one of my 6-shot HDR image series and processed it three ways. I used minimal settings adjustments in Photomatix (strength 100, luminosity 4, light smoothing v.high, micro contrast 10, gamma 75, white point .250, black point .092, all other settings default or 0):

1. Photomatix Pro
2. Merge to HDR in Photoshop then further processing of the 32-bit HDR file in Photomatix Pro
3. Merge to HDR in Photoshop and further processing in Photoshop

The results are below. Additional comments following the images.

Processed in Photomatix Pro only

Processed in Photoshop using Merge to HDR, then through Photomatix Pro

Processed in Photoshop using Merge to HDR after color balance adjustment in Camera Raw, then further processing in Photoshop (duplicate layer, blend=multiply, adjust color saturation)

As you can see, the series processed in Photomatix Pro alone has a marked yellow cast from the ambient lighting. One of the cons of Photomatix Pro is even though you’re shooting in RAW and using the RAW image files to create the single HDR photo, when Photomatix processes the images it doesn’t take into account any of the Camera Raw adjustments you might have made. So, if your white balance is off, there’s nothing you can do about it until after processing is complete. I tried making color balance adjustments in Photoshop after the Photomatix processing, but apparently I’m not very much of a Photoshop wizard and couldn’t remove the yellow/orange/red cast effectively so I left it as is. This issue could have been compensated for, somewhat, by adjusting the in-camera white balance (I was shooting on auto white balance), but I think if you’re looking for accurate color representation you might still end up with a less-than-accurate final product without the ability to further compensate in Camera Raw.

With the other two, I started with Photoshop Merge to HDR, which does take into account all Camera Raw settings, so I was able to remove the color cast caused by the ambient lighting. Running the 32-bit HDR file through Photomatix Pro resulted in a good looking image, but with a bit of grunge while the straight Photoshop-processed image looks very clean. In both Photoshop files I created a second layer, used the multiply blend mode and adjusted opacity to increase contrast slightly, and increased color saturation on the brass.

These are simple examples, but show the different looks you can achieve by using more than one application (or one application rather than another). It comes down to the final look you’re trying to achieve.

In their August 2009 eNews newsletter, Wacom, the maker of very nice graphics tablets and other products (I’ve owned a 12×12 tablet for over 10 years), has promoted Eclipse Digital, a company that licenses artwork for placement in TV shows and films. However, the offer by Eclipse Digital (and supported by Wacom) is not to license your work and pay you for the use, but for you to give your work to them for free so they can license it to production companies and make money for themselves.

What?

Yep.

The teaser? On the Eclipse Digital website is the question: “How much more would all of artwork be worth once you have been seen on TV?” Other than the poor grammar, this question seems to hint that just by the placement of your artwork, however brief, out of focus in the background, or shown large and in charge, in a cheesy sitcom or blockbuster, this exposure is bound to make you famous and increase the value of your work. Sounds like an infomercial to me. Wacom corrects the grammar in their newsletter with “How much more would your art be worth once it has been seen in a film or on TV?” A better, catchier, statement, for sure.

As we read further, Eclipse Digital puts the proverbial foot in their mouth by stating “Our placement clients pay us up to $10,000 per month for this service.” However, since emerging artists can’t afford that “or any fee” they’re being generous and offering us the same service for free.

Let’s see. Those placement clients paying $10,000 per month to put their products in a TV show or film? Coke, Tide, Mentos, Skittles…..It’s called Advertising. When a production company puts a photo or other artwork into a scene it’s because it sets a mood, fits a character’s background or interests, or just needs to fill a blank spot on a wall. There may be specific instances when a particular artwork was searched for and used, but I believe that’s an uncommon occurrence. The only “artwork” I remember that helped the creator were the Coogi sweaters worn by Bill Cosby in the Cosby Show. Why? Because they were placed front and center in each episode, including the opening credits. Even artists whose prints were used on that show may have gained some benefit (I do remember some were even discussed specifically on an episode or two). There may be other examples in other shows since then, but I don’t know of any. Perhaps you all can post that info if you have it. I’d be interested to find out, plus if any of those art placements were free. I suspect they were.

Back to Eclipse, though. Further in the “benefits” they say “We recognize that these works are your key assets, and you don’t want just anybody downloading and printing them.” Yes, that’s true. We hope our “key assets” are just that, money makers, because that’s how we roll. The process is you upload high resolution files (as many as you want, there’s no limit of course) at 10MB - 100MB in size @ 300dpi. The production company then downloads the file and prints it at the size they want on a “photo-quality ink-jet printer” for the show or film.

“They [the production companies] will license from Eclipse Digital for a single TV episode or film, a full season of a TV production, or for the life of the show. No uses beyond that are permitted [thank God].” I wonder what the license fee is that Eclipse Digital charges for the use of the photos I upload? Let’s see, what do I get?

“Each quarter you get an email report showing which pieces were downloaded for which productions. Then you can set your TiVo and watch those shows for your work [and other product placements, er, advertisements]. However, “since the service is free to you, we cannot monitor every show and identify every aired placement.” But, when your work does appear in that next blockbuster TV or film “you can say things like ‘As seen on…’ in your marketing materials.”

Ever watch TV? When there’s artwork in the shot, particularly in ‘reality’ shows, it’s typically blurred out. Why? Because nobody paid for it to appear in the show, it’s not been released or licensed, and they know if it’s shown and recognizable by the artist they’re going to want payment. So, why would you give yours up for free to a market that clearly knows what it’s doing, understands the value of your work, yet charms you into giving it up for nothing?

Ok, you say, you talk a mean streak, but what am I really missing out on? What’s wrong with trying to grab a bit of glory and bragging rights? Glad you asked. Professionals use their own experience and those of their peers [how? by asking them], various pricing guides and estimators, and other variables, along with negotiating with the client [hopefully] to determine a license fee. One popular estimator is Cradoc Software’s FotoQuote, which covers a multitude of photographic uses.

I looked up one possible use for your free photo; a minor prop in a prime time TV show. Here’s what I got as a possible license fee range:

1 episode $301 - $603
1 season $603 - $1207
2 seasons $905 - $1810

See what your photograph is worth to a production company wanting to use it in their TV show? You can eat pretty well on $301. What can you buy for “As seen on…?”

Remember, too, for you to be able to print “As seen on…” in your marketing materials (postcards, brochures, fliers, posters, newsletter, even a website), you’re probably going to have to pay someone. That $301 would come in handy now, wouldn’t it. And, you can still use that snappy slogan. I’d say that’s a win-win, wouldn’t you?

There are instances when ‘donating’ your work is useful, beneficial, maybe even necessary. It’s up to you to decide when it’s appropriate. If this is something that appeals to you, go for it. You never know. But, be very sure what you’re giving away. You’re playing the long odds. There are a lot of “deals” like this out there. Be careful.

Oh yeah. Wacom. Not a good move. I think you should distance yourself from these “hey, give us your stuff for free” companies. You’ve done this before. We, your customers who buy your products, we “emerging artists” and established professionals are watching you. You should stick to making a great product and lose the reputation-staining associations. You really don’t need it and as “hip” as you might think it makes you with the Flickr and Facebook crowd, those aren’t the folks who can afford to buy your products - ’cause they’re not making any money off giving away their “assets” for nothing.

Trust me. When I see this crap, I think twice about the next upgrade. And, if I’m thinking that….

Last year, I stopped by a friend’s studio and he showed me his iPhone. I’d heard of this reportedly amazing device, knew of friends and others who stood in long lines waiting to be the first owners of such a wonder, like they were waiting to see the Rolling Stones, Dancing with the Stars, or the Pope. This thing seemed to me to be a fad, a flashy gizmo, a status symbol and, being a “traditionalist”, I only wanted (or needed) a phone that could make and receive phone calls. Technological advances have a way of overwhelming the senses and trying to keep up is taxing on the brain as well as the wallet. It was five years being a cell phone user before I upgraded to a phone with a camera. What does a photographer with professional gear need with a camera on a phone, anyway?

Then my friend showed me his iPhone. What did me in wasn’t the slick touch screen or elegant design, and the fact it had a fairly nice camera didn’t push me over the edge. What sold me was a simple application. My friend showed me his favorite application, Tide Graph. We’re both photographers, he lives on the coast now, and I visit the coast as often as I can. Figuring out tide tables can be a hassle, the book gets ratty, and even though you can find them free all over town, getting your hands on one can be inconvenient. What’s great about Tide Graph, other than location-specific tide tables for just about anywhere you might be, is the graph. The graph is a visual representation of where you’re at on the tide cycle, giving you a better idea how long it is to the next high or low tide and how high or low that tide is relative to the previous or next tide. It’s great.

It took me a little over a year to succumb to the iPhone bug, but now I have the new 3GS phone and I’m really enjoying it. When I was in high school and early college (that was back in the Apple IIe, Commodore and Amiga days), my computer geek friends and I would talk about future devices and what they should be able to do. The iPhone meets those criteria. It’s not just a phone with some additional functionality like taking pictures or playing music, it’s an integrated device. A precursor to a larger array of highly functional, small-footprint devices.

I’ve only had my iPhone for a month, but I’ve amassed a selection of applications I now use to help me with my photography and with photos created with the iPhone. That integrated camera is really helpful on scouting trips or quick idea or concept snaps, daily diaries, and other situations when larger, bulkier 35mm gear would be more inconvenient. Photographer Zack Arias recently posted on Twitter that the iPhone was now his favorite camera, probably for those reasons, among others.

I’ve seen some lists, but none yet specifically for photography or geared toward photography. Not all applications are image-related, but cover many aspects of a photographer’s needs. I hope, if you have an iPhone or intend to get one, that this list is helpful to you. Please feel free to drop a comment about your favorite app, because I’m always going to be looking for the best quality and I’m sure others would benefit.

I came across one list of the “best app interface designs”, but after trying one or two of the applications on that list came to the conclusion that snappy design does not necessarily mean useful or functional. It might look pretty but really suck.

Here is the list of the applications on my iPhone. Some are free, most cost $0.99 - $2.99. Some application developers offer a free version (trial, limited functionality, or with ads) and a paid version that is more full-featured or without ads. So far, I’ve spent a total of $35.86 on applications, deleted several free apps, and maybe wasted $6 - $12 on apps I’ll eventually remove. A person could certainly spend a lot more. It’s easy to do at $0.99 and $1.99 a pop. And, there are a ton of applications out there.

In my opinion, many apps are not worth the price paid, so take care. Also, your mileage may vary regarding the usefulness of these apps to your situation, as well as your opinion of these apps. Remember, the image manipulation apps are working on, at most, a 3 megapixel image. This isn’t Photoshop and these files aren’t going to be printed large, used for commercial work, or submitted for stock (generally). They’re good for email, Twitter, or Facebook. A disclaimer for image manipulation apps should read “for entertainment purposes only”. The effectiveness of the business-related, navigational, and other apps will depend on your personal workflow and needs. These apps are just what I have on my phone at the moment. There are other apps that could be added to this list, like to do lists, accounting/budgeting, word processing, document readers, business card scanners, etc. not to mention games and other diversions.

This list isn’t in any particular order. One caveat about apps for manipulating images; Some apps save manipulated images at smaller resolutions resulting in less quality. Read the reviews (carefully and with a grain of salt) before making a purchase.

1. Focalware: $9.99. This is the most expensive application I have so far but worth it. Sunrise/sunset, moonrise/moonset calculator using the internal GPS to determine time, azimuth, and elevation for your current position, from a list, or custom input location for the current date and time or any in the future. Great for planning shoots. Simple and elegant interface.

2. Photogene: $2.99. Photo manipulation; sharpness, color balance, levels, saturation, contrast, some special effects and frames. Kind of a mini-Photoshop.

3. Tiffen Cool FX. $0.99 (currenlty on sale). Filter effects, B&W conversions, color temperature.

4. Google Earth. Free. Same use here as on the desktop, location scouting, looking for new places to shoot.

5. Tack Sharp. $0.99. Depth of Field & Hyperfocal distance calculator. Good tool for beginners.

6. EVCalc. Free. Calculates exposure brackets. Good tool for beginners.

7. PhotoCurves. Free/$1.99. Photo manipulation, curves, brightness/contrast. I have the free version, but mostly use Photogene.

8. Clinometer. $0.99. Acts like a typical clinometer, measuring slopes and angles. Also has a nifty level. Useful for hanging artwork and precision set ups.

9. Road Trip. Free/$4.99. Tracks mileage, mpg, maintenance for your vehicle. Free version allows only one vehicle.

10. Weather Bug. Free. Very nice weather application for your current location and others you can save. Current temp, wind speed and direction, humidity, wind chill, forecast, satellite maps, quite comprehensive.

11. Write Now. $0.99. Another friend with an iPhone has to grab pen and paper to write a caller’s info. With Write Now, you can write/draw notes directly on the screen. Takes a little practice, but saves on paper and fumbling.

12. Twitpic. Free. For you tweeters out there. Post your iPhone pics in your tweets.

13. Colorslide. Free. Connects to Adobe Kuler for color swatches. Great for designers. I use this instead of Kuler because Colorslide shows the swatch color values in an easy-to-see form.

14. Color Calc. Free. Sliders give RGB & HEX color values, grayscale, RGB to HSL, CMYK, and system colors.

15. MotionXGPS. $2.99. Turns the iPhone into a full-featured GPS unit. Enter waypoints, generate GPS tracks, built in compass, stopwatch, speed, avg speed, distance, max speed, distance table to waypoints, iPod.

16. Tide Graph. $1.99. Explained above. Tide Tables for anywhere, with graphical representation.

17. Convertbot. $0.99. Conversion: speed, length, volume, currency, temp, time, area, data size, mass. Convert from a wide range of units using an elegant interface.

18. Inquisitor. Free. Yahoo Search. Fast, gives only top few results.

19. Groups. $3.99. Very nice handling of contact list. Able to place contacts in easily accessible tabs. Separate friends from family and business contacts from everyone else. Drag and drop, edit, delete, add, email directly from app.

20. Where to Eat? $2.99 Locate restaurants by category, cuisine, food type. Maps location. Nice feature: the map has a back button so you can return to the search without restarting the app.

21. Where to? $2.99. Another locator; restaurants, entertainment, travel & transport, health/medical, organizations, emergency, attractions, gov’t offices, education, services, shopping. Elegant interface, but no back button on the map, so app needs to be restarted for new search.

22. Iwant. Free/$0.99. Another locator. I find myself using this one more than the others. The free version has innocuous advertising, the paid version is ad free.

23. Free WiFi. Free. List of locations with free wi-fi near your location, with ability to filter locations.

24. Facebook. Free. Social networking when away from the laptop or desktop. Similar functionality to the desktop version, but missing some featured.

25. Tweetdeck. Free. Twitter app. Manage your friends and groups.

26. Linkedin. Free. Social networking when away from the office.

27. Pandora. Free. Pandora Radio. Streaming music, learns your likes and dislikes, create genre-specific “stations”.

Have fun with your iPhone, it’s a very nice device and can improve your productivity. But, remember to get outside and use the other camera gear.

From the Ansel Adams Gallery, film footage of Ansel discussing the term “visualization” as it applies to photography. The footage is very short (Just short of 1 minute) and Ansel describes his own process via Stieglitz’s concept of the “equivalent”.

The Key to a Photograph from Ansel Adams from SilberStudios.Tv on Vimeo.

Here’s a link to a great site written by 2 camera repair guys on how to clean the CCD/CMOS sensor cover of DSLR cameras. They describe several of the most popular methods (and some you don’t want to try) from the Eclipse solution to the Sensor Brush, provide pros and cons to each, and describe the cleaning procedure recommended by them and some camera manufacturers. It should go without saying that you read the entire procedure before doing this yourself.

The site is Cleaning Digital Cameras

Here’s a tip for finding most of the dust specs and scratches on digital files or scanned slides or negs, particularly on open areas like blue sky. I’ve been using a variant of this for a few weeks, using just a levels adjustment layer, but an article in a recent PDN had a different technique by David Harpe and I just combined them. It’s pretty effective, although it does increase the working size of your image file. You can remove the layers when you’re done removing your dust and scratches.

1. Open your image in Photoshop

2. Click on “layer”, then “new adjustment layer - Invert [3rd from the bottom of the pull-down adjustment layer menu”. This creates a separate layer that you can manipulate without affecting the original image. The dust specs will be white-ish blobs, not dark. Use a levels adjustment layer to fine tune contrast (see below).

3. If you’d like to retain the dark blobs, on the Layers palette, at the top left, click on the drop down arrow next to “normal” and select “Difference” - near the bottom. If you use this step, I recommend also adding a levels adjustment to fine tune the contrast (see below).

4. Your dust and scratches should become more visible. Select the background layer, zoom to “actual pixels” or 100%, and remove the specs with the healing or clone brush.

If you want to increase the visibility, do the following which will add another adjustment layer.

5. Click on “layer”, then “new adjustment layer” - Levels”.

6. For “Invert” layer only: On the levels histogram, move the far left slider to the right to darken the layer a little bit. This makes smaller dust specs more visible as well as specs that are in lighter areas of the image. You can adjust the right hand slider to get the best contrast for detecting dust on your image

7. For “invert” and “Difference” layers: On the levels histogram, move the far right slifer to the left to lighten the layer a bit, increasing the contrast with the dust blobs.

7. Select the background layer, zoom to “actual pixels” or 100%, and remove the specs with the healing or clone brush

8. When done, drag and drop the adjustment layers into the trash and save the cleaned image.

There are several techniques and products for cleaning dust and debris from the CCD or CMOS sensor on digital SLR cameras (cameras with non-removeable lenses don’t have to worry about this). I started out with Eclipse fluid and sensor swabs www.photosol.com but using fluid to clean the sensor on my 1Ds made me a bit worried. Used properly, the method is likely safe. But, as with all things fluid, accidents do happen. So, I started looking around for another method and came across Visible Dust, a Canadian company that manufactures electrostatic brushes for sensor cleaning. These tools resemble paint brushes but are made of very fine strands that are activated (charged) and cleaned by blowing compressed air through the bristles. I purchased a set last spring and I have to say I’ve been very happy with the performance. One or two swipes across the sensor with a dry brush and most, if not all, dust specks are removed from the middle as well as the edges and corners. Quick and easy.

One issue, though, is with the use of canned air to blow across the bristles. Canned air can spit freon and other liquid compounds that can get onto the bristles and then to your sensor. Also, compressed cans of air are not allowed on airline flights and may be difficult or impossible to find in out-of-the-way destinations. So, Visible Dust has come out with a new product called the Sensor Brush SD, which is basically a motorized handle that fits the sensor brush and spins it, both cleaning and charging without the use of canned air. This accessoriy is estimated to cost about $38 US (depending upon the CAN-US curency conversion rate at time of purchase). I don’t have the Sensor Brush SD, but I’m considering it.