Blog

Real Men Use CF Cards!

I had a white seamless shoot on Saturday for ten 16 year olds girls. That's a scary thought, but they were all fantastic and took posing instructions really well. Unfortunately, my SD card didn't have such an easy night.

I've been shooting in 14 bit lately, so memory cards fill up much faster. I'll need to get round to doing a 12 & 14 bit test, as I'm not sure I see that much of a difference in quality, but the file sizes with the later are so much larger. I was shooting with a D300s, the 35mm 1.4G for full body and the 85mm 1.4G for portraits (50mm & 128mm in full frame terms). Due to the 14 bit, I maxed out 8 gigabytes about three quarters of the way through the shoot. I removed the CF and SD cards from their slots and swapped the CF with the empty one in my D300, knowing that the card wouldn't get lost if it was inside a camera. I slipped the SD card into a thin compartment in my bag where I keep my light meter and ColorChecker Passport. I don't know if the damage was done when the card went in or when I took it back out at home, but as you can see from the photo above, the dividers between the contacts have been ripped up. I could put it in the camera or a card reader to see if it still works, but even if it did, I would never trust it, because you just know it would fail at the worst possible time, or even worse, damage a camera.

I was lucky in a way though, as the SD card was set to record a back-up, with the CF card getting the original RAW files. So £50 down the drain, but it could have been worse. I've now ordered two 8gb Class 10 SCHC cards, one for the Nikon and one for the soon to be delivered Fujifilm X-Pro1. I'd like to move to a D700 for the full frame sensor, but only having one card slot scares me! So I'll take CF cards over SD cards any day of the week. CF's are built like tanks. They're for real men...manly men!

Shooting Street Fashion with a 50mm

I thought I'd post a few photos of a fashion shoot I did last year. All of these shots were taken with a Nikon D300s & a 50mm f1.4G and they were all shot with the lens wide open, except for the last photo, which was shot at f4.

With the 1.5 crop factor of the APS-C sensor, the 50mm is equivilent to a 75mm in full frame terms, which is a pretty good focal length for portraits. At f1.4 and shooting close to the subject, it is important to move the camera focus point on to the eye closest to the camera. Focus and recompose won't work at this distance!

Although I was shooting at f1.4, the 50mm G lens is sharp where it should be, but with beautiful buttery bokeh that does wonders for skin, even before photoshop (these are obviously not straight out of the camera though). Click HERE for a 100% crop.

We were lucky that the day of the shoot was planned to coincide with a public holiday, so the streets were unusually empty.

View From My Keys :: 18th Feb 2012

When I started playing sax I thought it would be great to just show-up, open my case and play. Fast forward a lot of years and I'm surrounded by a full music shop. Tenor sax, Guitar, 3 synths and 2 FX units. The laptop controls projections on a 7' circular screen.

One hour before showtime and the souncheck begins.

It's easy to see why he was such a successful male model. You might remember him from the Calvin Klein adds?

The gig begins. This is what we see from the stage a lot of the time, the audience is out there, but we see darkness.

New Documentary Website & The Fujifilm X-Pro1

I've launched a new website for my documentary projects here. I was originally going to add it as a section on my main site (this one), but I felt it needed a darker look and it's own URL. I'll be shooting a new story soon, but I'm trying to hold off until the new Fujifilm X-Pro1 arrives, as I really need good performance at high ISO. On the X-Pro1 front, I have added it on the gear page, plus the 18mm f2 and the 35mm f1.4 prematurely, but I wanted to complete the site.
I have another story that I already shot that would be amazing for the site, but I would like to get permission out of respect (it's not the photo below).

Workflow Wizard 2:: The ExpoDisc

Back on the workflow challenge again, trying to speed things up. After watching the excellent course by Zack & Jody Gray on Creative Live last week, I was amazed at how little time they spend on post production. Start to finish, from importing the images to album design takes them just five and a half hours. Now that's fast, really fast!

So what's the secret? Zach & Jody say it's all down to getting white balance and exposure consistent and accurate in the camera using an ExpoDisc. So I thought I'd give it a go and happily handed over my cash to the nice man at Warehouse Express. So two days later and £79+p&p lighter, I received a 77mm ExpoDisc in the mail. The first thing I noticed was that it didn't have any threads to let you screw it on to a lens. It just stuck on the front of my 85mm 1.4 as if by magic (it might actually be magnets). Buy the size for your largest lens and then just hold it over the front of your Smaller ones. It even works on the tiny X100 lens. The ExpoDisc works by using your camera Custom White Balance function. Canon users get the short end of the stick here, as there are more steps involved in setting a custom white balance and you need to either put the camera on manual focus, or get used to using back button focus. But as I don't own a Canon DSLR, I can't go into detail about how to go about it here (please check your manual). I'll be using a Nikon D300s for this test, but you can apply it to the method your camera uses.

You need to have your camera set to Manual Mode and Custom White Balance. For most Nikon cameras, you would press and hold the WB button on the top left of the camera, then turn the thumb dial until the display reads 'Pre' (right hand side).

Now before I go any further; getting the correct exposure is not an exact science with the Expodisc, and even more so with a Nikon. To get an exposure reading and set custom WB, stand where your subject is and either point the lens back to your shooting position, or toward the light source (as you would with a light meter). Which one you choose will depend on the lighting conditions, but mostly it will be back toward your shooting position. Please note that the exposure reading you get from a Nikon differs by 1 stop when the camera is set to grab a custom WB (flashing 'Pre'). 1a. Camera pointing back toward shooting position, and exposure set before entering into custom WB capture mode (flashing 'Pre'). 1b. Camera pointing back toward shooting position, and exposure set after entering into custom WB capture mode (flashing 'Pre'). 1c. Camera pointing toward light source, and exposure set before entering into custom WB capture mode (flashing 'Pre'). 1d. Camera pointing toward light source, and exposure set after entering into custom WB capture mode (flashing 'Pre').

NIKON D300s: Setting custom WB.

  • 1. Place the ExpoDisc on the front of your lens with the white side facing the lens.
  • 2. Hold the camera in front of your subject and point it back toward your shooting position (see above).
  • 3. Adjust your ISO to suit the lighting conditions.
  • 4. Set the aperture to what you want to use.
  • 5. Set your shutter speed making sure it's at least one over focal length (50mm = 1/60).
  • 6. Make sure your meter readout is centre (correct exposure).
  • 7. Press and hold the WB button until 'Pre' flashes.
  • 8. Press the shutter button to fire a shot (it won't show up on your memory card).
  • 9. The camera display should be flashing 'good' to confirm success.
  • 10. Remove the Expodisc and shoot. Adjust shutter speed if you need to adjust exposure.

*

The steps above look a lot, but it actually only takes a few seconds to do.

The following examples of different light types are shot as follows. Left image. Aperture Priority and Auto WB. Centre image. Manual mode with exp/WB taken toward shooting position. Right image. Manual mode with exp/WB taken toward light source.

DAYLIGHT (from window on a cloudy day)
'
INCANDESCENT
'
FLUORESCENT
'
The shot on the left is auto WB and the shot on the right  is using the ExpoDisc (cloudy windo light).
***

I'm pleased with the ExpoDisc and I'm looking forward to trying it out on a proper job with different lighting conditions. If it can save a lot of time in post it will be worth the money. If your exposure and white balance are consistent and correct, a preset in Lightroom or Aperture could be applied at import to add a bit of contrast. That should de-flatten RAW images and give you files that are spot on.

ADDENDUM-----------------------------------------------------------------------------------------------------------------------------------------------

My  friend Patrick LaRoque asked in the comments, if there was much difference between the ExpoDisc and a regular grey card? So I tested a few options and to be honest there isn't a lot of difference. I think the ExpoDisc is a little more user friendly when it comes to shooting on the go. Even the Colour Checker Passport has a small grey card which is handy, but doesn't fill the frame. Being able to use the ExpoDisc to set exposure is a bonus to. Have a look at the results below or click here for a larger version.

Nikon D800::Big Mistake or Big Leap Forward?

So the Nikon D800 is finally here and it's either a big leap forward or a giant step back. There's actually two models, the D800 and the D800E, with E model having the same spec, but with the anti-aliasing filter removed for sharper photos at the risk of introducing a moire effect. I've held back from buying a D700 for about a year because it's replacement was just around the corner, and I think it would have been if not for the natural disasters in the east over the last 12 months. But i kinda wish I had went ahead and bought a D700 last year, in fact I might buy a D700 this year???.

My first thought when I heard about the 36.3 megapixel sensor was that Nikon had screwed us over, and by us, I mean the guys that want full frame cameras, but can't afford a D3s, D3x or D4. All I really wanted to be honest, was a D700 with twin card slots, Quiet Mode and decent video. What I didn't want was files that take up three times the space, a much slower burst rate, and I especially didn't want worse ISO performance than it's predecessor. The D700 was groundbreaking because of it's low light/high ISO performance, so Nikon have just stuck two fingers up to most of their customers in this category and said "Nikon giveth and Nikon taketh away".

So is it all bad? No, not really.  For studio work, I reckon this camera will shine. Huge files with lots of detail, if fact, I think Nikon are actually trying to bridge the gap between DSLR's and medium format, and if the images are sharp, they will probably succeed. The D800 is like the D3x's illegitimate brother that was the result of a secret affair. Nobody accepts him at first, but they'll probably grow to love him!

The D800 has broadcast quality video at full 1080p HD. It outputs to an external monitor at full resolution and has a mic input. The video is stunning, but I think too much emphasis is put on the motion capturing ability of cameras and not enough on the stills.

So I think I'm going to wait until the dust settles. Maybe I'll buy a D700, but with just a single card slot I would worry about the day when a card fails with a few hundred wedding photos on it. Maybe I'll try to pick up a D3s, there might be a lot of people offloading nearly new ones when they upgrade to the D4. Or maybe the D800 will grow on me and I'll put up with the huge files to get huge quality. What if the upcoming D400 has a 16 megapixel full frame sensor? With the D7000, what would be the point of a D400 with anything less?.....to be continued.

iBooks Author

I don't remember ever getting butterflies in my stomach when using a piece of software for the first time, but that's exactly what happened with the new iBooks Author app. Apple have just changed the face of modern culture again with a bold move into the book publishing world, and a lot of publishers are about to go out of business....a lot! But just as the music world giants like Sony were scratching their heads a few years ago and not coming up with a solution for the dire state of the music industry, Apple have came in with a move that is to the publishing industry what iTunes was to the music industry. I hate to see business's going to the wall, but as Bob Dylan said "times, they are a changing".

Here's another quote, this time from Dane Sanders "we now live in a digiflat world". That means we are all on an equal playing field. I'm typing this blog post on my iPad in a play area while my kids are getting tired out (hopefully). I'll then upload it to my blog for free and you get to read it for free. We can publish what we like and we can look for and read what we like (at least until the men in suits ruin the internet).

iBooks Author is awesome! I've played with it over the weekend and it's really easy to get to grips with. There's a small learning curve, but it's mostly plain sailing, especially if you have used desktop publishing software. I put together a mockup of a documentary book as a way to get to grips with the app. The 'Sections' through me a bit at first. Sections are great for textbooks, but I just wanted chapters in my book, one per project. But once I found how to delete a section, I was off again. Another thing I'm trying to do is link text box's that I make and auto flow the text over a chapter, but I still haven't managed to figure that one out at the time of writing this post (leave the answer in the comments if you know). That said, it wasn't long before I had a couple of chapters laid out the way I wanted, complete with photos that popped up full size at the tap of a finger and embedded galleries that work by swiping the box on the page or tapping first and then swiping them full screen. One of the genius things about this app is that when you click on the preview button it sends the book to your iPad (as long as it's connected to your Mac using the dock cable). The book then stays on your iPad, which let's your friends and family preview your latest masterpiece before you publish it to iBooks. I should state that the app is for Mac only, but maybe a windows version is in the pipeline? I would be gutted right now if I was still a windows user!

When you want to publish your book you simply upload it to the iBooks Store and fill out the information required (which I believe includes tax forms). The financial deal is a 70/30 split, with the author getting the bigger half. If anybody reading this has published a paper book, you'll know just how great a deal Apple is offering.

The best way to great your head around this game changing piece of software is by playing around with it. Even if you only intend buying books in the new format, iBooks Author will give you the best insight into how these books work on the iPad. I can't wait to see some of the new and innovative books that come out on this format.

View From My Keys :: 19th Jan 2012

I'm going to make this a regular feature. Like the title says, it will be views from my keyboards, at gigs, rehearsals...etc. This is the first rehearsal for the 2012 tour. It's hard to get back into the swing of things after a long break over Xmas and New Year, but time is flying by and it won't be long until the first gig. so here's a few to kick things off. Hopefully you will find a lot of the shots interesting as the year goes on.

It's been said that small songbirds weep with jealousy when Billy takes to the mic. They fall out the sky when I do!

This is just a bit of the spaghetti that I have to put up with. I'll post some photos of the full mess from the next gig.

,

Why Fuji Has Got It Right

,

I love DSLR's like the next guy, they're great tools and they get the job done with stunning results. Nikon, Canon, Sony and co. are getting it right in the DSLR market, but what I'm talking about here is the medium sized cameras that sit between point and shoots and DSLR's, often called compacts or system cameras. Rangefinders were made by lots of manufacturers back in the day, but the only option for a camera of that style or quality for years, has been the Leica M series. But not everybody can afford thousands on a camera, especially if you already spend thousands on a DSLR system. I love my Yashica rangefinders, but film just doesn't do it for me anymore. So I'm thrilled and excited about the direction that Fuji's is taking.

I bought my Fujifilm X100 in March 2011 and have carried it with me ever since. It got me back into street photography in a big way, which led to starting the 35mmStreet blog. It's also the perfect tool for one of my 2012 goals, which is to shoot documentary projects. The X100 is not perfect, but it is a very special camera and I feel lucky to be around at this point in time, shooting with a camera that the next generation will look back on and wish they had something like it.

That brings me to the point of this blog post (at last, I hear you say). I think Fuji have got it right in their X series. The viewfinder is an absolute joy, the glass is fantastic and the sensor/processor combination is really amazing. We all want low noise at hi ISO's and the X100 delivers that and still manages to keep it's great colours. The fixed 35mm equivalent lens has been great for me and I love the fact that you know how the image will look in the viewfinder even before you bring it up to your eye. But the manual focus is useless and there have been plenty of times that I've had to bring along a DSLR because I knew I wouldn't get close enough for a 35mm. So enter the new X-Pro 1. This looks like the camera that you can really take anywhere with you and be confident that it will tackle almost all types of photography.

So why are Fuji getting it so right and other manufacturers are getting it, well, not so right. The micro four thirds system have similar sized bodies, but smaller sensors. I personally wouldn't buy a camera with a sensor smaller than a 1.5 crop factor. Ideally, all cameras would be full frame. How many photographers in the film days shot with 110...none that I know of, it was all 35mm and up. Some of Fuji's hype for the X-Pro1 is that it will have the quality of full frame from an APS-CMOS sensor. This is a big claim, but Fuji has come up with another breakthrough. They have taken the low pass filter out which gives a much better resolution and a sharper image. They have been able to do this because the new X-Trans CMOS sensor has 6x6 pixel units instead of the usual 2x2, that means that the RGB sites can be more random, which gets rid of the moire effect.

The X100 and the X-Pro1 both have the hybrid viewfinder, in fact the latter has the second generation version that slides lenses in to compensate for different focal lengths. The Optical viewfinder is the best feature on these cameras and looking through the X100's for the first time is a memory that's burned into my brain forever. Meanwhile, the competition have either no viewfinder, a small plastic hole or an electronic viewfinder. Even the ultimate rangefinder, the Leica M9 could do with implementing some of Fuji's viewfinder technology. But having said that, there's not much I wouldn't do for a black M9-P with a 35mm Summilux.

Old school dials is another thing that Fuji has got right. Having to wade through a menu system is both a waste of time and not feasible when out shooting. In fact, another Fn (function) button would be really helpful. It's great that they have recessed the exposure compensation dial into the body and improved the buttons as well. It looks like Fuji listen to feedback from customers. Let's hope they have been listening when it comes to the poor manual focus.

So I'll be ordering the X-Pro1 with the 35mm and the 60mm lenses. I'll still have the X100, so I'll wait to see if I need the 18mm, but I'll probably end up getting it. There will be zoom lenses at the end of 2012, but I'm a prime shooter, so the lenses that will be available at the release of the camera are spot on for me. Fuji has made it clear that this is just the start of this system, there will be more cameras and lenses coming. Keep your eyes on this blog for a review as soon as the X-Pro1 arrives.