New Nik Silver Efex Book Launched


Cover image for my new Amazon Kindle book

Cover image for my new Amazon Kindle book

I am very pleased to announce that I have just launched my latest book. It’s called how to create “Dramatic Black & White Photography using Nik Silver Efex Pro 2“. It’s priced at just $3.99 or £2.68 and is available from Amazon as a Kindle eBook. Don’t worry if you don’t have a Kindle as Amazon provide free Kindle reader software for the PC, Mac, iPad, iPhone and Android platforms.

If you are not familiar with the Silver Efex Pro software, I have to tell you it’s one of the best Black and White conversion tools on the market today. I won’t say the best as that’s a personal opinion. What I can tell you is that it’s an extremely popular plug-in for editing packages such as Photoshop, Lightroom and Elements, and for very good reasons. It’s a favourite of many professional photographers and will when used correctly produce stunning monochrome conversions from colour images. Unfortunately the software was quite expensive, but all that recently changed when Google purchase Nik software and slashed the price of all the packages.

My new book covers all aspects of the package including both the interface in detail. I explain how the different sliders and tools work and how these can be applied to achieve improved conversions. As will all my books, this one is supported by worked examples, the files for which can be downloaded from the Members Area of my Lenscraft website.

If you use or are thinking of using Nik Silver Efex Pro and want a book to support you, please take a look on Amazon.

Free Soft Proofing Article


The vivid colours of Artists Palette in Death Valley in the late evening sun. If you want to reproduce colours like these in print you will need to do some soft profile to ensure the image looks right. If you don't, it's going to be very hit and miss.

The vivid colours of Artists Palette in Death Valley in the late evening sun. If you want to reproduce colours like these in print you will need to do some soft profile to ensure the image looks right. If you don’t, it’s going to be very hit and miss.

I have just finished and uploaded an article on how to use the Soft Proofing features in Lightroom 4. You can download the article for free from my Lenscraft website by following this link to the Members Area. You will need to log in as a member to gain access but membership is free and you gain access to a lot of other articles and free information. Alternatively you could just wait until the article is publish on ePHOTOzine in the next few weeks.

Enjoy

Finding Your Vision


This is my vision.
This is my vision.

“Finding Your Vision” is the title of one of the presentations I give from time to time around Camera Clubs and Photographic Societies. This particular presentation is however about 5 years old and with an upcoming presentation in June I need to bring it up to date. The core message of the presentation is however unchanged and states “your performance as a photographer is based on three aspects of photography that are inter-related”.

The three aspects that I am referring to are:

  1. Inspiration
  2. Vision
  3. Skills

Your weakest area will be the one that limits your performance. Unfortunately as photographers we tend to focus (no pun intended) on the third one; skills.

Now let me take a moment to define Inspiration and Vision as these are often confused so I need to make my definitions nice and clear.

Inspiration is the motivation you have to pick up a camera and take a picture. What is it that inspires you to do this? Why do you take pictures? Is it a feeling or is it that you are trying to achieve something? And keep in mind that not all subjects inspire everyone to the same level. I am very motivated by capturing wide open outdoor spaces. Still life photography, action photography and quite a few others don’t inspire me so my performance will always be second rate with these subjects.

This is actually the reason for the image above which I will be incorporating into my new presentation. This is typically a scene that inspires me to reach for my camera.

Vision is effectively how you imagine the scene when you come to photograph it and this will cause you to answer questions such as how should I frame the subject, what mood do I want to convey etc. Other aspects of vision include imagining how you want the finished image to look once it has been processed without worrying how to process it. Vision is linked to inspiration as if you are not inspired by a subject you won’t spend the time to develop your vision of the scene.

Returning to the image above, here is the starting image. Hardly exciting but to me it was. I know it was because I took around 100 images trying to catch the right moment. You see I had a vision of the finished image.

Starting image
Starting image

When I decided to take this image I did so because I was inspired by the location. I then had to decide how I wanted to capture and represent it i.e. develop my vision. When I came to actually process it I refined my vision further.

Examine the image and I hope you will see that I like reflections, clouds and other aspects of the outdoors. I also hope you can see that my vision is about trying to simplify the elements of the scene. I like order, balance and symmetry which is why I have placed the horizon in the centre of the frame and tried to emphasise the reflections of the clouds. I have also tried to compose the clouds so that they are balanced on the left and right of the frame with the water movement emphasised in the centre. The colours in the scene were too intense so I switched to black and white which also helped me emphasise the elements in the frame. I could have pushed this emphasis further but this again is not my vision. I like the processing to appear more believable even though they are quite a departure from reality.

The final element of my trio is skill. If you don’t have the skills to capture and post process your then you will struggle to realise it. We have all had times where we have an idea for an image but it never looks quite how we want it to. This is because we don’t have the skills yet to achieve our vision or perhaps we didn’t slow down sufficiently to employ our skills fully.

Next time you are wondering how to improve your photography come back to these three points:

  1. Inspiration
  2. Vision
  3. Skills

Find your weakness and develop it.

Lightweight Panoramic Photography


Death Valley panoramic created from 4 Panasonic GX1 images stiched together in Hugin.

Death Valley panoramic created from 4 Panasonic GX1 images stiched together in Hugin.

I am and always have been a fan of panoramic photography. I’m not sure why but the format (usually somewhere between 2:1 and 3:1 ratio) really appeals to me and makes sense as the way I see the world. Unfortunately, to create good panoramic images you need additional equipment beyond just the digital camera and this tends to go against my lightweight ethos.

Typically to make a good panoramic I need a tripod, panoramic head and stitching software. Unless you are prepared to spend tens of thousands of pounds (or dollars) on a digital panoramic camera, panoramic images need to be shot as a sequence of overlapping images which are then stitched together in specialist software.

I should at this point mention that I am a real stickler for quality so if any aspect of my images is lacking (in my mind) I will not be satisfied with the finished panoramic. This means that I don’t like to handhold my camera when shooting image sequences and always try to mount my camera on a tripod. I would also like to use a panoramic head to avoid problems of parallax error where objects in the various images don’t align correctly, as the stitching software will either distort the images to make them align or leave “ghosting” traces of objects. I do have a panoramic head for my tripod but it’s so heavy and bulky that I seldom take it with me.

This combination of problems means that I need to rely on stitching software to do a good job of aligning and merging images. Until now I had been using either Photoshop or Panorama Factory to complete my stitching. Photoshop seems to do a reasonable job but feels a little clunky and doesn’t give me the fine tuning/image optimisation that I want. It also has a habit of distorting images when I don’t want it to and not aligning all the objects along a stitching seam correctly. It’s usually close but not quite good enough.

As I have never really felt completely satisfied I tried out and invested in Panorama factory. This does a nice job of aligning the elements of the image as well as offering lots of power, but really does need a panoramic head to work properly. It often leaves some areas which are not quite sharp e.g. where fine details such as grass didn’t align exactly between images. My solution to date has been to output the panoramic image as a layered Photoshop file. This allowed me to fine tune the blending to remove blurred areas by adjusting the masks in the layered file. This is time consuming and quite complex even when you know exactly what you are doing with Photoshop masks.

If I am totally honest with myself I shouldn’t have invested in Panorama Factory if I wasn’t prepared to use a panoramic head but I was swayed by the cost. You see, when I did my testing a few years back PTGui was really the best option given how I wanted to shoot but I was put off by the cost. PTGui is only a graphical front end for Panorama Tools (which is a freeware package) and I just wasn’t prepared to pay a hefty license fee for something built around the genius of another’s work. This was the wrong decision and I think I should have purchased PTGui.

As I have now decided to make panoramic work a major feature of my photography I have recently downloaded the trial version of PTGui and PTGui Pro once more. I have to admit that I am very happy with the ease of using the software which can be highly automated saving me time and effort. This sits well with my lightweight philosophy. The only problem; I am still reluctant to pay the license cost as I would need the Pro license.

That’s when I came across Hugin which is also a graphical front end for PTGui. It feels remarkably similar to PTGui in terms of operation and it appears to be just as capable with very similar features to the Pro version of PTGui. The image above was created from 4 images captured on a Panasonic GX1 which was tripod mounted. I tried the stitching in Photoshop and Panorama Tools but I could see problems. PTGui did a great job but so did Hugin with an almost identical result even down to how it determined the stitching – not surprising given they both have the same stitching engine.

Now you might be thinking that I am about to repeat my past mistake of not paying for the best tool because of the cost. I don’t however know at this stage which is the best tool. And, Hugin is freeware so there is no cost other than in my time to learn and experiment with the package. I might still decide to invest in PTGui but so far Hugin is doing a great job and meeting all my requirements. If you are interested in shooting and stitching panoramic I think this is a great package that’s well worth investigating and it’s free.

Photo Acute Photography Software


GX1 Beach Scene. Nothing to do with the post, I just like the image

GX1 Beach Scene. Nothing to do with the post, I just like the image

Every so often you come across a piece of software that redefines what you accepted as the rules of photography. Something that makes you think how on earth did they do that. Well I may have stumbled across such a software package and it’s called Photo Acute.

In brief this is a software package to blend multiple exposures together but it’s a little different to other packages of this type that I have seen. Yes it does HDR and yes it does focus stacking to achieve greater depth of field. It will remove chromatic aberration and it also does noise removal in a way that differs from standard packages.

What really grabbed my attention however is the way is can multiply the size of your image and pull in new detail by blending together multiple images. This isn’t however simply a resizing of the image, it actually generates additional detail – at least that’s what the blurb on the website says and it does present some strong examples. Interestingly, when I tried it the new image appeared to also be sharper than the original as well as twice the size in both dimensions.

Given the limited pixel count of some great compact cameras e.g. the LX5, this is a great way to enlarge your images.

To make the package work its magic you simply need multiple identical shots of a scene. They can all be the same exposure (unless you are doing HDR) and they can all have the same focus point (unless you are doing focus stacking). With between 2 and 8 images the blending generates a new resized image. The more images you blend the better the results but the longer the processing so try 3-4 images.

I haven’t posted an example here as I don’t have any multiple shot images that are good enough. There is however a free download of the software that you can try out on their website. When I am feeling better and I can get out again I will carry out some experimentation.

The Black art of Colour Management


Sunset images can be particularly challenging to edit and print if you don't have a colour calibrated workflow. Captured on a GX1 and edited with Nik Viveza.

Sunset images can be particularly challenging to edit and print if you don’t have a colour calibrated workflow. Captured on a GX1 and edited with Nik Viveza.

In my last post I discussed some of the choices we photographers now have in choosing paper surfaces for printing. Someone raised a question that I responded to about how to get the colours accurate but I think this subject deserves a more in depth answer; so here is a little more on the subject.

The secret to getting prints to look the way you want them to is all wrapped up in Colour Management. This can be a very simple process but it can quickly become a wide discussion with lots to confuse. I will try to keep this simple and discuss two areas of colour management that are essential to achieving accurate colour (and for that matter black and white) prints. These are:

  1. Screen calibration
  2. Printer calibration

It’s necessary to have an accurately calibrated screen so that you have confidence the colour you see on screen is the colour of the image. This is really vital because you could make your image look great on screen only to find you have compensated for all kinds of colour shifts and contrast problems with your monitor.

There are software solutions that allow you to calibrate your screen visually but these will never be as accurate as a hardware solution that measures the colours on screen, creating a specific profile for your monitor. There are a number of solutions available that will quickly allow you to generate a bespoke profile for your monitor and I suggest you invest in one of these. Its money well spent. Which model you invest in will depend on your budget and the approach you intend to adopt for printing.

When printing, it’s necessary to have your printer calibrated to the specific ink and paper. This allows you to ensure colours and tones are accurately reproduced for a given paper. There are three options here:

  1. Download and install the ICC colour profile for your printer and the paper you will be using. This is good but not as good as having a custom profile created for your printer.
  2. Have a custom profile created using a profiling service. This involves printing out a target image which is then measured to generate a profile. You can then install and use the profile for printing. There are a number of such services advertised in the back of photography magazines. Alternatively if you purchase Permajet or Fotospeed papers, they offer this service for free.
  3. Invest in a hardware solution that allows you to generate your own profile. This is good if you have a lot of profiles you want to create or switch papers often. This is the option I have chosen and have purchased a ColorMunki Photo tool. This allows me to calibrate both my screen and printer. So far the results have been exceptional.

Even if you intend to send your prints away to a printer, it’s still necessary to calibrate your monitor.

When it comes to printing, the printer and paper combination you have selected may not be able to represent accurately the range of colours and tones you see in your image. To compensate for this the printer will adjust the colours so that they fit within the Gamut that the printer can handle. This can affect how some colours appear as well as the contrast level in the image.

The solution to this problem is to use soft proofing for your images. Photoshop, Lightroom 4 and other packages will support soft proofing. This involves selecting the profile you are going to use to print your image and then the software tries to represent the image on the screen as it will ultimately appear on paper. There are lots of solutions here so your best option is to look up how to perform soft proofing for your chosen package. I would even recommend you soft proof your image when sending them off to a third party printer.

So, in summary:

  1. Profile your monitor and set it to use the customer ICC profile (most calibration units do this step automatically for you).
  2. Print using a profile generated specifically for your printer and paper combination. You should then use this profile when printing so you will need to print from an ICC aware application such as Photoshop or Lightroom. I use a package called QImage for reasons I won’t go into here other than to say it makes the job easy.
  3. Check your image using soft proofing before you printing to see if you want to make any further adjustments before you print.

Follow these steps and you will end up with accurate colours and tones in your prints.

LX5 Book Launched


LX5 Worked Example from my book

LX5 Worked Example from my book

After my previous post, I am no longer feeling sorry for myself and am well on the road to recovery. In fact I am feeling quite satisfied as I have finally completed my book “The Panasonic LX5: How to Achieve Exceptional Image Quality” which has been on the go since November last year.

As the title suggests then book is about how to create exceptional image quality with the LX5. It is supported by a worked example turning a standard LX5 image into a highly detailed 30” print. If you are a member of my Lenscraft web site you can download the full resolution 30” image for a closer look. The only rule is that you can’t sell it, change it or pass it off as your own work.

If you want to find out more about the book you can find the details here.

Hopefully normal blogging resumes from next week.

Lightroom Profile for Sony RX100


RX100 in Wales

RX100 in Wales

I have been trying to create a new camera profile for my Sony RX100 in Lightroom for a few weeks but had been unable to get the software for my Passport Color Checker to work properly. I have now traced the problem to the new version of DNG files that Lightroom 4.3 creates (Lightroom 4.2 seemed to work fine). I resolved the problem by saving my DNG files in the old DNG version 6.6 format.

Don’t worry if the above doesn’t mean much to you, if you have a Sony RX100 and use Lightroom you might want to download and try the profile I created. I found the profile improves the reds and blues (particularly) over the standard Adobe profile.

You can download my profile for free from the Members Area of my Lenscraft. You will need to have signed up as a member but that gives you free access to everything on the site and I don’t pester people with emails other than a quarterly newsletter and the odd announcement.

If you use Lightroom and have an LX5 or GX1 you will also find my profiles for these cameras in the same location.

I hope you find this useful.

Missing the Obvious Again


Infrared GX1 image of Lindisfarne Castle on Holy Island, Northumberland.

Infrared GX1 image of Lindisfarne Castle on Holy Island, Northumberland.

I have just answered a question posted on yesterdays blog and it made me realise I am missing the obvious again. This time it was that most people reading my blog have probably never seen a direct conversion from a RAW infrared file. Neither will you probably know what all this problem is with white balance and why I was so concerned. Here then are some examples that hopefully will put this right. All are created from the same RAW file used for the image at the top of the page and I have done no other adjustments to the files beyond what I explain below.

This first example is what you get in Lightroom when you set the camera white balance to AWB and all the other sliders are at 0.

Rely on your cameras auto white balance and Lightroom and this is what you get

Rely on your cameras auto white balance and Lightroom and this is what you get

The next example shows what you get in Lightroom when you set the camera white balance correctly for infrared light. Better but still not correct.

Set the camer white balance correctly for infrared and Lightroom makes a better job but still not right

Set the camer white balance correctly for infrared and Lightroom makes a better job but still not right

Here is the same RAW file in SilkyPix using the correct Infrared white balance. Notice the difference in colour from the Lightroom image. In this image there is much more information in all three colour channels and it makes for a better conversion to black and white.

The correct white balance converted in SilkyPix is much better and almost right

The correct white balance converted in SilkyPix is much better and almost right

The next example shows what happens in SilkyPix when you set the white balance using the white balance picker on the grass near to the castle. This is how the file should look before converting to black and white. This gives a nice spread of information in all the channels and makes for a high quality conversion. Even though a lot of the information in the B and G channels is probably interpolated by the RAW converter, it still appears to be a better conversion and that’s what I am interested in.

Use the white balance tool in SilkyPix to target the grass and you get the correct result

Use the white balance tool in SilkyPix to target the grass and you get the correct result

In this final example, I have done a channel swap between the Red and Blue channels to create a false colour. Not to everyone’s taste but it can be quite effective.

False colour created by a Red, Blue Channel swap. Interesting.

False colour created by a Red, Blue Channel swap. Interesting.

Missing the Obvious


Old Church Ruin in Infrared

Old Church Ruin in Infrared

I am always on the hunt for new ways to do things that can improve my photography. You only need to achieve a few small quality improvements and it can quickly add up to dramatic improvements in your work. One area that I had been exploring was RAW converters and some of you might have seen an earlier post I made about Photo Ninja which looked very promising but was quite expensive. My decision was therefore to stick with Lightroom which performs well.

More recently with my new found passion for Infrared photography, I have identified that Lightroom isn’t good for processing RAW files from my converted GX1. The quick explanation of this is that Lightroom can’t set a white point for the infrared image and you end up with an image which is red. This then prevents you from using a technique called channel swapping to produce false colour but it also appears to detract from the quality of the final image when working in black and white. My search was on then for a RAW converter to use with my infrared images.

I returned initially to Photo Ninja which did a good job and allowed me to set a correct white balance. Unfortunately the cost put me off although I did come close to making a purchase and probably would have if it wasn’t for RAW Therapee.  This is a free RAW converter which performs well and has some nice features such as allowing me to do a channel swap during the RAW conversion. The only problem is that it’s tricky to use.

I moved on to search for another free RAW converter “Bibble” which it seems has been purchased by Corel and is now sold as Corel Aftershot. This works well enough and is good price. I just had a niggling feeling that I shouldn’t make a purchase just yet.

After a lot of searching and experimentation I remembered that Panasonic Cameras capable of shooting RAW images are packaged with a special version of the SilkyPix RAW converter. This is version 3 of the SilkyPix Developer Studio that has been limited to only working with Panasonic cameras. Whilst it won’t convert my Canon and Sony files it will process my GX1 and LX5 images fine.

After initial experimentation with the latest version I found the images to be super quality, containing lots of detail, appearing nice and sharp, with good colour and being free from noise. They are in my opinion better than those from Lightroom (both traditional and infrared images). Here is a section of the image above at 100% (click the image to zoom in).

100% sample from infrared GX1 file

100% sample from infrared GX1 file

The real decision maker for me is when I received an email the day after offering an upgrade to version 5 developer Studio (still limited to Panasonic cameras) for JPY3800 (about £24). Decision made!

I am now therefore using SilkyPix for my infrared RAW conversions and am extremely pleased with the results.