I've been busy lately (and a little under the weather), so no recent posts. I just had to share this though.
The Shutterbug website announced Wednesday that they part of their subscriber list had been compromised. This has resulted in people on the list being contacted by someone claiming to represent the magazine attemptinf to collect "overdue" subscription fees or get "renewals".
This is a attempt to defraud consumers. Contact Shutterbug directly if you have any question about your subscription.
If you subscribe to Shutterbug Magazine, please check out the post.
Friday, December 27, 2013
Monday, December 16, 2013
Collectible Camera and Photography Equipment Auction
Courtesy of Shutterbug.
Anyone interested in collectible photography equipment needs to check this auction.
It starts 11:00 AM EST, on December 28. (Too bad it doesn't occur before Christmas for those of you with a photography enthusiast on your list.)
The auction includes a large number of collectible Leica cameras and lenses, including one owned by Time-Life publisher Henry Luce. Some include original packaging and paperwork.
It also includes a Spirograph with discs. This isn't the child's toy most people think of when they see this name. This is an early version of a "movie" projector. The "film" consists of a disc with images placed in a spiral. (Think of a paper phonograph that produces images instead of sound.)
Estimated value on the Spirograph is $20,000 - $35,000.
Estimated value for the cameras and lenses range from a few hundred dollars to several thousand.
The auction is being held by Revival Auction Co.
Online bidding is available with a 23% premium for winning bids. Visits the company website to register. The auction can be watched real time over the Internet. Mark your calendar if you want to watch it live.
Catalog here (with pictures).
Anyone interested in collectible photography equipment needs to check this auction.
The auction includes a large number of collectible Leica cameras and lenses, including one owned by Time-Life publisher Henry Luce. Some include original packaging and paperwork.
It also includes a Spirograph with discs. This isn't the child's toy most people think of when they see this name. This is an early version of a "movie" projector. The "film" consists of a disc with images placed in a spiral. (Think of a paper phonograph that produces images instead of sound.)
Estimated value on the Spirograph is $20,000 - $35,000.
Estimated value for the cameras and lenses range from a few hundred dollars to several thousand.
The auction is being held by Revival Auction Co.
Online bidding is available with a 23% premium for winning bids. Visits the company website to register. The auction can be watched real time over the Internet. Mark your calendar if you want to watch it live.
Catalog here (with pictures).
Tuesday, December 10, 2013
Using Photographs to Create Artwork
I happen to be interested in painting an drawing as well as photography. I enjoy creating art from the photographs I have taken. Sometimes it's a digital image using composite photos or an edited image. Other times, I use my photographs as source material for my artwork.
Here's a couple of tricks you can use when creating artwork from a photograph.
1) Load the image or images into an image editing program. This enables the image to be manipulated. This can improve composition, extraneous material can be removed and material from other sources can be imported into the image.
I find constructing an image this way easier than attempting to construct it by sketching it out. The digital process gives instant feedback and seems to provide a better representation of what the end product will look like.
Photos taken using a digital camera are easily imported as they are already in a digital format. Photos taken with a film camera will require the use of a scanner to create a digital file. Stand-alone flatbed scanners aren't that common anymore. Multi-purpose machines that scan, fax and copy are readily available. Negative/Slide Scanners are available as well if a print copy is not available.
2) Use the image editing software to apply a grid to the end image. Then rotate the image 180 degree.
Sketch out the image using grid paper. Grid size should be related to the size of the grid used in the editing software. If the grid paper is 34 squares wide, set the image's grid to roughly the same number of squares.
Focus on one square at a time. Look for lines and focus on where those lines enter and leave that square.
This upside-down grid approach is useful for those that struggle when drawing free-hand.
Images produced this way will have a different quality from those sketched free-hand.
An example of the process and result:
First, my source images:
I used both of these images, cutting and pasting from both.
One of the images inverted with a grid applied.
(I actually used a composite of the two images. I didn't save the composite so it's not available for this example.)
Here's the finished drawing with a grid applied. The grid should give you an idea of what the original sketch looked like.
The finished product:
I like the way this turned out and I doubt I would have been capable of this without using a grid when sketching the flowers. I was less concerned about the leaves. Many of those were either excluded from the original sketch or just loosely indicated.
I was proud enough of this effort to upload it to my Fine Art America account.
Here's a couple of tricks you can use when creating artwork from a photograph.
1) Load the image or images into an image editing program. This enables the image to be manipulated. This can improve composition, extraneous material can be removed and material from other sources can be imported into the image.
I find constructing an image this way easier than attempting to construct it by sketching it out. The digital process gives instant feedback and seems to provide a better representation of what the end product will look like.
Photos taken using a digital camera are easily imported as they are already in a digital format. Photos taken with a film camera will require the use of a scanner to create a digital file. Stand-alone flatbed scanners aren't that common anymore. Multi-purpose machines that scan, fax and copy are readily available. Negative/Slide Scanners are available as well if a print copy is not available.
2) Use the image editing software to apply a grid to the end image. Then rotate the image 180 degree.
Sketch out the image using grid paper. Grid size should be related to the size of the grid used in the editing software. If the grid paper is 34 squares wide, set the image's grid to roughly the same number of squares.
Focus on one square at a time. Look for lines and focus on where those lines enter and leave that square.
This upside-down grid approach is useful for those that struggle when drawing free-hand.
Images produced this way will have a different quality from those sketched free-hand.
An example of the process and result:
First, my source images:
I used both of these images, cutting and pasting from both.
One of the images inverted with a grid applied.
(I actually used a composite of the two images. I didn't save the composite so it's not available for this example.)
Here's the finished drawing with a grid applied. The grid should give you an idea of what the original sketch looked like.
The finished product:
I like the way this turned out and I doubt I would have been capable of this without using a grid when sketching the flowers. I was less concerned about the leaves. Many of those were either excluded from the original sketch or just loosely indicated.
I was proud enough of this effort to upload it to my Fine Art America account.
Monday, December 2, 2013
Spectacular Photos: Somethimes I's a Matter of Luck
Sometimes spectacular nature photos require being in the right place at the right time. There may be no way of knowing when that will be in advance. You just have to be lucky.
That happened with visitors to the Grand Canyon on on the last day of November this year. An inversion layer caused a thick layer of fog to cover the entire canyon. Inversion layers occur in the canyon a couple of times each year, but one effecting the entire canyon are much rarer. These occur roughly once a decade.
The inversion layer made for some spectacular fog images.
More images taken of the canyon during the inversion layer event can be seen on the Grand Canyon National Park's facebook page.
Original story Daily Mail.
Go to the Daily Mail story or the facebook site to see more photos.
That happened with visitors to the Grand Canyon on on the last day of November this year. An inversion layer caused a thick layer of fog to cover the entire canyon. Inversion layers occur in the canyon a couple of times each year, but one effecting the entire canyon are much rarer. These occur roughly once a decade.
The inversion layer made for some spectacular fog images.
More images taken of the canyon during the inversion layer event can be seen on the Grand Canyon National Park's facebook page.
Original story Daily Mail.
Go to the Daily Mail story or the facebook site to see more photos.
Saturday, November 30, 2013
More Holiday Gift Ideas For the Photographer on Your List
PopPhoto has an article on What to Get The Serious Photographer In Your Life.
It's a little different from the previous list I mentioned in that it targets the professional/serious hobbyist instead of the mobile phone photographer. The previous list was dedicated to Smartphone accessories. The PopPhoto article is for photographers that use "actual" cameras.
The article also includes links to where the products can be purchased. Many of the items can be purchased at local stores. Local stores may also offer a suitable alternative.
Some of the items on the list:
Micro Gaffer's TapeSimilar to duct tape. The difference is in the adhesive. Gaffer's tape is designed not to leave adhesive residue when removed and won't melt under heat. This makes it suitable for use under hot studio lights, unlike duct tape.
It can also be used in the field.
Gaffer's tape is a specialty product, unlike duct tape, and may need to be purchased online. (An Internet search may show a local store that carries it. Oddly, the local store near me that carries it is Guitar Center.)
Can be purchased directly from supplier's web site, PopPhoto article has link.
Memory Cards
Memory cards to occasionally fail and having multiple cards can be useful. Personally, I find it takes some time to process a full memory card. Having a second card allows me to continue taking pictures while processing the first, full card.
I also like to carry a second card with me in case the card in the camera fails or full.
That's three total.
Check the card's speed rating if possible. Higher speed translates to less time wasted between pictures. Capacity is less of an issue. 8 to 16 GB cards provide ample storage for most photographers.
Most cameras use SD cards. Some compact cameras use Micro SD and high-end DSLR cameras might use Compact Flash. Make sure you grab the correct format.
Memory cards can be purchased at a local electronics store or the electronics department at WalMart or Target.
Color Management System
Color Management Systems ensure accurate color rendering when printing images. The PopPhoto article mentions one listed at $89.
For alternatives, try an Internet search for color management systems/software, colorimeter, color calibrator, or monitor calibrator.
Color management systems can be very expensive, especially those designed for professional level photographers. A photographer working on a tight budget may not be able to afford one themselves, making this a good gift idea.
This idea probably requires a little more research than the other ones suggested in the article.
Rechargeable Batteries
Rechargeable batteries greatly reduce the cost associated with the batteries used by photographic equipment. A serious photographer can never really have too many.
They're not just used for cameras. Flash units and portable light sources also require batteries.
The PopPhoto article suggest Eneloop batteries. Eneloop batteries may not be available at a local store. It's not a commonly carried brand. They can be purchased online (the article links to Amazon but they're available on other sites.) Eneloop batteries tend to be more expensive than competing brands, but they are usually considered the best available.
Other brands will work. Just make sure to pick a brand that lists capacity on its packaging. Purchase 2000 mAh or better capacity batteries. I've had results from Kodak rechargeable batteries. It's a solid company with a good track record and they list capacity.
Avoid Rayovac. They no longer list capacity on their packaging and appear to be offering lower capacity batteries than the competition while charging similar prices.
The article suggests other gifts. These are just the ones I wanted to add my comments on. Check the article for the rest of PopPhoto's suggestions.
Friday, November 29, 2013
Off Topic Post: What the H*** was ABC Thinking?
I just had to post on this despite it being completely off topic. It has nothing to do with photography or art, (the topic limit I placed on this blog.) I just couldn't resist posting on this.
Last night, ABC ran a Muppets Thanksgiving Special. Nothing unusual there, but they decided to pair the Muppets with Lady GaGa, RuPaul and Elton John. WTH were they thinking? You pair the modern-day Queen of Burlesque (not to mention two queens of another sort) with a group based on wholesome entertainment fit for children?
Burlesque has its place, but it isn't the type of thing people want their children watching, and it showed in the ratings.
Lady Gaga and the Muppets got fewer viewers than the 40-year old Charlie Brown Thanksgiving show. (The latter drew 50% more viewers.)
The Entertainment Industry, as a whole, has no idea what the rest of the country wants to watch at this point.
I just had to share this image from last night's show:
'nuff said.
Last night, ABC ran a Muppets Thanksgiving Special. Nothing unusual there, but they decided to pair the Muppets with Lady GaGa, RuPaul and Elton John. WTH were they thinking? You pair the modern-day Queen of Burlesque (not to mention two queens of another sort) with a group based on wholesome entertainment fit for children?
Burlesque has its place, but it isn't the type of thing people want their children watching, and it showed in the ratings.
Lady Gaga and the Muppets got fewer viewers than the 40-year old Charlie Brown Thanksgiving show. (The latter drew 50% more viewers.)
The Entertainment Industry, as a whole, has no idea what the rest of the country wants to watch at this point.
I just had to share this image from last night's show:
'nuff said.
Monday, November 25, 2013
Fine Art America Update: Phone Case Offerings Upgraded
Fine Art America is one of those sites that is constantly upgrading the products offered. The latest upgrade has to do with the iPhone cases offered on its sister site: Pixels.com.
The phone cases offered use images not specifically designed for phone cases. The aspect ratio is different and the image is often horizontally oriented.
The latter issue has been addressed in the latest update. Purchasers can now select the orientation of the image used on the case. The case can be set so the image is printed horizontally. This produces better results for many images.
The camera position is also optional. The camera opening can be on the left bottom corner of the case or on the top right when the image is viewed in the correct orientation. This gives a little more control over what portion of the image is excluded by the camera opening.
The phone cases offered use images not specifically designed for phone cases. The aspect ratio is different and the image is often horizontally oriented.
The latter issue has been addressed in the latest update. Purchasers can now select the orientation of the image used on the case. The case can be set so the image is printed horizontally. This produces better results for many images.
The camera position is also optional. The camera opening can be on the left bottom corner of the case or on the top right when the image is viewed in the correct orientation. This gives a little more control over what portion of the image is excluded by the camera opening.
Sunday, November 24, 2013
Morel Suit Against Getty and AFP, Verdict Now In
Revisiting the "What the Hell Were They Thinking" file, the verdict has been released in the Morel copyright suit against Getty and AFP.
They jury found the companies guilty of willful copyright violations and awarded the maximum amount possible $1.2 Million, stating they were "outraged" over the companies' behavior. Technically, it's $1.2 Million for the copyright violations. There were non-copyright damages awarded, but nothing close to the damages for copyright violations.
The outcome was fairly predictable given the behavior of the two companies in this case, especially AFP.
The financial hit for AFP could be staggering. Getty has an indemnification clause in its contract with suppliers, like AFP, which could force that company to foot the entire verdict amount. That's on top of the millions of legal fees it has incurred over the last 3 1/2 years.
Then there's the hit to the reputation of both these companies. Getty provides a huge amount of material to the daily print media. They now have to wonder if Getty is providing images they have been authorized to use by the copyright owner. News outlets might start avoiding Getty now, creating a financial hit to that company as well.
Source:
EPUK's Daily Coverage of Morel/AFP trial
They jury found the companies guilty of willful copyright violations and awarded the maximum amount possible $1.2 Million, stating they were "outraged" over the companies' behavior. Technically, it's $1.2 Million for the copyright violations. There were non-copyright damages awarded, but nothing close to the damages for copyright violations.
The outcome was fairly predictable given the behavior of the two companies in this case, especially AFP.
The financial hit for AFP could be staggering. Getty has an indemnification clause in its contract with suppliers, like AFP, which could force that company to foot the entire verdict amount. That's on top of the millions of legal fees it has incurred over the last 3 1/2 years.
Then there's the hit to the reputation of both these companies. Getty provides a huge amount of material to the daily print media. They now have to wonder if Getty is providing images they have been authorized to use by the copyright owner. News outlets might start avoiding Getty now, creating a financial hit to that company as well.
Source:
EPUK's Daily Coverage of Morel/AFP trial
Saturday, November 23, 2013
Night Photography: Results Versus Human Perspective
I ran across an interesting article on Space.com on the difference between human vision at night and the results produced by the camera. The article is by Scott Taylor and ititled How Cameras Reveal the Northern Lights' True Colors.
His aurora and other night photographs can be seen at his smugmug portfolio. Some of his aurora photographs are extremely impressive. (Prints can be purchased from the smugmug link if interested.) Taylor also offers photography workshops. Keep an eye on his blog for his 2013 schedule.
Now, back to the article.
It points out that auroras seen be the naked eye lack the strong color often seen when photographed by a camera. The human eye contains two types of structures for capturing light. One captures color and works best in strong light. The other works in low light conditions, but can't capture color only value.
Digital cameras, on the other hand, are capable of capturing color even in low light conditions.
The sensor used by digital cameras technically isn't capable of capturing colors at all. It can only capture value (dark/light). Color is produced by filtering incoming light to exclude all but certain wavelengths of light. Some parts of the sensor detect green light, another red and a third blue. Combined, they produce full color.
It's like having three eyes designed for low light conditions, filtered for color and then combined by the brain into a single image.
The article gives some practical advice when taking aurora photographs. Presumably, the advice should apply to other low light conditions.
His aurora and other night photographs can be seen at his smugmug portfolio. Some of his aurora photographs are extremely impressive. (Prints can be purchased from the smugmug link if interested.) Taylor also offers photography workshops. Keep an eye on his blog for his 2013 schedule.
Now, back to the article.
It points out that auroras seen be the naked eye lack the strong color often seen when photographed by a camera. The human eye contains two types of structures for capturing light. One captures color and works best in strong light. The other works in low light conditions, but can't capture color only value.
Digital cameras, on the other hand, are capable of capturing color even in low light conditions.
The sensor used by digital cameras technically isn't capable of capturing colors at all. It can only capture value (dark/light). Color is produced by filtering incoming light to exclude all but certain wavelengths of light. Some parts of the sensor detect green light, another red and a third blue. Combined, they produce full color.
It's like having three eyes designed for low light conditions, filtered for color and then combined by the brain into a single image.
The article gives some practical advice when taking aurora photographs. Presumably, the advice should apply to other low light conditions.
Friday, November 22, 2013
More Holida Gift Ideas: Smartphone Accessories
I'm not the only one posting Holiday Gift Ideas. Digital Photography Review recently posted an on smartphone accessories as gifts for the smartphone photography enthusiast. It's worth reading if you have someone on your gift list that gets a great deal of usage out of their smartphone's camera. (Especially if they already have several phone cases.)
My favorite is the Gizmon case that looks like a Leica camera.
A leather carrying case with straps is also available. Combining the two might be a good gift for someone that is constantly losing their iPhone.
The straps go around the neck or across the shoulder, allowing for hand-free carrying of the phone making losing it after putting it down somewhere far less likely. It never gets set down.
My favorite is the Gizmon case that looks like a Leica camera.
A leather carrying case with straps is also available. Combining the two might be a good gift for someone that is constantly losing their iPhone.
The straps go around the neck or across the shoulder, allowing for hand-free carrying of the phone making losing it after putting it down somewhere far less likely. It never gets set down.
Interesting Blog Article on Kit Lenses
I just came across than interesting blog post on Fujifilm Reimagining Kit Lenses.
The camera mentioned in the article is the new Fujifilm X-E2. It's a 16MP mirrorless interchangeable lens camera with retro styling. (It resembles a vintage Leica.) The price is roughly $1000 for the body, and $1400 for the kit that includes a f/2.8-4 18-55mm lens.
It's the kit lens that separates the X-E2 from the competition. Kit lenses from competitors tend to have a less desirable aperture range. The X-E2's kit lens is high enough quality that investing in a better lens is less of a priority. An important factor when first investing in a DSLR camera. (Less important for a photographer that already has a collection of quality lenses.)
Fujifilm has decided to differentiate themselves from the competition by offering a higher quality kit lens. The competition will have to respond.
The camera mentioned in the article is the new Fujifilm X-E2. It's a 16MP mirrorless interchangeable lens camera with retro styling. (It resembles a vintage Leica.) The price is roughly $1000 for the body, and $1400 for the kit that includes a f/2.8-4 18-55mm lens.
It's the kit lens that separates the X-E2 from the competition. Kit lenses from competitors tend to have a less desirable aperture range. The X-E2's kit lens is high enough quality that investing in a better lens is less of a priority. An important factor when first investing in a DSLR camera. (Less important for a photographer that already has a collection of quality lenses.)
Fujifilm has decided to differentiate themselves from the competition by offering a higher quality kit lens. The competition will have to respond.
Tuesday, November 19, 2013
Holiday Gift Ideas: Claendars
Here's another gift idea for those people on your list that are hard to shop for. Try a calendar. Calendars combine utilitarian design with an inexpensive source of wall art.
A calendar is a little less "special" than other gift ideas, making them more appropriate as a second gift or as a gift for a teacher, coworker or those Christmas parties where everyone is supposed to bring a gift without knowing who the ultimate recipient will be. Options range from small pocket calendars, to desk calendars and large wall calendars.
Pocket and desk calendars work well as stocking stuffers for those mature enough to enjoy something other than candy in their stocking.
Calendars are readily available from multiple sources. (Discount stores often offer very inexpensive, if limited, options.)
Custom options are available for those willing to support a starving artist. CafePress, Zazzle and RedBubble all offer calendars from individual artists.
I do have a RedBubble account and currently have one calendar in my portfolio featuring my water related photography. My only complaint is that calendar offerings aren't listed as a separate option when viewing an artist's RedBubble portfolio. They are instead displayed under images with the word "calendar" across the image. Not a good way to draw attention to a product.
For a truly customized calendar, try uploading your own artwork or photographs. All it takes is creating a free account at one of the above sites (CafePress, Zazzle or RedBubble).
There are other sites that will print calendars using uploaded images. The three sites listed offer the additional option of selling those calendars to other people. If you want to use your own images Shutterfly, Snapfish and Walgreens offer calendar options. (That's just after a brief Internet search.)
A calendar is a little less "special" than other gift ideas, making them more appropriate as a second gift or as a gift for a teacher, coworker or those Christmas parties where everyone is supposed to bring a gift without knowing who the ultimate recipient will be. Options range from small pocket calendars, to desk calendars and large wall calendars.
Pocket and desk calendars work well as stocking stuffers for those mature enough to enjoy something other than candy in their stocking.
Calendars are readily available from multiple sources. (Discount stores often offer very inexpensive, if limited, options.)
Custom options are available for those willing to support a starving artist. CafePress, Zazzle and RedBubble all offer calendars from individual artists.
I do have a RedBubble account and currently have one calendar in my portfolio featuring my water related photography. My only complaint is that calendar offerings aren't listed as a separate option when viewing an artist's RedBubble portfolio. They are instead displayed under images with the word "calendar" across the image. Not a good way to draw attention to a product.
For a truly customized calendar, try uploading your own artwork or photographs. All it takes is creating a free account at one of the above sites (CafePress, Zazzle or RedBubble).
There are other sites that will print calendars using uploaded images. The three sites listed offer the additional option of selling those calendars to other people. If you want to use your own images Shutterfly, Snapfish and Walgreens offer calendar options. (That's just after a brief Internet search.)
Saturday, November 16, 2013
Christmas Gift Idea: Customized Kindle Covers
Hat tip to Engadget via PopPhoto.
Amazon now offers the option to personalize Kindel Accessories purchased from their website. Kindel cases and skins can now be purchased decorated with images uploaded by the purchaser as well as images from Amazon's gallery.
The latter option includes images of the Peanuts gang.
There are image sources for those non-photographers/non-artists that want to customize using something other than the somewhat limited images offered by Amazon. Free sources are listed first. (The images on this site should be free of any copyright limitations, but it doesn't hurt to double check before using an image from one of these sites.)
The Amazon orders are actually filled by CafePress. You could go directly to that website for more image options. I don't currently have a CafePress account, so I don't have anything to gain (yet) by linking to this site.
CafePress accounts are free to open. Try one if you are an artist or photographer looking to make a little money.
Amazon now offers the option to personalize Kindel Accessories purchased from their website. Kindel cases and skins can now be purchased decorated with images uploaded by the purchaser as well as images from Amazon's gallery.
The latter option includes images of the Peanuts gang.
There are image sources for those non-photographers/non-artists that want to customize using something other than the somewhat limited images offered by Amazon. Free sources are listed first. (The images on this site should be free of any copyright limitations, but it doesn't hurt to double check before using an image from one of these sites.)
The Amazon orders are actually filled by CafePress. You could go directly to that website for more image options. I don't currently have a CafePress account, so I don't have anything to gain (yet) by linking to this site.
CafePress accounts are free to open. Try one if you are an artist or photographer looking to make a little money.
Wednesday, November 13, 2013
Copyright Infringement Suit Against Getty Images and AFP
Here's one for the "What the Hell Were They Thinking" file.
A trial starts today against Agence France Presse (AFP) and Getty Images for the willful violation of copyright law. They are being sued by Haitian born Daniel Morel for the unauthorized redistribution of photos he took of the 2010 Haitian earthquake.
The undisputed facts: Morel was in Haiti during the earthquake. Took photos of the devastation and loaded those photos online. A second individual copied those photo's and uploaded them to his online account, taking credit for them. AFP downloaded the photos from this second account and distributed copies of them without permission from Morel, the original photographer.
When Morel contacted AFP about the unauthorized use of his material, AFP sued him for "commercial disparagement." Morel then registered the photos with the US Copyright office and countersued AFP, the affiliates that had distributed the images and the media outlets that had used the photos.
Morel's attorneys presented electronic communication between Morel and AFP clearly indicating that AFP knew that Morel was the original photographer before they downloaded the photos from the second account.
A judge has already found in Morel's favor in regards to copyright infringement by AFP and Getty. The issue now is whether that infringement was "willful". Willful infringement would open AFP to damages beyond the $1.6 million in damages it currently faces for copyright and DCMA violations. Luckily for AFP, the fact that they sued Morel despite knowing he was the actual copyright holder was ruled too prejudicial to be part of the willful infringement part of the trail.
That $1.6 million would be on top of the $7 millions AFP and Getty has spent on legal fees so far plus future legal fees (probably another $2 million.) That's a minimum of $10.5 million as a result of their outrageous behavior.
It gets better if you read AFP's defense. They cite Twitter's TOS as defending their use of Morel's photos. That went over well when it was pointed out that the photos were loaded to TwitPic, not Twitter. That's a related site with its own TOS that clearly states that copyright ownership stays with the person that loaded the images.
The only response to AFP knowingly using More's photos without permission, suing him when he complains and then using the TOS on a site that did not host the photos to begin with has to be "What the Hell Were You Thinking".
For further reading:
Photographer takes on agency giants at copyright-trial
Morel Suit Press Release at Photo Attorney
Story on Editorial Photographers UK and Ireland
Russian Photos Blog
and here
British Journal of Photography
On the last link, you'll need to search for articles. Using AFP with Morel as search terms should work. You might also want to search the Russian Photos site for additional articles.
A trial starts today against Agence France Presse (AFP) and Getty Images for the willful violation of copyright law. They are being sued by Haitian born Daniel Morel for the unauthorized redistribution of photos he took of the 2010 Haitian earthquake.
The undisputed facts: Morel was in Haiti during the earthquake. Took photos of the devastation and loaded those photos online. A second individual copied those photo's and uploaded them to his online account, taking credit for them. AFP downloaded the photos from this second account and distributed copies of them without permission from Morel, the original photographer.
When Morel contacted AFP about the unauthorized use of his material, AFP sued him for "commercial disparagement." Morel then registered the photos with the US Copyright office and countersued AFP, the affiliates that had distributed the images and the media outlets that had used the photos.
Morel's attorneys presented electronic communication between Morel and AFP clearly indicating that AFP knew that Morel was the original photographer before they downloaded the photos from the second account.
A judge has already found in Morel's favor in regards to copyright infringement by AFP and Getty. The issue now is whether that infringement was "willful". Willful infringement would open AFP to damages beyond the $1.6 million in damages it currently faces for copyright and DCMA violations. Luckily for AFP, the fact that they sued Morel despite knowing he was the actual copyright holder was ruled too prejudicial to be part of the willful infringement part of the trail.
That $1.6 million would be on top of the $7 millions AFP and Getty has spent on legal fees so far plus future legal fees (probably another $2 million.) That's a minimum of $10.5 million as a result of their outrageous behavior.
It gets better if you read AFP's defense. They cite Twitter's TOS as defending their use of Morel's photos. That went over well when it was pointed out that the photos were loaded to TwitPic, not Twitter. That's a related site with its own TOS that clearly states that copyright ownership stays with the person that loaded the images.
The only response to AFP knowingly using More's photos without permission, suing him when he complains and then using the TOS on a site that did not host the photos to begin with has to be "What the Hell Were You Thinking".
For further reading:
Photographer takes on agency giants at copyright-trial
Morel Suit Press Release at Photo Attorney
Story on Editorial Photographers UK and Ireland
Russian Photos Blog
and here
British Journal of Photography
On the last link, you'll need to search for articles. Using AFP with Morel as search terms should work. You might also want to search the Russian Photos site for additional articles.
Photographer takes on agency giants at copyright trial
Read more at http://www.amateurphotographer.co.uk/photo-news/540204/photographer-takes-on-agency-giants-at-copyright-trial#PgyKsFguAUhrBdEa.99
Read more at http://www.amateurphotographer.co.uk/photo-news/540204/photographer-takes-on-agency-giants-at-copyright-trial#PgyKsFguAUhrBdEa.99
Photographer takes on agency giants at copyright trial
Read more at http://www.amateurphotographer.co.uk/photo-news/540204/photographer-takes-on-agency-giants-at-copyright-trial#PgyKsFguAUhrBdEa.99
Read more at http://www.amateurphotographer.co.uk/photo-news/540204/photographer-takes-on-agency-giants-at-copyright-trial#PgyKsFguAUhrBdEa.99
Tuesday, November 12, 2013
Golden Hour Calculator
I recently came across this Online Golden Hour Calculator.
The calculation is automatic as long as the web site can determine the user's location from their IP Address.
The Golden Hour (also called the Magic Hour) is the period of time after sunrise and before sunset where natural lighting conditions are "best". This period of time produces softer edges do to the diffused sunlight, softer contrast, longer shadows and warmer tones.
The actual time varies and is based on a location's latitude and the time of year. The "best" natural lightinf conditions when the sun is at an altitude of 10-12 degrees (or less). There are locations where the sun never rises above this point during certain times of the year. The "Golden Hour" lasts all day in these locations.
According to the calculator, the Golden Hour for this evening where I'm located starts at 4:27 pm and lasts until 5:06. That's roughly 40 minutes, and not an actual hour.
The calculation is automatic as long as the web site can determine the user's location from their IP Address.
The Golden Hour (also called the Magic Hour) is the period of time after sunrise and before sunset where natural lighting conditions are "best". This period of time produces softer edges do to the diffused sunlight, softer contrast, longer shadows and warmer tones.
The actual time varies and is based on a location's latitude and the time of year. The "best" natural lightinf conditions when the sun is at an altitude of 10-12 degrees (or less). There are locations where the sun never rises above this point during certain times of the year. The "Golden Hour" lasts all day in these locations.
According to the calculator, the Golden Hour for this evening where I'm located starts at 4:27 pm and lasts until 5:06. That's roughly 40 minutes, and not an actual hour.
Sunday, November 10, 2013
Determining How Your Photographs Will Look on a Phone Case
I recently wrote a post suggesting phone cases as Christmas gifts. My Fine Art America account allows me to offer my photographs for use on phone cases. One of the problems I have had is determining how those photos would actually look when used.
I recently created an account on RedBubble. It offers a wider range of products than Fine Art America. (I am planning on creating accounts on Zazzle and CafePress as well). RedBubble offers a template for use with iPhone and iPad cases.
This template does give a better idea as to how the final product will look, but it still isn't perfect. I decided to create a template that works better when trying to determine how an image will look on an iPhone case (based on the RedBubble template).
The white area is actually transparent. This allows the underlying image to show through in that area. The gray is set to 50% transparency. This area corresponds to the sides of the case. This portion of the image will be printed on the case, but not visible when only the front can be seen.
The black area represents an area not printed when using RedBubble. It's there so that the image can still be used if the case design changes.
Here's how the template looks over an actual image:
The template was placed over the image for best results then cropped to the template size. This looks like it should work well for a phone case. The main subject is completely on the front of the case and fairly well located.
I recently created an account on RedBubble. It offers a wider range of products than Fine Art America. (I am planning on creating accounts on Zazzle and CafePress as well). RedBubble offers a template for use with iPhone and iPad cases.
This template does give a better idea as to how the final product will look, but it still isn't perfect. I decided to create a template that works better when trying to determine how an image will look on an iPhone case (based on the RedBubble template).
The white area is actually transparent. This allows the underlying image to show through in that area. The gray is set to 50% transparency. This area corresponds to the sides of the case. This portion of the image will be printed on the case, but not visible when only the front can be seen.
The black area represents an area not printed when using RedBubble. It's there so that the image can still be used if the case design changes.
Here's how the template looks over an actual image:
The template was placed over the image for best results then cropped to the template size. This looks like it should work well for a phone case. The main subject is completely on the front of the case and fairly well located.
Thursday, November 7, 2013
First Impressions of the New Alpha 7 and Alpha 7R from Sony
No, this has nothing to do with my first impressions. I don't get review models of new cameras. This is about the recent articles on the two cameras from PCMag. The professional writers get to play with all the new cool toys. I just get to read their reviews and comment.
One thing the latest article points out: the a7 and a7R technically aren't the first full-frame mirror-less digital cameras. The Leica M (Typ 240) predates the a7. It also lacks auto focus and costs almost $7,000, which is over 3 times what you will shell out for one of the Sony models.
The Leica M mount lenses can be used with the a7 or a7R by using an adapter (as well as most SLR lenses). This helps address one of the main drawbacks of switching to these cameras, there are currently few lens options specifically for these cameras.
PCMag also has a previous article comparing the two Sony options.
The cameras seem to fill slightly different rolls and certainly seem worthy of considering for purchase, especially for a photographer that already has lenses that are compatible by using an adapter.
One thing the latest article points out: the a7 and a7R technically aren't the first full-frame mirror-less digital cameras. The Leica M (Typ 240) predates the a7. It also lacks auto focus and costs almost $7,000, which is over 3 times what you will shell out for one of the Sony models.
The Leica M mount lenses can be used with the a7 or a7R by using an adapter (as well as most SLR lenses). This helps address one of the main drawbacks of switching to these cameras, there are currently few lens options specifically for these cameras.
PCMag also has a previous article comparing the two Sony options.
The cameras seem to fill slightly different rolls and certainly seem worthy of considering for purchase, especially for a photographer that already has lenses that are compatible by using an adapter.
Tuesday, November 5, 2013
Using Photographs to Generate Design Ideas
Sometimes designers suffer from the design equivalent of writer's block. If you're anything like me, you're sitting on a fairly large stack of digital images that can be used as inspiration sources. Here's a trick I've used for design ideas that works with many photographs. It does requiring using an image editing programs capable of using layers.
The Process:
1) Pick Your Source Image
This can be any image. The image selected will impact the results and some work better than others. This method will work with what would normally be a "bad" photograph. Blurry images, over or underexposed photographs or images with uninspiring composition will work, and may produce better results than using a good photograph.
Here's the one I'm using for this example:
This is a shot of a neighbor's tree. I decided to keep it in this orientation instead of rotating it 180 degrees.
2) Create Duplicate Layer and Rotate 180 Degrees
New layers need to be on top of the layer stack when using this method. Keep this in mind through the rest of this example. (Assume any newly created layer is on top from here on out.)
Change the layer's properties so that it interacts with the lower layer. There are a limited options that will result in a symmetrical design. Lighten Only or Darken Only both work throughout the process, Grain Merge will work for this first step as well (but not for later).
I chose to go with Lighten Only with this image. You may want to use one layer mode, go through to the end of the process, then start over with a different layer mode. Changing modes at any step in the process will alter the results.
3) Create Layer from Visible Image, flip horizontally
GIMP has two methods for doing this. Edit->Copy Visible then Edit->Paste as New Layer. GIMP also allows the creation of a new layer from the visible image by Right Clicking on a layer in the layer dock. The layer dock is located in the top right corner in the above image.
Flip this new layer horizontally and change its properties to Lighten or Darken Only. (You can choose a different layer mode if symmetry is not desired.)
Darken Only was used here.
This step can produce an useful image. You might want to save this image before going further.
4) Create New Layer from Visible and Rotate 90 Degrees
Here's an example of how different layer modes impact the visible results. The new layer was set to Lighten Only in the top image and Darken Only in the bottom.
Again, yo may want to save the results before continuing.
5) Create New Layers From Visible Image, Rotate 45 Degrees
6) Duplicate Top Layer and Flip Horizontally
The final step requires two identical layers in order to produces symmetrical results. Set both layers to the same mode. Here's the image after this final step:
The image can be edited after this. You may want to enhance contrast or saturation or turn the image into a square image for better tiling.
The Process:
1) Pick Your Source Image
This can be any image. The image selected will impact the results and some work better than others. This method will work with what would normally be a "bad" photograph. Blurry images, over or underexposed photographs or images with uninspiring composition will work, and may produce better results than using a good photograph.
Here's the one I'm using for this example:
2) Create Duplicate Layer and Rotate 180 Degrees
New layers need to be on top of the layer stack when using this method. Keep this in mind through the rest of this example. (Assume any newly created layer is on top from here on out.)
Change the layer's properties so that it interacts with the lower layer. There are a limited options that will result in a symmetrical design. Lighten Only or Darken Only both work throughout the process, Grain Merge will work for this first step as well (but not for later).
3) Create Layer from Visible Image, flip horizontally
GIMP has two methods for doing this. Edit->Copy Visible then Edit->Paste as New Layer. GIMP also allows the creation of a new layer from the visible image by Right Clicking on a layer in the layer dock. The layer dock is located in the top right corner in the above image.
Flip this new layer horizontally and change its properties to Lighten or Darken Only. (You can choose a different layer mode if symmetry is not desired.)
Darken Only was used here.
This step can produce an useful image. You might want to save this image before going further.
4) Create New Layer from Visible and Rotate 90 Degrees
Here's an example of how different layer modes impact the visible results. The new layer was set to Lighten Only in the top image and Darken Only in the bottom.
Again, yo may want to save the results before continuing.
5) Create New Layers From Visible Image, Rotate 45 Degrees
6) Duplicate Top Layer and Flip Horizontally
The final step requires two identical layers in order to produces symmetrical results. Set both layers to the same mode. Here's the image after this final step:
The image can be edited after this. You may want to enhance contrast or saturation or turn the image into a square image for better tiling.
Friday, November 1, 2013
Holiday Gift Ideas: Phone Cases
The Christmas season is fast approaching. Time to start thinking about those people on your list that are hard to shop for.
For those needing an idea, try a personalized phone case. Mobile phones are common now days and phone cases are a fairly inexpensive way to personalize a phone. (They run around $35.) You will need to know enough about the person you are buying for to buy something they will like. You will also need to know the make and model of the phone they use.
One good thing about phone cases, they can always be rotated if you have more than one case you like. It's a good gift even if the person already has one. (Keep in mind the saying "too much of a good thing," though.)
My Fine Art America account includes the options to sell phone cases on Pixels.com. The product options are right on the front page, including iPhone and Galaxy phone cases.
For all iPhone cases, go here. (Other cases are listed under Products.)
My cases are here. Some of these images are horizontally oriented. I try to limit offerings to those that work well on phone cases, but it is hard to determine how well horizontally oriented images translate when put on a phone case. Images can be re-sized and moved to improve appearance. Keep this in mind with horizontally oriented images. The image can easily be moved left or right to reposition the subject.
If you see an image that would look better moved slightly, pixels gives you the option to do so. Here's a shot I took of a rabbit in my backyard.
I had to move the rabbit slightly to the right on this. The front of its face disappeared over the edge initially.
For those needing an idea, try a personalized phone case. Mobile phones are common now days and phone cases are a fairly inexpensive way to personalize a phone. (They run around $35.) You will need to know enough about the person you are buying for to buy something they will like. You will also need to know the make and model of the phone they use.
One good thing about phone cases, they can always be rotated if you have more than one case you like. It's a good gift even if the person already has one. (Keep in mind the saying "too much of a good thing," though.)
My Fine Art America account includes the options to sell phone cases on Pixels.com. The product options are right on the front page, including iPhone and Galaxy phone cases.
For all iPhone cases, go here. (Other cases are listed under Products.)
My cases are here. Some of these images are horizontally oriented. I try to limit offerings to those that work well on phone cases, but it is hard to determine how well horizontally oriented images translate when put on a phone case. Images can be re-sized and moved to improve appearance. Keep this in mind with horizontally oriented images. The image can easily be moved left or right to reposition the subject.
If you see an image that would look better moved slightly, pixels gives you the option to do so. Here's a shot I took of a rabbit in my backyard.
Friday, October 25, 2013
Repairing Blown-Out Highlights with Inpaint
Inpainting refers to repairing or reconstructing portions of an image. That area may have been damaged in some way or the image may include unwanted content. Modern image editing software often offer options to automatically repair these sorts of image defects by using an Inpaint plug-in or filter.
Example of Inpaint
I use GIMP when editing images. It's free to use and offers a large array of image editing options. Inpaint is not included as part of the basic program, but can be added through plug-ins. The G'MIC plug-in offers over 500 additional filters, including three different inpaint options. I will be using one of these filters in this example. (Inpaint filters are similar enough that the example will help illustrate how Inpaint filters work independent of program.)
Here's the starting image chosen for this example. It's a shot of a mushroom growing in a pile of old leaves in my yard. There is a large area with blown-out highlights at the top of the image and the image could be drastically improved by eliminating that patch.
Note: blown-out highlights are not the only areas that can be repaired by Inpaint. It just happens to be the reason for using it with the above image. Also, Inpaint is not the only method available for addressing these sorts of image problems.
The example here will use the G'MIC patch-based Inpaint filter. G'MIC also offers solidify and diffusion based filters. I found the diffusion Inpaint filter to be far too time consuming to actually use and the patch-based filter produced far better results than solidify.
Using the Filter
Step 1. Define the Area
This tells the software what portion of the image should be effected by the Inpaint filter. The G'MIC plug-in for GIMP offers three methods of defining the area to be effected.
One method applies Inpaint to transparent areas. For this type of filter, simply erase the area to be affected. (Make sure the image has an alpha channel first if not enabled by default.)
The second applies the filter to a particular color. The area affected needs to be replaced with that color. The actual method used is not important, but it must involve no feathering. Feathering will result in part of the color being left behind after the filter is applied.
The third method uses a second transparent layer. The area to be affected is painted in. The filter then applies the effect to the areas under the opaque portion of this layer. The color used for marking the area is not important. It just needs to be opaque.
Other programs may utilize a different method for marking the area for the filter.
Applying the "mask" for the filter.
Here the area has been marked using red by using GIMP's pencil tool set to 100% hardness to avoid feathering.
Step 2. Run the Filter
In GIMP, the G'MIC plug-in filters are accessed by selecting filters on the top menu bar and then scrolling down to the bottom of the filters list. G'MIC is listed at the bottom. Clicking on it starts the G'MIC plugin and brings up all the filter options offered by that plug-in.
The Inpaint options are listed under "Repair". Click on that option to expand it. Scroll down until the Inpaint options are listed and select "Inpaint [patch-based]. This brings up the filter and its options. (I just use the default settings. They work fairly well and there is little documentation on the settings.)
After running the filter:
Better, but definitely not perfect. The area isn't as distracting now, but there are obvious artifacts. This leads to...
Step 3. Improve the Results
There are times when the results from running an Inpaint filter need no adjustment. In this case, the area has obvious problems that need addressing.
Smoothing the area:
Followed by cutting and pasting leaves from other areas:
The pasted leaves are partially transparent and the edges feathered for better integration. Part of the area filled by the Inpaint filter are still visible.
Why Use Inpaint
Using Inpaint can be useful, even if the results need to be altered after running the filter. In the above example, Inpaint produced vague leaf-shaped results which provided a good background for manual steps. Inpaint produced this background far quicker that doing so manually.
Combining copies of other parts of the image with this background helps limit the obvious nature of this fix. This is one advantage of using Inpaint. Even if the results aren't perfect, the results can be combined with other methods used to correct image flaws and the results may be better than utilize one method by itself.
One bit of advice on using Inpaint. Keep the area selected fairly small. 200-300 pixels in diameter is a good limit on my system. (Computers with faster processors or more memory may be handle larger areas.) The filter can be applied in stages if dealing with larger areas.
If dealing with multiple areas, apply the filter to one area at a time.
Example of Inpaint
I use GIMP when editing images. It's free to use and offers a large array of image editing options. Inpaint is not included as part of the basic program, but can be added through plug-ins. The G'MIC plug-in offers over 500 additional filters, including three different inpaint options. I will be using one of these filters in this example. (Inpaint filters are similar enough that the example will help illustrate how Inpaint filters work independent of program.)
Note: blown-out highlights are not the only areas that can be repaired by Inpaint. It just happens to be the reason for using it with the above image. Also, Inpaint is not the only method available for addressing these sorts of image problems.
The example here will use the G'MIC patch-based Inpaint filter. G'MIC also offers solidify and diffusion based filters. I found the diffusion Inpaint filter to be far too time consuming to actually use and the patch-based filter produced far better results than solidify.
Using the Filter
Step 1. Define the Area
This tells the software what portion of the image should be effected by the Inpaint filter. The G'MIC plug-in for GIMP offers three methods of defining the area to be effected.
One method applies Inpaint to transparent areas. For this type of filter, simply erase the area to be affected. (Make sure the image has an alpha channel first if not enabled by default.)
The second applies the filter to a particular color. The area affected needs to be replaced with that color. The actual method used is not important, but it must involve no feathering. Feathering will result in part of the color being left behind after the filter is applied.
The third method uses a second transparent layer. The area to be affected is painted in. The filter then applies the effect to the areas under the opaque portion of this layer. The color used for marking the area is not important. It just needs to be opaque.
Other programs may utilize a different method for marking the area for the filter.
Applying the "mask" for the filter.
Step 2. Run the Filter
In GIMP, the G'MIC plug-in filters are accessed by selecting filters on the top menu bar and then scrolling down to the bottom of the filters list. G'MIC is listed at the bottom. Clicking on it starts the G'MIC plugin and brings up all the filter options offered by that plug-in.
The Inpaint options are listed under "Repair". Click on that option to expand it. Scroll down until the Inpaint options are listed and select "Inpaint [patch-based]. This brings up the filter and its options. (I just use the default settings. They work fairly well and there is little documentation on the settings.)
After running the filter:
Better, but definitely not perfect. The area isn't as distracting now, but there are obvious artifacts. This leads to...
Step 3. Improve the Results
There are times when the results from running an Inpaint filter need no adjustment. In this case, the area has obvious problems that need addressing.
Smoothing the area:
Followed by cutting and pasting leaves from other areas:
The pasted leaves are partially transparent and the edges feathered for better integration. Part of the area filled by the Inpaint filter are still visible.
Why Use Inpaint
Using Inpaint can be useful, even if the results need to be altered after running the filter. In the above example, Inpaint produced vague leaf-shaped results which provided a good background for manual steps. Inpaint produced this background far quicker that doing so manually.
Combining copies of other parts of the image with this background helps limit the obvious nature of this fix. This is one advantage of using Inpaint. Even if the results aren't perfect, the results can be combined with other methods used to correct image flaws and the results may be better than utilize one method by itself.
One bit of advice on using Inpaint. Keep the area selected fairly small. 200-300 pixels in diameter is a good limit on my system. (Computers with faster processors or more memory may be handle larger areas.) The filter can be applied in stages if dealing with larger areas.
If dealing with multiple areas, apply the filter to one area at a time.
Thursday, October 24, 2013
LED Light for Photo Studio
Shutterbug has a review for the Rotolight Anova LED EcoFlood. This is an LED designed for used in photography studios (or for shooting videos.)
The EcoFlood combines 576 LEDs to produce an the same amount of light as produced by a 1000 Watt tungsten bulb. In comparison, the EcoFlood consumes 38 Watts of power. The EcoFlood also produces little heat, unlike tungsten lighting. (They're called "hot lights" for a reason.)
The low power consumption and lack of heat makes this an attractive alternative to tungsten lighting for continuous light production.
It is a bit pricy at $2600. Definitely targeted at professional photographers at that price.
Check the review for a full description.
The EcoFlood combines 576 LEDs to produce an the same amount of light as produced by a 1000 Watt tungsten bulb. In comparison, the EcoFlood consumes 38 Watts of power. The EcoFlood also produces little heat, unlike tungsten lighting. (They're called "hot lights" for a reason.)
The low power consumption and lack of heat makes this an attractive alternative to tungsten lighting for continuous light production.
It is a bit pricy at $2600. Definitely targeted at professional photographers at that price.
Check the review for a full description.
Tuesday, October 22, 2013
New Interchangeable Lens Camera From Sony
Sony has announced the release of a new addition to their Alpha line of Interchangeable Lens Cameras.
The a7 (Alpha 7) is a light-weight mirror less camera with a full-frame 24.3 MP sensor. The camera is capable of storing images in 14-bit RAW format and ships with a 28-70mm lens.
The camera is capable of using Sony's current E-Mount lenses, but the deference in sensor size will impact the results of using one of those lenses. The are currently only a limited number of E-mount lenses designed for use with a full-frame sensor. Sony does plan in introducing more lenses over the next two years.
Adapters for other lenses are in the works as well.
Price for the kit is currently set at $1999.
Sony also plans a version with a 36.3MP full-frame sensor (the a7R) This is slated to be available at the same time as the 24.3MP version. The 24.3MP a7 is available for pre-order on Sony's website. The a7R is not listed for sale at this time.
The camera is capable of using Sony's current E-Mount lenses, but the deference in sensor size will impact the results of using one of those lenses. The are currently only a limited number of E-mount lenses designed for use with a full-frame sensor. Sony does plan in introducing more lenses over the next two years.
Adapters for other lenses are in the works as well.
Price for the kit is currently set at $1999.
Sony also plans a version with a 36.3MP full-frame sensor (the a7R) This is slated to be available at the same time as the 24.3MP version. The 24.3MP a7 is available for pre-order on Sony's website. The a7R is not listed for sale at this time.
Sunday, October 13, 2013
Types of Artificial Lighting Used in Photography
Artificial light sources allow photographers to shot without having to depend on the natural lighting conditions present. Increasing the amount of light present also allows photographers to use lower ISO settings which decreases noise and grain, producing higher quality images.
Continuous Lighting
Continuous lighting remain designed to stay on for long periods. Continuous lighting allows a photographer to see how the light will influence a shot before actually triggering the shutter release. The shot can be carefully composed to produce the exact image desired.
The drawback? Continuous lighting sources tend to be less powerful than flash sources. The photographer may still need to use a higher ISO or slower shutter speed than required with flash photography. Whether this matters depends on the subject being photographed. A slower shutter speed makes little difference when subject that are immobile but may matter with live subject, like small children.
There are various types of continuous lighting sources available. Each has advantages and disadvantages.
Incandescent Light
The original source of artificial light. Incandescent lights work by passing an electric current through a filament that resists the flow of electricity. This resistance causes the filament to heat up. It glows as a result of heating up.
This is the main drawback of using incandescent light sources. They are inefficient when it comes to light production and they produce heat.. Much of the energy is lost as heat instead of producing light. (There is a reason why toasters, electric ranges and electric kilns use this method to produce heat.)
Incandescent lights produce "warm light" meaning they produce light with a yellow or orange cast. The exact color temperature depends on the type of light involved.
Incandescent lights designed for home use have a color temperature around 2800K. Halogen lights have a slightly higher color temperature (3000-3400K).
Halogen lights produce more light and heat than regular household incandescent lights. They require the use of quartz instead of glass to deal with the heat produced by the filament.
Fluorescent Light
Fluorescent lights work by using an electrode to stimulate a small amount of mercury in a sealed tube. This causes some of the mercury to turn into a gas. The electrons flowing through the tube collide with the electrons of the mercury gas. These electrons emit light when they lose the extra energy gained from this collision. The mercury gas primarily produces ultraviolet light.
The inside of the glass tube is covered by a powder that fluoresces (produces light) when exposed to ultraviolet light. The fluorescent coating can be altered to vary the color of light produced. Fluorescent light bulbs typically produce "warm white" light (3000K) or "cool white" light (5000K).
Fluorescent lights are more efficient than incandescent requiring less energy to produce a similar amount of illumination.
The mercury used in fluorescent lights can pose a health hazard if the bulb is broken and there are disposal issues involved in the use of fluorescent lights. They also don't emit light consistently across the entire light spectrum. This can cause a greenish cast when shooting under fluorescent lights. This can also cause certain colors to be rendered inaccurately.
LED Lights
Light Emitting Diodes are the latest edition to the artificial lighting market. LED technology has been around since the 1960's but have not been suitable for producing large amounts of light until fairly recently.
Light Emitting Diodes work by passing a current across a semiconductor. The semiconductor emits light as a result of the electric current. LED lights are more efficient than both incandescent and fluorescent lights. The light produced is a direct result of the electricity supplied to the LED. Very little energy is wasted as heat.
LED lights also offer the advantage of being able to produce a specific wavelength of light. LED lights can produce infrared, ultraviolet or visible light of any color simply by altering the semiconductor used.
The main problem with LED lights right now is price. They cost much more than the alternatives, but this is changing fairly rapidly.
LED lights also struggle to provide light consistently across the light spectrum. Like fluorescent lights, LED lights can produce a color cast or cause colors to be rendered inaccurately.
Even with the drawbacks, LED lights fill a useful roll in photography at present. The very low power use couple with the small size of the diodes makes LED lights well suited for portable light sources. A rechargeable LED light panel can provide light for several hours of constant use and can provide useful amounts of light.
Flash Lighting
Flash lighting produces a bright burst of light that lasts for a short period of time. Flash units require less power overall than consistent lighting. They do require power to be released in more powerful bursts.
Modern electronic flash units work by applying a large voltage charge to ionized xenon gas. The electrons in the xenon atoms get a boost from the charge and then emit light as they lose this extra energy. This is similar to how fluorescent lights work, but the xenon gas produces visible light instead of producing light that is mostly ultraviolet in nature.
Flash units have drawbacks.
Flash units require a burst of high voltage to work correctly. This means storing energy up over time. This makes the flash unit unavailable as a light source while this charge is building.
Flash units can cause red eye when photographing living subjects. This can be addressed using software.
Flash units powerful enough for studio use can also be very expensive. There are inexpensive alternatives, but these have drawbacks as well. The least expensive alternative uses individual flash units. Each unit has to be plugged into a different outlet which can be a problem if multiple lights are desired.
Continuous Lighting
Continuous lighting remain designed to stay on for long periods. Continuous lighting allows a photographer to see how the light will influence a shot before actually triggering the shutter release. The shot can be carefully composed to produce the exact image desired.
The drawback? Continuous lighting sources tend to be less powerful than flash sources. The photographer may still need to use a higher ISO or slower shutter speed than required with flash photography. Whether this matters depends on the subject being photographed. A slower shutter speed makes little difference when subject that are immobile but may matter with live subject, like small children.
There are various types of continuous lighting sources available. Each has advantages and disadvantages.
Incandescent Light
The original source of artificial light. Incandescent lights work by passing an electric current through a filament that resists the flow of electricity. This resistance causes the filament to heat up. It glows as a result of heating up.
This is the main drawback of using incandescent light sources. They are inefficient when it comes to light production and they produce heat.. Much of the energy is lost as heat instead of producing light. (There is a reason why toasters, electric ranges and electric kilns use this method to produce heat.)
Incandescent lights produce "warm light" meaning they produce light with a yellow or orange cast. The exact color temperature depends on the type of light involved.
Incandescent lights designed for home use have a color temperature around 2800K. Halogen lights have a slightly higher color temperature (3000-3400K).
Halogen lights produce more light and heat than regular household incandescent lights. They require the use of quartz instead of glass to deal with the heat produced by the filament.
Fluorescent Light
Fluorescent lights work by using an electrode to stimulate a small amount of mercury in a sealed tube. This causes some of the mercury to turn into a gas. The electrons flowing through the tube collide with the electrons of the mercury gas. These electrons emit light when they lose the extra energy gained from this collision. The mercury gas primarily produces ultraviolet light.
The inside of the glass tube is covered by a powder that fluoresces (produces light) when exposed to ultraviolet light. The fluorescent coating can be altered to vary the color of light produced. Fluorescent light bulbs typically produce "warm white" light (3000K) or "cool white" light (5000K).
Fluorescent lights are more efficient than incandescent requiring less energy to produce a similar amount of illumination.
The mercury used in fluorescent lights can pose a health hazard if the bulb is broken and there are disposal issues involved in the use of fluorescent lights. They also don't emit light consistently across the entire light spectrum. This can cause a greenish cast when shooting under fluorescent lights. This can also cause certain colors to be rendered inaccurately.
LED Lights
Light Emitting Diodes are the latest edition to the artificial lighting market. LED technology has been around since the 1960's but have not been suitable for producing large amounts of light until fairly recently.
Light Emitting Diodes work by passing a current across a semiconductor. The semiconductor emits light as a result of the electric current. LED lights are more efficient than both incandescent and fluorescent lights. The light produced is a direct result of the electricity supplied to the LED. Very little energy is wasted as heat.
LED lights also offer the advantage of being able to produce a specific wavelength of light. LED lights can produce infrared, ultraviolet or visible light of any color simply by altering the semiconductor used.
The main problem with LED lights right now is price. They cost much more than the alternatives, but this is changing fairly rapidly.
LED lights also struggle to provide light consistently across the light spectrum. Like fluorescent lights, LED lights can produce a color cast or cause colors to be rendered inaccurately.
Even with the drawbacks, LED lights fill a useful roll in photography at present. The very low power use couple with the small size of the diodes makes LED lights well suited for portable light sources. A rechargeable LED light panel can provide light for several hours of constant use and can provide useful amounts of light.
Flash Lighting
Flash lighting produces a bright burst of light that lasts for a short period of time. Flash units require less power overall than consistent lighting. They do require power to be released in more powerful bursts.
Modern electronic flash units work by applying a large voltage charge to ionized xenon gas. The electrons in the xenon atoms get a boost from the charge and then emit light as they lose this extra energy. This is similar to how fluorescent lights work, but the xenon gas produces visible light instead of producing light that is mostly ultraviolet in nature.
Flash units have drawbacks.
Flash units require a burst of high voltage to work correctly. This means storing energy up over time. This makes the flash unit unavailable as a light source while this charge is building.
Flash units can cause red eye when photographing living subjects. This can be addressed using software.
Flash units powerful enough for studio use can also be very expensive. There are inexpensive alternatives, but these have drawbacks as well. The least expensive alternative uses individual flash units. Each unit has to be plugged into a different outlet which can be a problem if multiple lights are desired.
Thursday, October 10, 2013
Why We Use Temperature to Describe Light Sources
Photographs are impacted by the lighting conditions that exist at the time the photo is taken and photographers need to consider this impact when shooting pictures.
Modern digital cameras provide options for compensating for different lighting conditions. Usually the options include multiple presets described based on the type of lighting present. These settings include daylight, incandescent and fluorescent with other options present on many cameras. Some cameras offer the ability to manually set the camera's color correction. (Described as setting the white balance since the photographer is telling the camera that a specific color should be rendered as white.)
Determining what setting to use does require knowing a little about the quality of light involved.
Describing Light
Light is described using a temperature scale. There is an historic reason for this that dates back over 100 years to the work of Lord Kelvin.
The Kelvin temperature scale is used when describing the color or quality of light produced by a particular light source. The Kelvin scale is the same as the Celsius scale, but adjusted so starting point is absolute zero instead of the freezing point of water. Subtract 273 from the Celsius temperature to get the Kelvin equivalent.
Why Temperature?
Credit Lord Kelvin for this. He is the one that developed a system of describing light sources based on temperature. Lord Kelvin started by heating a piece of carbon. Carbon glows when it is heated and the color produced depends on the temperature to which the carbon is heated. It starts at a dark red, shifts to a brighter red, then orange, followed by yellow, white and then shifts to blue.
Lord Kelvin then assigned light sources a temperature number based on the temperature to which carbon had to be heated to produce a similar light.
The quality of light produced by a particular source is described using temperature based on this work by Lord Kelvin. (The modern value is based on theoretical physics and a "black body" instead of carbon.) Both natural and artificial lighting conditions can be described using this method.
Examples of Temperature Values
Knowing the value assigned to the lighting conditions present when taking photographs can be useful when using a camera with a limited number of lighting presets. The lighting conditions present may be similar to one of the lighting conditions covered by one of the preset options. Using this setting may result in better results than the camera's automatic white balance results. (Try the overcast/cloudy sky setting when shooting in heavily shaded areas.)
Some values:
Incandescent light bulb: 2800K
Halogen light: 3000K
Direct Sunlight: 4800K
Cloudy Sky: 6000K
Blue Sky: 10,000K (and up)
Fluorescent lights can manufactured to mimic incandescent light or daylight. Warm white fluorescent lights are rated at 3000K, Cool white or daylight at 5000K.
LED lights can produce a variety of light. Daylight LED lights produce light in the 5500 to 6000K range. LED lights that mimic incandescent lights are available as well.
Note on Fluorescent Light:
Fluorescent lights usually produce light that falls outside the black body temperature chart. Fluorescent lights don't produce light across the entire spectrum. These missing wavelengths result in a color of light that does not directly correspond to any present in the temperature scale.
The same is true to a certain extent to LED lights.
Modern digital cameras provide options for compensating for different lighting conditions. Usually the options include multiple presets described based on the type of lighting present. These settings include daylight, incandescent and fluorescent with other options present on many cameras. Some cameras offer the ability to manually set the camera's color correction. (Described as setting the white balance since the photographer is telling the camera that a specific color should be rendered as white.)
Determining what setting to use does require knowing a little about the quality of light involved.
Describing Light
Light is described using a temperature scale. There is an historic reason for this that dates back over 100 years to the work of Lord Kelvin.
The Kelvin temperature scale is used when describing the color or quality of light produced by a particular light source. The Kelvin scale is the same as the Celsius scale, but adjusted so starting point is absolute zero instead of the freezing point of water. Subtract 273 from the Celsius temperature to get the Kelvin equivalent.
Why Temperature?
Credit Lord Kelvin for this. He is the one that developed a system of describing light sources based on temperature. Lord Kelvin started by heating a piece of carbon. Carbon glows when it is heated and the color produced depends on the temperature to which the carbon is heated. It starts at a dark red, shifts to a brighter red, then orange, followed by yellow, white and then shifts to blue.
Lord Kelvin then assigned light sources a temperature number based on the temperature to which carbon had to be heated to produce a similar light.
The quality of light produced by a particular source is described using temperature based on this work by Lord Kelvin. (The modern value is based on theoretical physics and a "black body" instead of carbon.) Both natural and artificial lighting conditions can be described using this method.
Examples of Temperature Values
Knowing the value assigned to the lighting conditions present when taking photographs can be useful when using a camera with a limited number of lighting presets. The lighting conditions present may be similar to one of the lighting conditions covered by one of the preset options. Using this setting may result in better results than the camera's automatic white balance results. (Try the overcast/cloudy sky setting when shooting in heavily shaded areas.)
Some values:
Incandescent light bulb: 2800K
Halogen light: 3000K
Direct Sunlight: 4800K
Cloudy Sky: 6000K
Blue Sky: 10,000K (and up)
Fluorescent lights can manufactured to mimic incandescent light or daylight. Warm white fluorescent lights are rated at 3000K, Cool white or daylight at 5000K.
LED lights can produce a variety of light. Daylight LED lights produce light in the 5500 to 6000K range. LED lights that mimic incandescent lights are available as well.
Note on Fluorescent Light:
Fluorescent lights usually produce light that falls outside the black body temperature chart. Fluorescent lights don't produce light across the entire spectrum. These missing wavelengths result in a color of light that does not directly correspond to any present in the temperature scale.
The same is true to a certain extent to LED lights.
Friday, October 4, 2013
Another Reason Why Adobe's Subscription Model Was a Bad Idea
As if annoying its customers by switching to a Creative Cloud/Subscription business wasn't enough, Adobe just announced that it was hacked and almost 3 Million customers had their information stolen.
The information stolen includes Credit Card information. The information was apparently encrypted, which should prevent the thieves from being able to use it. There is the possibility that the information could be decrypted (probably not that likely with modern encryption techniques). There is also the possibility that the thieves managed to access the decrypted Credit Card information.
Adobe has reset the password of any account believed to have been compromised. Other Adobe account holders may want to change their passwords as well. Adobe account holders should also keep an eye on the Credit Card used in conjunction with their Adobe account.
This was almost predictable after Adobe forced Photoshop users into cloud computing. These users had privacy concerns and those concerns have just been realized. The question is, how many customers will be in a position to leave Adobe for a competing product?
The information stolen includes Credit Card information. The information was apparently encrypted, which should prevent the thieves from being able to use it. There is the possibility that the information could be decrypted (probably not that likely with modern encryption techniques). There is also the possibility that the thieves managed to access the decrypted Credit Card information.
Adobe has reset the password of any account believed to have been compromised. Other Adobe account holders may want to change their passwords as well. Adobe account holders should also keep an eye on the Credit Card used in conjunction with their Adobe account.
This was almost predictable after Adobe forced Photoshop users into cloud computing. These users had privacy concerns and those concerns have just been realized. The question is, how many customers will be in a position to leave Adobe for a competing product?
MostPhotos Stock account
I now have an account at MostPhotos.
I currently only have a couple of pictures I took of a 1938 Plymouth loaded on the site. Interestingly, if you do a search for "1938 Plymouth" it only brings up one result. Mine.
Don't know how many people are going to search for that term, but I currently have a monopoly on it.
I have more photos to upload. I just have to decide which ones are appropriate to offer as stock and edit them so they look as good as possible. I''ll probably try applying to other stock sites later. MostPhotos does not have a review process for photos offered for sale, unlike other stock sites.
I currently only have a couple of pictures I took of a 1938 Plymouth loaded on the site. Interestingly, if you do a search for "1938 Plymouth" it only brings up one result. Mine.
Don't know how many people are going to search for that term, but I currently have a monopoly on it.
I have more photos to upload. I just have to decide which ones are appropriate to offer as stock and edit them so they look as good as possible. I''ll probably try applying to other stock sites later. MostPhotos does not have a review process for photos offered for sale, unlike other stock sites.
Friday, September 27, 2013
Photography Tips - Cropping Images
As the old saying goes "Less is More."
This is certainly true when it comes to certain images. Cropping an image can eliminate distracting elements, improve composition or even shift the focal point to a different area of the image. Today's image editing software makes cropping images relatively painless. An image can be quickly copied and cropped. Any cropping applied to the copy can be quickly undone as long as the copy has not been saved.
This process can be repeated to create any number of images, each with an alternative crop.
Tips for Cropping Images
1) Use an image program with transparency and layering capabilities.
This allows you to place a cropping stencil above your image. This stencil is basically a frame with a transparent square or rectangle cut out of the middle. The part of the image visible is what will remain after cropping.
2) Prepare stencils with desired aspect ratios in advance.
Start with an image equal in size to images produced by your camera. (This does presume you want to crop photos.) Fill with a single color, black works well. Enable transparency if not already enabled. Create a second layer on top with a different color.
Decrease the scale of the top layer. The aspect ratio can be altered if desired. Merge the shrunk layer with the first. Use the color selection tool to select the middle area and cut. (The editing software I use places the layer in the middle of the image when shrunk. If second layer is placed at a corner you will have to move it. The placement does not have to be precise.)
3) Save file using format that preserves transparency.
Saving using the editing software's native format should do this. Exporting to png format is an alternative as this saves transparency settings. Other formats will result in the transparent area being replaced with the background color.
Stencils with different aspect ratios can be saved as different files or images. They can also be saved in a single file as different layers. Make sure each file or layer has a description of the aspect ratio.
Using a crop stencil
1) Import Stencil
Open the image you want to crop in your image editing software. (Again, it needs to support transparency and layers.) Follow by importing the appropriate stencil.
If you saved the stencil as as individual files, just open the desired stencil as a new layer.
If all stencils are saved in one file, open that file then copy the desired stencil. Paste this on top of the image as a new layer.
The stencil can be moved around once it is on top of the image to be cropped. This helps give a good idea of what the cropped image will look like. The stencil can also be rotated to change orientation or scaled up or down to change how much of the image will remain after cropping.
2) Select Transparent Area
Use an area selection tool targeting the transparent area of the stencil. Make sure the selection tool is set to select transparent areas.
3) Use Selection to Crop Image.
The quickest way to do this is simply selecting "Crop Image to Selection." The image can be saved with a different name after this so that the original image remains unaltered. Of course, the quickest way is not always the best way.
An alternative method is to copy the selected area and then paste as a new image. This image will have a different name from the original so there is no chance of overwriting the original file. The copy and paste method works well if uncertain that the selected area is the best choice. The original file still has the stencil in place and this can b quickly altered if the crop is not quite correct.
The stencil can still be used if the software refuses to select transparent areas. Select the colored portion of the stencil instead. Switch to the image's layer. Then invert the selection.
Why Not Just Use a Rectangular Selection?
This may seem like unnecessary work when you could just use a rectangular selection tool to select the area you want to keep. There are some reasons to use a crop stencil when cropping images.
First, it's easier to tell what the end result will be when using a stencil to block out portions of the image. Using a selection by itself will require a certain amount of guessing as to how the crop will turn out.
Second, using a stencil results in an accurate aspect ratio after the crop is applied. This is useful in some circumstances. The most obvious reason for using a specific aspect ratio is because the image will be printed and framed. The aspect ratio changes based on the size of print desired.
A 4" x 6" print requires a 3:4 aspect ratio. An 8" x 10" is a 4:5 ratio. Compare the lengths as percentages to understand what that means. The first ratio results in the short side having a length 75% that of the longer side. The second result in the shorter side having a length 80% as long as the longer side.
Using an image with a 3:4 ratio to print an 8" x 10" requires one of two options. First, the image can be stretched in one direction. Second, the print can have blank borders along two edges.
Cropping the image before allows the image to be printed without choosing one of those options when printing at a specific print size.
This is certainly true when it comes to certain images. Cropping an image can eliminate distracting elements, improve composition or even shift the focal point to a different area of the image. Today's image editing software makes cropping images relatively painless. An image can be quickly copied and cropped. Any cropping applied to the copy can be quickly undone as long as the copy has not been saved.
This process can be repeated to create any number of images, each with an alternative crop.
Tips for Cropping Images
1) Use an image program with transparency and layering capabilities.
This allows you to place a cropping stencil above your image. This stencil is basically a frame with a transparent square or rectangle cut out of the middle. The part of the image visible is what will remain after cropping.
2) Prepare stencils with desired aspect ratios in advance.
Start with an image equal in size to images produced by your camera. (This does presume you want to crop photos.) Fill with a single color, black works well. Enable transparency if not already enabled. Create a second layer on top with a different color.
Decrease the scale of the top layer. The aspect ratio can be altered if desired. Merge the shrunk layer with the first. Use the color selection tool to select the middle area and cut. (The editing software I use places the layer in the middle of the image when shrunk. If second layer is placed at a corner you will have to move it. The placement does not have to be precise.)
3) Save file using format that preserves transparency.
Saving using the editing software's native format should do this. Exporting to png format is an alternative as this saves transparency settings. Other formats will result in the transparent area being replaced with the background color.
Stencils with different aspect ratios can be saved as different files or images. They can also be saved in a single file as different layers. Make sure each file or layer has a description of the aspect ratio.
Using a crop stencil
1) Import Stencil
Open the image you want to crop in your image editing software. (Again, it needs to support transparency and layers.) Follow by importing the appropriate stencil.
If you saved the stencil as as individual files, just open the desired stencil as a new layer.
If all stencils are saved in one file, open that file then copy the desired stencil. Paste this on top of the image as a new layer.
The stencil can be moved around once it is on top of the image to be cropped. This helps give a good idea of what the cropped image will look like. The stencil can also be rotated to change orientation or scaled up or down to change how much of the image will remain after cropping.
2) Select Transparent Area
Use an area selection tool targeting the transparent area of the stencil. Make sure the selection tool is set to select transparent areas.
3) Use Selection to Crop Image.
The quickest way to do this is simply selecting "Crop Image to Selection." The image can be saved with a different name after this so that the original image remains unaltered. Of course, the quickest way is not always the best way.
An alternative method is to copy the selected area and then paste as a new image. This image will have a different name from the original so there is no chance of overwriting the original file. The copy and paste method works well if uncertain that the selected area is the best choice. The original file still has the stencil in place and this can b quickly altered if the crop is not quite correct.
The stencil can still be used if the software refuses to select transparent areas. Select the colored portion of the stencil instead. Switch to the image's layer. Then invert the selection.
Why Not Just Use a Rectangular Selection?
This may seem like unnecessary work when you could just use a rectangular selection tool to select the area you want to keep. There are some reasons to use a crop stencil when cropping images.
First, it's easier to tell what the end result will be when using a stencil to block out portions of the image. Using a selection by itself will require a certain amount of guessing as to how the crop will turn out.
Second, using a stencil results in an accurate aspect ratio after the crop is applied. This is useful in some circumstances. The most obvious reason for using a specific aspect ratio is because the image will be printed and framed. The aspect ratio changes based on the size of print desired.
A 4" x 6" print requires a 3:4 aspect ratio. An 8" x 10" is a 4:5 ratio. Compare the lengths as percentages to understand what that means. The first ratio results in the short side having a length 75% that of the longer side. The second result in the shorter side having a length 80% as long as the longer side.
Using an image with a 3:4 ratio to print an 8" x 10" requires one of two options. First, the image can be stretched in one direction. Second, the print can have blank borders along two edges.
Cropping the image before allows the image to be printed without choosing one of those options when printing at a specific print size.
Monday, September 23, 2013
Technology - Image Sensor Size
Camera manufacturers love to tout the number of megapixels offered by their camera, but never seem to mention the sensor size. Finding information on the size of the sensor used in a camera usually requires delving into the technical specifications, and the description may be a bit obscure.
When a manufacturer describes their sensor as an "APS-C" sensor, they are referring to its size. The problem is, that size differs based on manufacturer.
Why It Matters
The size of the image sensor determines the surface area available for collecting light. More light generally translates into higher image quality. This means a large sensor can produce higher quality images than a smaller sensor even if the smaller sensor boosts a higher number of pixels.
Increasing pixel count without changing the size of the sensor requires decreasing the size of the individual pixels. (More accurate, it requires the size of the area used to capture light referred to as a photosite.) Smaller pixels increase image noise, especially in low light conditions.
Sensor size does impact camera design. Larger sensors require larger lenses. This in turn requires larger camera bodies, making larger image sensors impractical for phones and compact cameras. Larger sensors also cost more to manufacture. Manufacturers use smaller sensors to keep costs down.
The smaller target area provided by smaller sensors impacts the lens used. Using a lens designed to be used with a larger sensor will result in part of the image falling outside the surface area of the sensor. Part of the image seen in the viewfinder will be lost. Smaller sensors require wider angle lenses to properly focus the image onto the sensor.
Sensor Sizes
he largest sensor size found in consumer level cameras are known as Full Frame sensors. These have the same dimensions as 35mm film. Lenses designed for 35mm film cameras will work exactly the same if used with a camera using a full frame sensor.
Next in size are APS-H sensors, followed by APS-C sensors. The size of the latter depends on the manufacturer.
Next in order of size comes 1.5", Micro Four Thirds 4/3", 1", 1/1.2", 2/3", 1/1.7", 1/2.3" and finally 1/3.2". The use of fractional divisors makes some of the sizes a little hard to understand. (Really, 1/3.2"?)
This makes the relative size a little easier to understand. A 1/3.2" sensor is almost 5 times smaller than a 1.5" sensor. It get's a little more confusing when attempting to compare the "inch" based measurements to full frame and APS sized sensors. The inch based measurement actually refers to the size of the lens, not the diagonal measurement of the sensor. This increases the size given by about 50%. (Multiply the given figure by 2/3 to get the approximate diagonal size of the sensor.)
Full frame and APS sensors only provide mm measurements for size. To make comparison a little easier, according to my calculations full frame sensors are the equivalent to 2.77" in the above system. APS-H and APS-C sensors fall between 2.555 and 1.5. APS-C is roughly 1.8" and APS-H roughly 2.1".
For a visual depiction of related size try this gizmag sensor size guide article.
Wikipedia has an article on Image sensor formats that includes a list of sizes at the bottom, including diagonal dimensions.
For those that are interested, manufacturers do make cameras utilizing sensors larger than full frame sensors. The next step up are referred to as medium format cameras. Large format cameras use even larger image sensors.
The width and height of medium format sensors are roughly 50% larger than that of full frame sensors. (In "inch" terms, roughly 4.3".)
Medium format digital cameras are used by many professional photographers. These sensors offer up to 80 megapixels. Combining this number of pixels with the larger sensor size provides image quality unmatched by most consumer cameras.
In addition to the above "inch" system, the sensor's surface area will also give consumers a good idea how sensors compare to each other in regards to image quality. A medium format sensor has a surface area of over 2100 square mm. Full frame is 860 square mm. APS-C ranges from 330 to 380. A 1/3.2" sensor has a surface area of just 15 square mm.
The extremely small surface area available for that last sensor results in it being far less capable of capturing existing light. It is going to be far more reliant on good lighting conditions than the larger sensors. This doesn't mean the camera will be incapable of taking good pictures, just more reliant on existing light. (My old Kodak EasyShare ZD 710 has a 1/2.5" sensor. It takes excellent macro flower pictures in full sunlight.)
When Buying a Camera
The impact sensor size has on image quality means that consumers should always consider sensor size when purchasing a new camera. The problem is that sensor size data is not always easy to find. The only source may be the manufacturer's web site. The manufacturer should mention the sensor size on the specifications (spec) page for each camera model.
Online stores generally include camera specification on the product page. Check the specs when shopping online.
Brick and mortar stores may be a bit more problematic. The material provided may not list sensor size. Check online if not available at the store.
When a manufacturer describes their sensor as an "APS-C" sensor, they are referring to its size. The problem is, that size differs based on manufacturer.
Why It Matters
The size of the image sensor determines the surface area available for collecting light. More light generally translates into higher image quality. This means a large sensor can produce higher quality images than a smaller sensor even if the smaller sensor boosts a higher number of pixels.
Increasing pixel count without changing the size of the sensor requires decreasing the size of the individual pixels. (More accurate, it requires the size of the area used to capture light referred to as a photosite.) Smaller pixels increase image noise, especially in low light conditions.
Sensor size does impact camera design. Larger sensors require larger lenses. This in turn requires larger camera bodies, making larger image sensors impractical for phones and compact cameras. Larger sensors also cost more to manufacture. Manufacturers use smaller sensors to keep costs down.
The smaller target area provided by smaller sensors impacts the lens used. Using a lens designed to be used with a larger sensor will result in part of the image falling outside the surface area of the sensor. Part of the image seen in the viewfinder will be lost. Smaller sensors require wider angle lenses to properly focus the image onto the sensor.
Sensor Sizes
he largest sensor size found in consumer level cameras are known as Full Frame sensors. These have the same dimensions as 35mm film. Lenses designed for 35mm film cameras will work exactly the same if used with a camera using a full frame sensor.
Next in size are APS-H sensors, followed by APS-C sensors. The size of the latter depends on the manufacturer.
Next in order of size comes 1.5", Micro Four Thirds 4/3", 1", 1/1.2", 2/3", 1/1.7", 1/2.3" and finally 1/3.2". The use of fractional divisors makes some of the sizes a little hard to understand. (Really, 1/3.2"?)
| Converted To Decimal Form | |
| 1.5 | 1.5000 |
| 4/3 | 1.3333 |
| 1 | 1.0000 |
| 1/1.2 | 0.8333 |
| 2/3 | 0.6667 |
| 1/1.7 | 0.5882 |
| 1/2.3 | 0.4348 |
| 1/3.2 | 0.3125 |
This makes the relative size a little easier to understand. A 1/3.2" sensor is almost 5 times smaller than a 1.5" sensor. It get's a little more confusing when attempting to compare the "inch" based measurements to full frame and APS sized sensors. The inch based measurement actually refers to the size of the lens, not the diagonal measurement of the sensor. This increases the size given by about 50%. (Multiply the given figure by 2/3 to get the approximate diagonal size of the sensor.)
Full frame and APS sensors only provide mm measurements for size. To make comparison a little easier, according to my calculations full frame sensors are the equivalent to 2.77" in the above system. APS-H and APS-C sensors fall between 2.555 and 1.5. APS-C is roughly 1.8" and APS-H roughly 2.1".
For a visual depiction of related size try this gizmag sensor size guide article.
Wikipedia has an article on Image sensor formats that includes a list of sizes at the bottom, including diagonal dimensions.
For those that are interested, manufacturers do make cameras utilizing sensors larger than full frame sensors. The next step up are referred to as medium format cameras. Large format cameras use even larger image sensors.
The width and height of medium format sensors are roughly 50% larger than that of full frame sensors. (In "inch" terms, roughly 4.3".)
Medium format digital cameras are used by many professional photographers. These sensors offer up to 80 megapixels. Combining this number of pixels with the larger sensor size provides image quality unmatched by most consumer cameras.
In addition to the above "inch" system, the sensor's surface area will also give consumers a good idea how sensors compare to each other in regards to image quality. A medium format sensor has a surface area of over 2100 square mm. Full frame is 860 square mm. APS-C ranges from 330 to 380. A 1/3.2" sensor has a surface area of just 15 square mm.
The extremely small surface area available for that last sensor results in it being far less capable of capturing existing light. It is going to be far more reliant on good lighting conditions than the larger sensors. This doesn't mean the camera will be incapable of taking good pictures, just more reliant on existing light. (My old Kodak EasyShare ZD 710 has a 1/2.5" sensor. It takes excellent macro flower pictures in full sunlight.)
When Buying a Camera
The impact sensor size has on image quality means that consumers should always consider sensor size when purchasing a new camera. The problem is that sensor size data is not always easy to find. The only source may be the manufacturer's web site. The manufacturer should mention the sensor size on the specifications (spec) page for each camera model.
Online stores generally include camera specification on the product page. Check the specs when shopping online.
Brick and mortar stores may be a bit more problematic. The material provided may not list sensor size. Check online if not available at the store.
Ricoh's Pentax K-50: Customizable Camera Colors
Tired of owning that DSLR camera that looks like every DSRL camera? Ricoh has you covered with its K-50 DSLR camera. Its appearance can be customized by altering the colors of the components of the camera's body.
There are 20 options available for the main body (purple above) and 6 for the grip.
Customizing the camera's look does not cost extra, but does require 4-6 weeks for delivery from Ricoh. There are pre-designed options that include colored lenses as well.
The K-50 is also weatherized, making it a good choice for outdoor photography. It uses a 16.3 MP CMOS sensor and a Pentax KAF2 mount for the lens.
Customizing the camera's look does not cost extra, but does require 4-6 weeks for delivery from Ricoh. There are pre-designed options that include colored lenses as well.
The K-50 is also weatherized, making it a good choice for outdoor photography. It uses a 16.3 MP CMOS sensor and a Pentax KAF2 mount for the lens.
Saturday, September 14, 2013
Sony's New Smartphone Lens-Style Camera
As if the camera that comes as part of many smart-phones wasn't enough, Sony has introduced a Lens-Style camera meant to be used along with a smart phone.
The camera is basically a lens with a sensor, batteries and storage card capabilities. It uses wireless signals to connect to a smart phone and the phone is used as the interface between the camera and user. The camera is designed to hook over the phone's body, but can be used off of the body. It only needs to be within range of the wireless signal.
The latter feature allows for some interesting possibilities. If nothing else, it makes getting shots from a high vantage point easier. The lens can be held aloft and pointed at a subject with the phone's screen held so it is fully visible. Try seeing the LCD screen if it's still attached to the lens.
The camera can even be held by a different person or connected to a tripod. (It could also be hidden fairly easily, suggesting some unsavory uses for the ability to split the camera from the control interface.)
The price is actually fairly reasonable. The suggested price for the 18MP version is $249 and $499 for the 20MP version. Sony's current 18MP compact camera offering is listed at $299, making the lens-camera a similar value.
The lens-camera is slated to be available September 25, and is compatible with Apple iOS and Android devices.
You'll have to wait a little to see actual reviews. It might be worth the investment for some people. The price for the 18MP version is within the range expected for compact cameras with similar features and the ability to separate the camera from the control interface is an interesting feature only available with this camera. (There are cameras that offer remote controls, but the LCD is still attached to the camera.)
The camera is basically a lens with a sensor, batteries and storage card capabilities. It uses wireless signals to connect to a smart phone and the phone is used as the interface between the camera and user. The camera is designed to hook over the phone's body, but can be used off of the body. It only needs to be within range of the wireless signal.
The latter feature allows for some interesting possibilities. If nothing else, it makes getting shots from a high vantage point easier. The lens can be held aloft and pointed at a subject with the phone's screen held so it is fully visible. Try seeing the LCD screen if it's still attached to the lens.
The camera can even be held by a different person or connected to a tripod. (It could also be hidden fairly easily, suggesting some unsavory uses for the ability to split the camera from the control interface.)
The price is actually fairly reasonable. The suggested price for the 18MP version is $249 and $499 for the 20MP version. Sony's current 18MP compact camera offering is listed at $299, making the lens-camera a similar value.
The lens-camera is slated to be available September 25, and is compatible with Apple iOS and Android devices.
You'll have to wait a little to see actual reviews. It might be worth the investment for some people. The price for the 18MP version is within the range expected for compact cameras with similar features and the ability to separate the camera from the control interface is an interesting feature only available with this camera. (There are cameras that offer remote controls, but the LCD is still attached to the camera.)
Friday, September 13, 2013
Buying Prints Online - The Prado Museum
I have added another link to my list of sites that offer online art prints. The Prado Museum in Madrid offers a print on demand service for copies of some of the works in its collection.
The prices are in Euros and the museum uses metric measurement when listing sizes. This means American shoppers will have to do some math in order to translate prices and sizes when ordering.
(An American dollar is currently worth .75 Euros. Divide the price by that amount to determine the price in dollars. There are 2.54 centimeters per inch. Divide the cm figure by that number to get inches.)
I did run into a broken link on the store's front page. The prominent link on the front page lead to an error code. The link on the left side column worked as did the link from the museum's landing page.
The prices are in Euros and the museum uses metric measurement when listing sizes. This means American shoppers will have to do some math in order to translate prices and sizes when ordering.
(An American dollar is currently worth .75 Euros. Divide the price by that amount to determine the price in dollars. There are 2.54 centimeters per inch. Divide the cm figure by that number to get inches.)
I did run into a broken link on the store's front page. The prominent link on the front page lead to an error code. The link on the left side column worked as did the link from the museum's landing page.
Wednesday, September 11, 2013
Editing Photos - Editing With Curves
The Curves option is one of the most sophisticated tools available for editing an image's color, brightness, contrast or transparency. Unlike the Levels tool, Curves can be used to limit changes to a specific tonal range. This enables fine adjustment to be made using this tool as well as large scale adjustments.
Editing with Curves also allows control over where certain effects take place. Increasing contrast in one area of an image often requires lowering it in another. This decreased contrast can be limited to a range where it has limited impact when using Curves.
In GIMP, the Curves tool can be accessed under Tools-Color Tools-Curves or Colors-Curves. The method will differ if using a different editing program.
Sample Curve with Corresponding image :
I used this image in my post on reading a histogram. I decided to reuse it here because this image is one where editing using the Curves tool will probably yield better results.
The gradient bar at the bottom of the histogram represents the pixels' current value, referred to as the input value. The bar on the left side represents the output value, or the value the pixel will be set to once the changes are finalized.
Clicking on the image will result in the graph displaying that pixel's current value.
(After clicking on a dark area behind the cicada.)
Editing
The line running from the lower left to the upper right represents the changes made to the image (this line is referred to as the curve from here on). A straight line from corner to corner means that the input levels are the same as the output levels, meaning no changes have been made.
Altering the image is performed by creating and moving anchor points. The curve starts with two points; one at 0,0 and the second at 255, 255. New anchor point are created by clicking on the graph. Clicking on the curve creates an anchor point at that point on the curve. Clicking outside the curve creates an anchor point there and moves the curve to that point.
Anchor points are moved by clicking on the anchor with the left mouse button and dragging the point while holding the mouse button down. The display provides a light gray line mirroring the original line as a reference point.
Areas of the curve above the reference line represent pixels that have a lighter value than they had originally. Areas below correspond to pixels that have been darkened. The distance from the line represents the amount of change. (This is in value mode, the curve in channel mode indicates change in color or transparency.)
Edited image
The above image after editing curves,
Not perfect, but better. The cicada is easier to see. I might be able to get something better than this with additional editing. Like a little Gamma correction....
(GIMP doesn't offer gamma correction as a stand-alone option. It uses the middle slider on the Levels tool for gamma correction.)
Definitely better than the starting image. Not perfect, but better. "Perfect" probably requires different lighting conditions when taking the photo in the first place.
Try the online GIMP manual for more information on using curves to edit an image. While the information is specifically meant when using GIMP, it is useful when using other image editing software.
Care needs to be used when editing an image with Curves. Large changes can result in the image looking posterized, with bands of colors instead of gradations. Large changes can lead to some interesting effects, so the tool is definitely worth experimenting with.
Editing with Curves also allows control over where certain effects take place. Increasing contrast in one area of an image often requires lowering it in another. This decreased contrast can be limited to a range where it has limited impact when using Curves.
In GIMP, the Curves tool can be accessed under Tools-Color Tools-Curves or Colors-Curves. The method will differ if using a different editing program.
Sample Curve with Corresponding image :
The gradient bar at the bottom of the histogram represents the pixels' current value, referred to as the input value. The bar on the left side represents the output value, or the value the pixel will be set to once the changes are finalized.
Editing
The line running from the lower left to the upper right represents the changes made to the image (this line is referred to as the curve from here on). A straight line from corner to corner means that the input levels are the same as the output levels, meaning no changes have been made.
Altering the image is performed by creating and moving anchor points. The curve starts with two points; one at 0,0 and the second at 255, 255. New anchor point are created by clicking on the graph. Clicking on the curve creates an anchor point at that point on the curve. Clicking outside the curve creates an anchor point there and moves the curve to that point.
Anchor points are moved by clicking on the anchor with the left mouse button and dragging the point while holding the mouse button down. The display provides a light gray line mirroring the original line as a reference point.
Areas of the curve above the reference line represent pixels that have a lighter value than they had originally. Areas below correspond to pixels that have been darkened. The distance from the line represents the amount of change. (This is in value mode, the curve in channel mode indicates change in color or transparency.)
Edited image
The above image after editing curves,
 |
| Final Result |
Definitely better than the starting image. Not perfect, but better. "Perfect" probably requires different lighting conditions when taking the photo in the first place.
Try the online GIMP manual for more information on using curves to edit an image. While the information is specifically meant when using GIMP, it is useful when using other image editing software.
Care needs to be used when editing an image with Curves. Large changes can result in the image looking posterized, with bands of colors instead of gradations. Large changes can lead to some interesting effects, so the tool is definitely worth experimenting with.
Editing Photos - Editing Levels with Dropper Tool
Some image editing software offer the option of using an eye-dropper tool to set levels when editing an image's histogram. In GIMP (the software I use) the tool for editing levels offers both slider and dropper options at the same time. The dropper tool tends to be less precise than using the slider option, but can be quicker when trying multiple settings. The effects of using the dropper tool can be fine-tuned using the slider.
Gimp offers two options when using the dropper tool.
1) Editing values only.
This option is used by utilizing the two dropper buttons located directly under the image's histogram. Clicking on the left button and then clicking on a spot in the image sets the dark value to the same value as the location chosen. Clicking on the right button does the same for the light value.
There is no option for setting just the mid-tone value in my version of GIMP using a dropper tool. This has to be set with the slider.
Here's an image edited with the value dropper:
The top image is the original with no changes made. The second image shows the effect of setting the light value using the dropper tool. I chose a section in a lighter area of the post. Using the sky would have had no effect. The sky is white as a result of being overexposed in order to keep the rest of the image within the proper exposure range. The bottom image is after both values have been set. I used the spot in the lower right corner where the paint has flecked off the post.
Setting the dark value first had very little impact so I chose to omit an example of doing so.
2) Editing All Channels
The dropper buttons on the bottom of the Levels window will effect the color channels instead of just value. This means these buttons will change the image's color as well as altering lightness, darkness and contrast.
The exact effect of using these droppers will depend on the area selected when the dropper is used. Selecting an area other than white, black or gray will effect color. This effect is more pronounced the farther away the selected area is from true neutral.
Examples, using the middle button choosing mid-range value areas.
In the top image, I selected an area located in the white spot on the cicada's thorax. A spot in the post was used in the second image. An area located in the background tree was used in the third. The yellow stripe on the cicada's back was used in the bottom image.
The bottom two images clearly show the color change that can occur when using the eye-dropper tool in coordination with color channels to edit levels.
Using the bottom dropper tools can be useful when dealing with an image that needs color correction. Photos taken using artificial lighting can need correction as can scanned images of old photographs or slides. Using the bottom tool and selecting an area that should be white, black or neutral gray can automatically correct the color.
You might have noticed that the histogram did not change using the bottom option. To see the effect of using this option, you need to have the view set to see one of the channels.
The auto button does not use a dropper tool. This button results in the software altering the color channels using built-in algorithms.
Gimp offers two options when using the dropper tool.
1) Editing values only.
This option is used by utilizing the two dropper buttons located directly under the image's histogram. Clicking on the left button and then clicking on a spot in the image sets the dark value to the same value as the location chosen. Clicking on the right button does the same for the light value.
There is no option for setting just the mid-tone value in my version of GIMP using a dropper tool. This has to be set with the slider.
Here's an image edited with the value dropper:
 |
| Unedited Image |
 |
| Light Value Set With Dropper |
 |
| Both Values Set With Dropper |
Setting the dark value first had very little impact so I chose to omit an example of doing so.
2) Editing All Channels
The dropper buttons on the bottom of the Levels window will effect the color channels instead of just value. This means these buttons will change the image's color as well as altering lightness, darkness and contrast.
The exact effect of using these droppers will depend on the area selected when the dropper is used. Selecting an area other than white, black or gray will effect color. This effect is more pronounced the farther away the selected area is from true neutral.
Examples, using the middle button choosing mid-range value areas.
The bottom two images clearly show the color change that can occur when using the eye-dropper tool in coordination with color channels to edit levels.
Using the bottom dropper tools can be useful when dealing with an image that needs color correction. Photos taken using artificial lighting can need correction as can scanned images of old photographs or slides. Using the bottom tool and selecting an area that should be white, black or neutral gray can automatically correct the color.
You might have noticed that the histogram did not change using the bottom option. To see the effect of using this option, you need to have the view set to see one of the channels.
The auto button does not use a dropper tool. This button results in the software altering the color channels using built-in algorithms.
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