Herbert Keppler was an early influence. I started photography at an early age. He was with a magazine called Modern Photography. He went over to Popular Photography in later years.
My recent lens testing reminded me of his precise testing measurements. My upcoming post will not be as precise but very obvious. Thanks to Herbert.
“It seems impossible to turn out a camera free of all idiosyncrasies. Cameras are obviously like people — which is, I suppose, one reason why they make such a good combination.”
- HK
RIP Herbert Keppler.
http://en.wikipedia.org/wiki/Herbert_Keppler
Friday, June 1, 2012
Thursday, May 31, 2012
First Look: Canon 24-105 L F/4 IS
Took the plunge. Canon did not hand this to me in return for a favorable review. Got the Canon 24-105 L F/4 IS as a replacement for the workhorse Sigma 18-200 3.5/5.6. There were many reasons to do this. Image quality was the least. Sigma is a fine manufacturer and makes some good stuff. But for top of the line results, I needed something better.
Rick Sammon has enthusiastically recommended this Canon lens for portraits which is my intended use (see book below). This new lens affords the following advantages.
1. No lens sag. The Sigma lens when hanging around your neck, changes focal length due to gravity. It gets longer until you hit 200mm. The Canon does not. The Sigma offers a lock but only works at 18mm. Not effective when working with a client and shooting at 70mm.
2. Image Stabilization (IS). I can now handhold at 1/15th shutter speed at 105mm and produce sharp results. This is compensation for the lack of an F/2.8 L offering in this focal length range. I had been debating over the 24 to 70 F/2.8 L for quite a while.
3. Consistent F/ 4.0. The Sigma goes from a slightly faster 3.5 to full stop less at 5.6 at far end of 200mm. I know that with the Canon, I am dealing with F/ 4.0 the entire time.
4. Better Macro. You can get down to 1.5 feet from the subject but at 105 can get a nice view of a model, a praying mantis or glass of Sam Adams. Truth is that the 1.5' is from the focal plane. Actual distance is 9" from the front of the lens hood.
5. Compatibility. My Sigma concked out the camera last year giving me another ERROR 99 message. Error 99 effectively shuts down the camera. Fortunately, I was not on assignment at the time. Never got this bad chip message with a Canon lens. Could be difficult and embarrassing in front of a client. Sigma did replace a chip on a prior lens for $100, but tsk-tsk, should NEVER be needed. Sorry. A slap in the face to charge to fix a clear defect even if several years down the line. SORRY, WE MARRY THE LENSES AND DATE THE CAMERA BODIES!
Anticipated benefits:
6. Contrast / Sharpness / Less flare. To be tested in the coming weeks. Stay Tuned. No disappointment in the first card or the Sam Adams. Now to use under challenging conditions.
JA
Rick Sammon has enthusiastically recommended this Canon lens for portraits which is my intended use (see book below). This new lens affords the following advantages.
1. No lens sag. The Sigma lens when hanging around your neck, changes focal length due to gravity. It gets longer until you hit 200mm. The Canon does not. The Sigma offers a lock but only works at 18mm. Not effective when working with a client and shooting at 70mm.
2. Image Stabilization (IS). I can now handhold at 1/15th shutter speed at 105mm and produce sharp results. This is compensation for the lack of an F/2.8 L offering in this focal length range. I had been debating over the 24 to 70 F/2.8 L for quite a while.
3. Consistent F/ 4.0. The Sigma goes from a slightly faster 3.5 to full stop less at 5.6 at far end of 200mm. I know that with the Canon, I am dealing with F/ 4.0 the entire time.
4. Better Macro. You can get down to 1.5 feet from the subject but at 105 can get a nice view of a model, a praying mantis or glass of Sam Adams. Truth is that the 1.5' is from the focal plane. Actual distance is 9" from the front of the lens hood.
5. Compatibility. My Sigma concked out the camera last year giving me another ERROR 99 message. Error 99 effectively shuts down the camera. Fortunately, I was not on assignment at the time. Never got this bad chip message with a Canon lens. Could be difficult and embarrassing in front of a client. Sigma did replace a chip on a prior lens for $100, but tsk-tsk, should NEVER be needed. Sorry. A slap in the face to charge to fix a clear defect even if several years down the line. SORRY, WE MARRY THE LENSES AND DATE THE CAMERA BODIES!
Anticipated benefits:
6. Contrast / Sharpness / Less flare. To be tested in the coming weeks. Stay Tuned. No disappointment in the first card or the Sam Adams. Now to use under challenging conditions.
JA
Wednesday, April 18, 2012
SHOOT, I FORGOT MY SNOOT!
SNOOTS are a classic photographic light modifier used to narrow a beam of light and is first cousin to the GRID and BARN DOORS. It creates directional lighting that essentially increases contrast and can better define a subject. Yousuf Karsh used all kinds of light modifiers and Rembrandt lighting.
Underwater photographers have been adopting the technique in recent years. While they can be effective, you can sometimes add a "snoot effect" to a photo AFTERWARDS, when you are back in the digital darkroom.
I shot this nudibranch (pronounced nude-ih-brank), Nembrotha chamberlaini in the Philippines a couple months ago. It is "nice" but that is an awful word to describe a photograph. You are looking for WOW! The photo is colorful but flat against the sand bottom. Rembrandt Lighting with a soft fill make for a potentially compelling photo. Here's how to improve it.
We want to add a darkening effect that replicates the same effect as a light modifier had I used one. I use a number of software packages in the digital darkroom. I have found that the best tool for this effect is the ADJUSTMENT BRUSH using Adobe Lightroom. Lightroom 4 is a recent upgrade and corrects Adjustment Brush significantly. Prior versions spewed horrible, grainy artifacts liberally when you used higher levels of correction.
To start Adjustment brush from the Library Module, hit the K key. Click on the icon from the development module. It toggles to turn on or off.
Start using a COPY of one of your files. This is automatic in Lightroom if you are shooting RAW.
In the Adjustment brush panel, you will want to set the following parameters.
1. Brush size, start around "25"
2. Click off the Check box Auto Mask if it is on. You are looking for smooth blending.
3. Exposure. Start at minus -20. Using this value, you can adjust the darkening effect later. Improved in Version 4, there used to be two sliders, Exposure and brightness. The latter is gone as the distinctions were overcomplicating. Draw around the perimeter of where you want to see a classic vignette. Since the eye is attracted to brightness, you are aiming to darken the corners and draw the viewers eyes to the most important part of the photo.
4. Adjust the Exposure value until it "looks plausible." Turn off the Adjustment Brush to 'Keep the Setting."
5. If it needs more correction, Turn on Adjustment Brush again and go back and add another layer. Adjust exposure and brush size as needed. Turn off Adjustment brush again.
6. Repeat as many times as you need until you are happy with the result. You can always delete History if needed. Lightroom uses non-destructive editing.
This will not replace the snoot or other light modifiers, it's not the Ken Burns effect, but the "John Ares effect" will enhance many photographs that might have been overlooked.
Underwater photographers have been adopting the technique in recent years. While they can be effective, you can sometimes add a "snoot effect" to a photo AFTERWARDS, when you are back in the digital darkroom.
I shot this nudibranch (pronounced nude-ih-brank), Nembrotha chamberlaini in the Philippines a couple months ago. It is "nice" but that is an awful word to describe a photograph. You are looking for WOW! The photo is colorful but flat against the sand bottom. Rembrandt Lighting with a soft fill make for a potentially compelling photo. Here's how to improve it.
We want to add a darkening effect that replicates the same effect as a light modifier had I used one. I use a number of software packages in the digital darkroom. I have found that the best tool for this effect is the ADJUSTMENT BRUSH using Adobe Lightroom. Lightroom 4 is a recent upgrade and corrects Adjustment Brush significantly. Prior versions spewed horrible, grainy artifacts liberally when you used higher levels of correction.
To start Adjustment brush from the Library Module, hit the K key. Click on the icon from the development module. It toggles to turn on or off.
Start using a COPY of one of your files. This is automatic in Lightroom if you are shooting RAW.
In the Adjustment brush panel, you will want to set the following parameters.
1. Brush size, start around "25"
2. Click off the Check box Auto Mask if it is on. You are looking for smooth blending.
3. Exposure. Start at minus -20. Using this value, you can adjust the darkening effect later. Improved in Version 4, there used to be two sliders, Exposure and brightness. The latter is gone as the distinctions were overcomplicating. Draw around the perimeter of where you want to see a classic vignette. Since the eye is attracted to brightness, you are aiming to darken the corners and draw the viewers eyes to the most important part of the photo.
4. Adjust the Exposure value until it "looks plausible." Turn off the Adjustment Brush to 'Keep the Setting."
5. If it needs more correction, Turn on Adjustment Brush again and go back and add another layer. Adjust exposure and brush size as needed. Turn off Adjustment brush again.
6. Repeat as many times as you need until you are happy with the result. You can always delete History if needed. Lightroom uses non-destructive editing.
This will not replace the snoot or other light modifiers, it's not the Ken Burns effect, but the "John Ares effect" will enhance many photographs that might have been overlooked.
Sunday, April 1, 2012
LIGHTROOM 4 - First Impressions
Upgraded to Lightroom 4 this weekend. So far, so good. Here is a first look.
BROKEN ITEMS FIXED
Seems as if there are two notable fixes. First, the Adjustment Brush SEEMS as if it is throwing fewer artifacts at the photo when you use the tool to darken. In a future post I will do a thorough comparison. Second, the File Counter is working again. In the last version, the root folders had counts of "0."
NEW FEATURES
We now have the ability to directly e-mail from Lightroom. This is time and mind saver. No longer do you have to Export, switch to mail, remember the file name and search for its location. On my Mac, Lightroom 4 defaults to going to Apple mail. I configured it to go to my Gmail account and it seems to work with Firefox. Chrome did not display the photos! One downside is that Lightroom 4 does not connect with the Apple Address book so addresses need to be typed in manually.
There is a new BOOK assembly Main Menu pick that allows you format for self publishing. I don't do this frequently, so it is a nice to have.
I still want features like displaying my existing Folder Color Labels coding and similar keystrokes as Bridge when doing common tasks like going to Photoshop to edit, and using the L keystroke to go back to Library, Autosynch for the Catalog, and auto default Import Presets.
You get a 15% discount this year if you are a NAPP member and purchase through the NAPP Website.
.
BROKEN ITEMS FIXED
Seems as if there are two notable fixes. First, the Adjustment Brush SEEMS as if it is throwing fewer artifacts at the photo when you use the tool to darken. In a future post I will do a thorough comparison. Second, the File Counter is working again. In the last version, the root folders had counts of "0."
NEW FEATURES
We now have the ability to directly e-mail from Lightroom. This is time and mind saver. No longer do you have to Export, switch to mail, remember the file name and search for its location. On my Mac, Lightroom 4 defaults to going to Apple mail. I configured it to go to my Gmail account and it seems to work with Firefox. Chrome did not display the photos! One downside is that Lightroom 4 does not connect with the Apple Address book so addresses need to be typed in manually.
There is a new BOOK assembly Main Menu pick that allows you format for self publishing. I don't do this frequently, so it is a nice to have.
I still want features like displaying my existing Folder Color Labels coding and similar keystrokes as Bridge when doing common tasks like going to Photoshop to edit, and using the L keystroke to go back to Library, Autosynch for the Catalog, and auto default Import Presets.
You get a 15% discount this year if you are a NAPP member and purchase through the NAPP Website.
.
Saturday, March 31, 2012
Ernie Brooks - B&W Master
Beneath the Sea is the country's largest consumer dive show. Last weekend, we had the good fortune to meet this year's "Legend of the Sea."
He is a sincere gentleman with a quick wit and great eye for light, especially underwater, and the atmosphere as he is now photographing clouds. We caught his presentation "Adrift with Penguins." What a departure from the usual in a great way.
As a photographer, he has a philosophy of sharing that most of us feel on an intutive level, but he shared by giving out many archival prints to the audience that were hand signed and embossed. Free. Wow. We just had to promise to frame them and give them a place of honor.
Check out the preview for his new book SILVER SEAS here.
Buy the book here.
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