I purchased some larger SD cards (32gb) the other day. They aren’t the fastest cards but the price was right and they work just fine in both the Nikon D600 and my little Fujifilm X-M1. On the X-M1 the give me something like 1200 images before I run out of space. With all that space I thought I would try out creating jpg files along with the normal raw files.
Fujifilm is known for it color film and they have included profiles for some of their more famous film stocks. I shot some images of Fred our backyard plant. I tried to emulate the feel of the jpg when doing the raw conversion in Lightroom 5.4. I wasn’t quite spot on with my conversion but I like the extra crispness I processed into the image.
This first image is the jpeg file direct from the camera. The only change was to resize down to 1600 x 960. The Veivia has some very nice reds and is a little soft.
This is my attempt at duplicating the feel of the Fujifilm. I cropped the raw file down to 16×9 like the jpeg and then pushed and pulled the Lightroom levers to this result. I should probably add the raw file so we compare to how the raw file is presented before customization.
Using todays modern cameras images of stars in the night can be easily obtained. As long as you live or can get to a place where night time is actually dark. My backyard just is not the place. Kind of like living in a large camera with a light leak. Still with a bit of effort you can get some interesting images. This was from my backyard shooting almost straight up. The image was taken on a 16mm fish-eye at F2.8 for 15 seconds with an ISO of 800. If I didn’t have so much ambient light I could have either extended the open shutter time or upped the ISO to pull in the fainter stars.
Using a wide angle lens gives you a view of a larger portion of the sky it also allows for longer exposures without the starts moving in the image. A lens between 16mm and 28mm is your best bet. Use the most wide open aperture that your lens allows. F/1.4 to F2.8 if you have a lens that opens up that wide. You must have a really sturdy tripod. You should also use a remote shutter release or use the self timer to let the camera stabilized before the shutter opens. The last issue is to get the stars in focus which you probably will do manually unless you have a real good live view on your camera. I try to set my focus just below infinity (even stars are not an infinite distance from the lens).
Beware, night photography can become addicted and you end up doing things like getting up at 2:45am to try and see nonexistent meteor showers. jr
Thanks to the availability of trial version of most photo processing software I’ve been able to download several possible replacements for Adobe Lightroom. I’ve been quite impressed with Capture One Pro 7 from Phase One. Here is a first pass at an image I shot last night.
Spaceship Earth Monorail – Lightroom 4
Spaceship Earth Monorail – Capture One Pro 7.
The image was taken with my Nikon D600 at 800ISO with the 24-85mm zoom. I applied the provided profile for the lens to both images. Lightroom lightened up the edges of the image much more than Capture One did and Capture One cut a bit of the outer edge off during that process. I used a fair but not over amount of Clarity on both versions of the image. I used a the same small gray rectangle near the bottom of the image to set a white balance for both versions. I think the Capture One image came out slightly warmer.
One other note of interest I exported both images to a 1000 wide jpg at 85% at 100 px per inch. The Capture One file was larger. Next time I may try stripping out the metadata to get a more accurate view of the actual size of the image.
Here is the image unprocessed.
It has been almost a week now since Adobe announced that they were going to be taking the Creative Suite and rebranding it as Creative Cloud and changing their business model to one exclusively subscription based. Prices have been give of $50 per month to be able to download and use any of the applications of the Creative Cloud. A $20 per month Photoshop only subscription was also advanced as an option. The real catch to the announcement is that once you drop your subscription the program from Adobe that are downloaded to you computer will cease to work. This is a big change from the buying a perpetual license for software where there was no further payment made to Adobe unless you wanted to purchase an upgrade to the next version. It has also kept me up nights.
It took me several days to actually get to the bottom of why I felt betrayed, bamboozled, and basically had the rug pulled out from under me. It is not about the price, I was pretty much
resigned willing to paying about that much every year for the continued upgrades to the one part of the Creative Suite I use, Photoshop. And I can see some really good reasons for subscribing to the Creative Cloud if I were a business with employees who would be using the software most of their work day. If I had graphic designer who I was paying $60k or $80k a year to produce art (using the term loosely) an investment of $600 per year for the latest software would be cheap. Less than 1% of the employee costs per year. If I no longer need the employee for some reason, lack of work, employee changes jobs, etc. I just cancel the subscription and I have no further issues.
As far as subscriptions go Photoshop for $240 a year probably is a good deal, I pay more than that to Kelby Training each year for my NAPP membership and my Kebly Training subscription. And that is where the rub is. I like my Kelby Training subscription, it gives me access to some wonderful training by some of the best instructors in the business including the likes of Jay Maisel and Joe McNally. I really want to continue with those subscriptions, especially the Kelby Training one because it is about a lot more than how to move pixels in Photoshop. But I am not giving Kelby Training $279.00 a year for instructions I can only use at Kelby Training.
My issue is that while I’ve spent probably $1500 dollars for Photoshop from Version 7 (I think) through the CS series, I probably have invested
twice four or six times that amount in books and instruction on Photoshop and now Lightroom. I’ve spent $3K just on going to PhotoshopWord three times. Then there is the large number of hours of my time spent reading and practicing the instructions from the books and videos. I don’t begrudge any of those hours or any of the dollars because I loved to learn and I love to apply what I’ve learned. Problem is that now I don’t feel it would be worth my while to learn anymore about Photoshop if what I learn can’t continue to be applied down the road if time and travel prevents me from keeping up on my payments to Adobe.
I really don’t want to write a check each month for $20.00 to Adobe (forget about the first year discount). And all I have for all that check writing is, well nothing. On the same note I’m sure that Adobe’s Board of Directors and shareholders would like to make a profit. I’ve tried my best to come up with a solution that is fair to Adobe as well as me. Personally I wouldn’t mind paying out a yearly upgrade subscription if I was assured that at the end I would still have a perpetual license for Photoshop that I could still use after I no longer desire upgrades. And I would give even a bit more, say a one time upgrade fee from CS6 to CC. So in my mind a one time fee of $200 for a perpetual upgrade to Photoshop CC plus maybe a once a year $199 subscription would be something I could accept and manage. This gives me the next version of Photoshop plus it gives me 1 year to see if Adobe is really ready and willing to give us continuous improvements to the program. After that year I can make a decision if the subscription for updates is of further worth.
I won a copy of onOne’s Perfect Photo Suite 7 at Photoshop World after Joe Glyda’s Live Food Shoot Session. This is a first try at Perfect B&W, I picked the look with the most stuff going on. I have a lot more experimenting to do with this .
PS. I tried using the onOne Suite on an iMac 27in. with only 4 gigs of memory it was really sluggish. The program really wants more memory as Lightroom is running at the same time so I have the same 24mb file running on each application. 16 gig makes the program really work well.
I finished reading The Print and The Process by David duChemin a few weeks ago and am now just getting around to having time to do a quick review. The book is an interesting look at several personal and client projects by the author.
More to come.
The other morning the moon was still up and there was mist on the pond behind the house. I used an ev -1 to get detail in the moon. Once again the amount of detail in the Nikon D600 sensor is amazing.
Shot with the Nikkor 24-85mm 1:35-4.5 G lens at 72mm.
The sensor in the D600 is so much better than that in the D200. I’ve taken a number of full moon pictures with the 70-300mm 1:3.5-4.5 zoom (at 300mm) with the D200 which is an equivalent of a 450mm lens and nothing is close to the detail I’m getting with the D600.
The moon shot was exposed in manual mode with ISO 400 at F/11 for 1/125 sec. Massaged in Lightroom 4. Click on the image to see it bigger.
I haven’t been too keen on black and white photography for a while but never say never. This image was OK as a color photo but converting it to black and white really worked. There is something about the lighting on his forehead and face that pops. I used a Lightroom 4 preset from David duChemin from a new book that I am now reading. More on the book and the author after I get finished with the book. I posted this image on 500px and was pleased that it made the Popular page.
I’ve just finished Food Photography From Snapshots to Great Shots by Nicole S Young. This is one of a number of books in the Peachpit Press Snapshots to Great Shots Series. These books are good for anyone with a minimum knowledge of photography wanting to expand their photography skills.
Food Photography starts out with a quick couse in camea and lens basics and explains the basics of exposure; iso, aperture, shutter speed, and white balance. Ms Young explains the equipment you need to start taking food photographs. The book is very thorough in it’s approach. Each chapter builds on the new information presented. There are many illustrations explaining each step of the process of shooting food. There is plenty of examples of how the shot was taken and how the lighting was set up. The explaination of lens and especially lens compression are worth the price of admission.
The book is well written and easy to follow. There is plenty of detail on each subject although I wish she had included the actual lens setting on the images shot with zoom lens. That and there is a lot of images of good looking food. You will get hungry reading this book. “Food Photography From Snapshots to Great Shots” is good place to get a solid foundation in learning about this special form of photography.