Pbleic: Views and Things

New Linear Raw Conversion Action - v.2::
The link above is to a brand new simplified Linear Raw action. It starts with an EVU/FVU file. The results are beautiful, and the only adjustment is for USM. Thanks to Al Pacheco for his profile, hue/saturation, and curves adjustment. Two actions - one for sRGB, the other for Adobe RGB.

Give it a try and let me know what you think.

http://bleicher.home.comcast.net/Files/Linear_Raw.zip

Wide Gamut Color Space: "Interesting discussion on the 10D forum about whether to work in sRGB or Adobe RGB. This particular quote from Chuck Westfall, of Canon is worth noting (below). When you do the conversion to non-linear space you can choose any space you want - including some of the wide gamut color spaces that have become available: see this great article. http://www.creativepro.com/story/feature/8582.html
If you are thinking of high quality printing, or using some of the newer printers that are coming out of Epson, etc. you may have more colors available than Adobe RGB or sRGB have in their gamut. This means that you can get richer, more accurate colors with a Wide Gamut color space.
Something to think about.

Direct quote from Chuck Westfall of Canon.


'All Canon digital cameras capture images in a color space called sYCC which has a considerably larger color gamut than either Adobe RGB or sRGB. RAW files preserve all of the captured data, but in-camera JPEGs and standard (i.e., non-linear) conversions from RAW files using Canon's software modify the image data to fit within either Adobe RGB or sRGB according to the Color Matrix setting.
--------------------
Chuck Westfall
Director/Technical Information Dept.
Camera Division/Canon U.S.A., Inc. ' "

Definition of a Professional Photographer
I have seen many arguments about what makes a "professional photographer." Most are based on whether he/she gets paid for their work. I don't think this is it. Here is my definition: A professional photographer is one who, given a situation or assignment, consistently produces high quality, saleable photos.

Most professional photographers get paid for it, of course. But what distinguishes a pro from an amateur - consistent, high quality photos.
IMHO. And mostly because I know what I am *not*.

On Composition
Very nice article on Composition posted today. Highly recommended.

Linear Workflow and Challenge

After much agony, I have decided on a linear workflow. Dcraw has
too much moire and zipper artifacts. I am starting with an EVU/FVU
linear raw file:

1. Make a linear raw file, 16 bit, TIFF. Unfortunately, they both
require either sRGB or AdobeRGB to be tagged to the file. Assign
the profile that is DIFFERENT from your working profile in PS.

2. Open the file in PS. When it opens you will get this dialog:

Click the last, don't color manage.

3. Assign the 10D linear profile:
http://home.comcast.net/~ajpacheco/Canon10DXLProfilerSDKL.zip
through this dialog:


4. Pull the white point ONLY in on levels to the leftmost data like
this:


5. Pull the middle point of the curves dialog out to the left at 45
degrees to adjust contrast and exposure:


6. Add saturation to taste.

7. USM, I use about 400/0.4/threshold 3

8. Convert to sRGB with Adobe/No Blackpoint compensation.

Done.

Now, for the challenge. Take this RAW file:
http://bleicher.home.comcast.net/Images/CRW_3972.CRW
and, using nothing more than levels/curves/saturation/USM, get
better results than these with any RAW convertor. You have to post
the exact same crops as these three. First the overall photo, then
the crops:

Turns out I was using Microsoft ICM for conversion, NOT Adobe Conversion engine. Redid the conversion of the DCRAW and the pixelation and linear orange streaks are gone. STUPID.

Linear Workflow Comparison

I have been working on a linear workflow, because of my belief that this is the best option for RAW conversion. It does require work, and a few who have tried complain of all sorts of issues (noise, blown highlights, etc.) that are less about the workflow than their technique. Others claim that DCRAW is artifact ridden. I have found, with a significant learning curve, you can produce higher quality images with DCRAW than with any other method. Here is an example.

I developed the same RAW file with the EVU, EVU - linear, and DCRAW. With the EVU I sharpened as aggressively as I could with the Russell Brown split darken/lighten technique. Then I did the resize for the overview photo, and a crop for the closeup. For the two RAW files, I opened, assigned the linear profile from Al Pacheco, converted to CIE gamm 1.0 D65 space, adjusted the white point of levels slightly, pulled a slight gamma curve, added +8 saturation, and sharpened. Converted to sRGB and similar resize/crop. I will publish a detailed workflow if there is interest.

Here is the overview. EVU non linear on the left, DCRAW in the middle, and EVU Linear on the right.

First of all - the EVU color of the canoes is just wrong. Too orange. Second, compared with the two RAW files there is less highlight detail in the water above for the EVU non-linear file. Below, you will see there is MORE shadow detail in the two linear files as well.

Now for the closeups. EVU on top, dcraw next down, then EVU-Linear:



No question in my mind that the DCRAW is a sharper image - was from the unedited version, and retains that sharpness throughout. The shadows are a little noisier with DCRAW, but only because the noise is sharpened. In any case, this is far outweighed, especially with a print, by the increased sharpness. There is a small "defect" on the red hull, midway down to the left of the rope. Maybe a stuck pixel? Look for it in all three photos.

The results are, to my eyes, unquestionable.

I saw some fishermen unloading their truck while I was unpacking my gear this weekend. It made me realize the similarities between fishing and outdoor photography:
1. Both require hours and hours of waiting.
2. Both are best done at sunrise and sunset.
3. Experts at both are uncanny at their abilities, while beginners can't understand why they don't get the same results. Experts have experience and patience which the beginners lack.
4. The difference between success and failure in each can be very subtle.
5. Each brings an appreciation for the outdoors.
6. Each has very expensive, unending equipment to buy. Yet, the expert can do very well without any of the fancy equipment.

Wasque photo
Nice way to create a "Graduated Neutral Density Filter" effect. This one is quick and easy and works really well. Take the photo in RAW. Make two copies of the picture - one developed for the ground, the other for the sky. Open both in Photoshop. Copy the dark photo on top of the light photo in a new layer. Make a white layer mask on the new layer. Now, open the gradient maker, and choose a black to white gradual gradient. While highlighting the mask on the darkened layer, pull the gradient down from the top of the photo. The effect is to create a mask where the bottom is composed entirely from the darker photo, and the top from the lighter photo with a gradient. You may need to adjust the "slope" of the gradient, and you may not want to drag it completely to the bottom of the photo. Just try it over and over until you like the effect. I used this technique on the photo, above.

New Linear Workflow (300D) -- Beta Testers alert: Canon EOS-300D Forum: Digital Photography Review

Finally got through and put my Linear Workflow into a PS action. Setup is explained in the enclosed PDF.

I worked for a long time with the Fred Miranda profile until I realized that it shifted colors (reds became pink, etc.). Now I have produced this based on profiles from Timo Autiokari; http://www.aim-dtp.net/index.htm .

Yes, as some have pointed out - there are many who disagree with Timo. However, the proof is in the pudding. There is NOTHING like USM in linear. Remember, I have developed a great sharpening action, available on my website. It can't compete with a dcraw USM.
Please use it, and give me some feedback.
PS - PC only, PS experienced users only, and you probably should be "raw experienced, at least for the beginning testing.
Here is where it is:
http://bleicher.home.comcast.net/Files/Linear_Workflow.zip

When all the kinks are worked out, I will post it here.

Improve Your Photography with a Tripod

Two nice tricks I learned last year at the Nikon School of Photography - first is a monopod substitute that you can always carry with you. Simply take a 1/4"-20 eyebolt and attach a 6 foot length of light chain to it with an S-hook. All of these are available in any hardware store for pennies. Screw the eyebolt into the tripod screw on the camera and stand on the other end of the chain. By pulling up on the camera you can steady about as well as you can on a monopod.

Second is a bit more expensive to set up but very useful. Take a vice grip pliers and weld (any welding shop can do this for you) two 1/4-20 bolts onto the handle at 90 degrees to each other. You can now clamp your vice grips to anything, screw your tripod head onto it and have a solid camera mount. Perfect for outdoor sporting events.

To follow up on my RSS feed discussion, here are some good sites with RSS feeds:

• bigempty.com: tim gasperak Amazing daily photographs
  
• About PhotographyFrom the About.com folks
  
• [daily dose of imagery] A daily photoblog by Sam Javanrouh."
  
• PhotographyBLOG Film . Digital . Global . Personal. PhotographyBLOG brings you the latest and greatest photography news, both film and digital, both global and UK-based.

Rss Readers
Here is a list of RSS readers. If you haven't made the jump, you should. It is a very easy way to look at blogs, news sites, and many sites of interest. I use Sharp Reader, which requires the .NET framework to be installed:

cPicture Screenshots

Forgot to mention - you can split panoramas in a lossless fashion, and you can do your monitor gamma adjustment/check through the program.

cPicture - Quirky, but very valuable viewing/editing software

cPicture
I stumbled on cPicture the other day, and can't believe that I missed this. It has so many interesting features that I am going to use it as my default viewer. This isn't a full review, but highglights some of its great functionality.
The program is Java based, and the interface is very different from the standard Windows interface. No pulldown menus, for example. All your options are available on the lower left. Make sure you put the program in Advanced user mode. The program is shareware - there is a free LE version that appears identical to the actual version, and there is a polite request to register - nothing more. I will be registering for the
Here are some of the cool features:

• Lossless Cropping and JPEG rotation (I know, it exists elsewhere)
  
• 8-bit JPEG and TIFF open/save (TIFF by adding an extra dll)
  
• dcraw (the BEST RAW convertor, by far - also available with an add in dll) interface with excellent conversions. Use as your default brightness of 1.0, gamma of .5555, and check the use camera WB box. Adjust ONLY the brightness as needed. You can also change the WB by an interesting procedure. It will create an 8 bit JPEG or TIFF that will surpass anything you get from C1 or EVU. It can also do batch, so it is an excellent tool. Be warned - it is not nearly as intuitive as the aforementioned RAW convertors - but it gives a better output. More on this later as I talk about a NEW dcraw 16 bit workflow.
  
• The best EXIF display and histogram (3 color plus luminance) that I have seen
  
• Ability to add comments to RAW and other pictures
  
• Checks picture for data corruption
  
• Searches for "similar pictures"
  
• Automatic index creation
  
• Automatic HTML pages
  
• Undocumented (actually the whole program is pretty undocumented) JPEG quality readout on any JPEG! Why doesn't any other program have this?
  
• Auto show mode
  
• No installation. The program runs native with just one XML preferences file created in "My Documents."
  

Atom Feed

Haven't yet figured out all the ins and outs of the UI here, so my larger pictures are bumping my info to the bottom of the page. In any case, for those looking for an RSS feed to this blog, here it is:
http://pbleic.blogspot.com/atom.xml

DigitalLoupe

This one I have to try. Take a cheap loupe and mask the clear parts inside and out with black masking tape. The result - a magnifying loupe that blocks light for examing the DSLR LCD screen in a sunny field setting.

PowerShot
Well, the much awaited EVU is out from Canon. I have had a chance to play with it a while and have the following impressions:

1. Clearly more like C1 in workflow, and relatively fast at "on the fly" changes. However, the conversion is still slow (but not intolerable).

2. The algorithm for conversion makes soft pictures. I have recently discovered dcraw (and will be writing about a linear workflow hopefully later today/tomorrow), which gives much sharper pictures. I don't know why Canon can't improve theirs.

3. The major missing feature for me is the ability to modify Cyan/Magenta tone along with WB. This is limiting compared with C1.

4. The colors are FVU like - not quite up to Magne Nielsen's colors. However, YELLOWS are much better than C1.

5. Linear 16 bit files is valuable.

6. It is still a bit buggy -- reports are surfacing on DPR about this.

7. With C1 going up in price to $99, I would think a lot harder about moving off of the EVU if I were a new user.

Hybrid Raw Conversion Using Linear Conversion

Hybrid RAW Conversion
This technique is unbelievable. I discovered it last night by browsing on Luminous Landscape. Using a Linear Conversion you can do an amazing richly toned BW conversion that has a larger contrast range than typical conversions. But the best thing about it is that it will allow you to do a color conversion with more natural contrast range - allowing you to preserve those skys. I am going to use this for all my serious conversion projects, from now on. Note - Apply Image is required in the process, and it only works with images that are IDENTICAL in size. Since C1 somehow makes an image that is larger by a few pixels, you can't use it for this. However, the FVU (and hopefully the upcoming EVU) works great.

Mouse over the following photo and see the differernce between this conversion and a standard conversion (changes to this with the mouse over).

Facemask Histograms

Will Crockett: Facemask Histograms
This is the one of the best Photoshop tricks I have ever learned. Proper exposure of the face can be more challenging than is apparent. I see countless examples on DPR of overexposed faces, often from flash. The facemask histogram is very useful in properly exposing faces. It is most useful when photographing in RAW. Simply, draw a selection lasso around the face in a photograph, and do a levels on the selection. The result should be a histogram that spans from right to left. Gaps and "climbing the wall" indicate underexposed and overexposed photos. The article above tells it all.
Here is an overexposed photo:



and a properly exposed one:


Try it yourself and you will be convinced.

Tripod Confusion

JimDoty.com - Tripod Recommendations
What to do about a tripod. I have an old Slik tripod to which I attached an old Manfrotto ball head - a smallish one. Problems - it is too light; it doesn't get low enough; it is too heavy and cumbersome to travel with; no levels; the legs aren't locked out.

So, what to do? Follow the many recommendations on the web and get a Bogen 3021? With a nice Manfrotto ball head, say a 488? OR get a very light, easily collapsible tripod like the Velbon 347 Maxi?

I really could use both - one for regular work and one for travel. In fact, many mention that the 3021 is too heavy for anything but studio work. Perhaps. Then I could stick with my Slik and get a Velban for travel. Maybe. But not quite yet.

Balanced Perspective from an Event Photographer

Last night went to an event shot by an event photographer. We talked, and he had a few interesting perspectives:

1. Shot with a 10D which he loves; also has a 1D but uses it as his backup camera. The 10D is much easier for him to use.
2. Hates E-TTL and shoots with an old Vivitar automatic flash.
3. Shoots JPEG for events; RAW for mixed lighting portraits etc. Very balanced view; I find myself gravitating to this a bit.
4. Used an Omnibounce at 90 degrees. Gets good results from this.

He had one of the most pragmatic approaches of any event photographer that I have spoken with.

Photofocus Magazine - Using Split Neutral Density Filters
Split ND Filters for Landscapes

Went out midday today and tried to get some pictures. I decided to use my split ND filter (Cokin P) and WHAT a difference. This is *not* easily reproducible by combining photos/exposures in PS. These aren't great pictures, but this is the best I could do, in RAW without combining:

and this is what I got using a split ND filter:


I am going to be working with this a lot this spring and summer.

Photofocus Magazine - Depth Of Field Button

I love this article. The DOF button is something I just don't use enough. When I am thinking linearly, I will use it to make sure I have good DOF in a landscape shot. But, I never think about using it for (as discussed in the article):
Detecting hot spots, dark spots, flare, unwanted elements, vignetting. For placing graduated ND filters, choosing a background and for composition.

If you don't know how to use the DOF button, check out this one page tutorial/demo:

I made some great 11 X 14 photos today and framed them. Most were BW, the others color.  I have worked out a BW workflow I am very happy with, and thought I would share it.  It is useful for printing on a Noritsu printer that makes a 12 X 18 print

 

1. Develop photo in Capture One adjusting settings to my ideal color photo – saturation, contrast, etc. Save as a TIFF, 16 bit

2. Bring up in Photoshop.

3. Convert to 8 bit

4. Use the Russell Brown BW method of converting, using two hue/saturation layers.

5. Flatten, then use Petteri's Black and White workflow – two layers, one color dodge at 25%, the other soft light at 4%.  Add an S-curve for contrast and adjust using opacity.

6. Flatten. Correct lens distortion and perspective with the Panorama Tools plugin .

7. Now,  use the Epaper Press tinting action to tint.  I put in Silver Gelatin at 25% and it looks great.

8. Resize using Stair Step Interpolation using the free and excellent plugin to 10.1 X 13.1 inch at 320 dpi (exactly what this Noritsu printer that I use needs). This size will leave a 0.2 inch rim around the photo when mounted in a standard “11 X 14” mat (ie. 10.5 X 13.5 in). The rim acts like a second mat.

8. Sharpen, using my high pass/edge sharpening lighten/darken action . Flatten.

9. Finally, add film grain using G-Force with settings: 22, 22, 17

10. Convert the document to the ICC profile of your printer.

10. Now, open a new document and make a blank white document, 12 X 18 in and 320 dpi.  Convert to the same ICC profile.

12. Copy the photo then paste onto the blank document.  Flatten, and save as a JPEG, quality 12.

 

This workflow makes BW photos that look like high quality silver gelatin prints. Comments?

Lenswork
Lenswork Sample Issue

I guess I am going to write a fair amount at the beginning - I am sure this will settle down. But for now, I am waiting for my next issue of Lenswork. This magazine is a great resource for someone who is interested in BW photography. I have never seen such a beautifully printed magazine, featuring 3 startlingly great photographers each issue. Take a look at the sample, above.


Someone on DPR asked me about Photoshop books. The best, in my opinion, is , Photoshop 7 Artistry which, of course, is now replaced with Photoshop CS Artistry, by Barry Haynes and Wendy Crumpler. This is dense in material, rich in quality of information and detail. Unlike most of these books, it doesn't assume the reader is a novice and it has plenty of excellent examples which you follow along with, with the accompanying CD.

As mentioned, here are my Epson Stylus Photo 870 settings:


With Ilford Smooth Gloss paper and an sRGB photo, I get
exactly what I see on screen in colors and quality that
are better than anything I have seen from a lab.

HOW TO DO YOUR OWN MATTING AND HINGING
Last night I made 9 11 X 14 photos. Made each at 10.7 X 13.7 to fit the mats that are commercially available. Lessons I learned:

1. I need to get a good mat cutter and learn how to cut mats. It is a pain to stick to a particular mat size.

2. I looked at a few of the "art" photos I have around the house - they are mounted with a thin edge around them of white. It is probably about 1/4 inch all around. I should be aiming for this as I like the look. Too late.

Also, I posted this blog to DPR and have been asked to put up my content here, which I will. I also will post my photos, etc. as I take them. One requester asked for my favorite photo books:

Kodak Guide to 35mm Photography - one of the best startup books.
Any of John Hedgcoe's books on Basic Photography are great.
Understanding Exposure by Bryan Peterson
Learning to See Creatively also by BP
Creative Outdoor and Nature Photography by Brenda Tharp

In addition, I LOVE Lenswork - look forward to it every two months.

Miscellaneous Gallery
Printed some photos for my kitchen over the past two days. I continue to be stunned at how well the Epson Stylus Photo 870 prints when it is "tuned."

Photos from yesterday were a disaster. I tried to beat the sunset by finding a spot in haste. Only managed to find a brambly field on a hill. I have to figure a good way to scout locations in advance. Nothing was even worth keeping.

Metz problem

Got my Metz flash back last night. I don't know what was wrong with it - all of a sudden it started underexposing in Auto mode. In any case, I got a new 54 MZ4 which works great. Took me a while to figure out that the new Omnibounce requires a 45 deg angle, so that the sensor doesn't get reflected light.

This is something I have thought about for a while - a photography blog. Premise - a knowledgeable, but amateur photographer. Struggling to get the techinical aspects right while developing an eye for composition. Where am I now?
Technical - My story:
Started in Junior High with a Praktika (!) (East German camera) that I picked up used for almost nothing. Completely manual everything. Off and on through schooling, but later on bought a Fuji SLR in the 70's, and Olympus OM-G in the early 80's. Took photos for my profession (not as a pro photographer, but to document). Was a manual settings, slide shooter exclusively. Lots of travel photos, but I went to P&S when I had kids. Canon Elph, etc.

Entered the digital age with an Oly 1 mp, then an Oly 2020Z, an E-10 (my son has this one) and now the DR.

Currently - a Canon EOS Digital Rebel, kit lens (in the closet), Sigma 12-24, Tamron 28-75, Sigma 80-300, Metz 54 MZ, lots of Cokin P filters (ND, Grad), ExpoDisc, Capture One and Photoshop 7.

My photos, My Actions, and My Composition Notes

Artistic/Composition?
My best work to date: