Selective sharpening of an image using the high pass filter

Posted on By Mark Wilson
This content is 12 years old. I don't routinely update old blog posts as they are only intended to represent a view at a particular point in time. Please be warned that the information here may be out of date.

With a few notable exceptions, I dislike photos of myself. I like to be behind the camera, taking pictures not starring in them, but sometimes it’s necessary to have the camera turned in my direction.

For instance, over the last few months, it became increasingly obvious to me that I needed a new profile picture. The last one was taken in 2008 when I was a) younger and b) heavier, but I’ve been struggling to find the right image.  I was going to ask one of my many photographer friends to take one for me but then, whilst at the recent B2B Huddle, I found myself in the company of John Cassidy, who was creating fantastic headshots of attendees for a very competitive price.

In just a few minutes (John normally spends more time with his clients), shooting tethered into Adobe Lightroom with a Nikon D3, 85mm f1.4 lens and a collection of lights and reflectors, John managed to create the proverbial silk purse from a sow’s ear in that he made me look quite presentable! In fact, I was amazed at what he had done with me*. One of the resulting images is now my profile picture on most of the websites that I use (I keep finding odd ones with old pics that need to be mopped up, and I still use an image for my Flickr profile that Benjamin Ellis took of me, “caught in the act” of photography, although he’s since removed the image from his photostream).

I also wanted a higher-resolution image for my about.me page but, to my eyes, the image I’d selected seemed just a little soft around the eyes. It was taken at a reasonably narrow aperture (f5) but I wanted to sharpen up my face (just the face – as sharpening my suit created some strange results due to the weave of the fabric). A few minutes in Photoshop was all it took to create the effect I required for a punchy on-screen image, although it would be inappropriately sharp for a printed version:

These are before and after images, at 25%:

 

It’s a useful tip, and I’m not the first to write about the high pass filter – it’s all over the ‘net – but it’s a technique that’s worth knowing about if you really like a shot but are finding it just a little too soft for your taste. In addition, the eyes may be sharper now but it does have the side-effect of enhancing wrinkles, etc. in my skin. That’s probably OK for a 40-year-old man but not too flattering for a woman so more selective editing may be required.

* My wife used the word “handsome” but I wouldn’t go quite that far.

Three trips to London just to get one image right: I hope it was worth it!

Posted on By Mark Wilson
This content is 12 years old. I don't routinely update old blog posts as they are only intended to represent a view at a particular point in time. Please be warned that the information here may be out of date.

Unless they’ve been living under a rock, it would have been difficult for anyone in the UK to miss the fact that the Olympic Games took place in London recently and that Team GB and Northern Ireland (Team UK surely?) did rather well.  In true British style, many of us (myself included) were deeply cynical about many of the decisions made by the Olympic organisers (I still think that the ticketing was a mess, and that sponsors got a little too much brand exclusivity for their money) but, as the medals came flowing in, our positions softened and the nation came together as one in a way that I honestly don’t think I’ve seen before.  Strangers spoke to one another in the streets (where I live in rural Buckinghamshire that’s normal – at least on weekdays when the commuters are at work – but not in London) and the universal common denominator of comment was no longer the British weather but the success of Bradley Wiggins, Jessica Ennis, Katherine Grainger or one of the many other athletes who have become household names this summer.

Less broadly publicised (although the Mayor of London Presents website is a good resource) were some of the surrounding events taking place in London during the Olympic (and Paralympic) Games and it was purely by chance that I attended a London Bloggers Meetup for a photo walk along the Thames taking in the light shows on many of London’s landmarks.  Actually, I didn’t really manage to attend – I started out with the group but, because I’m a photographer first and blogger second, I fell behind, missed the boat and ended up on my own photo walk (I still got a set of photos that I was pretty pleased with). Except for one of them, showing the Union Flag projected on the side of the Houses of Parliament, which looked OK in camera but was pretty awful when I got it loaded into Lightroom.

I know a bad workman blames his tools but that image is really fuzzy on one side – spoiled by my 24-85mm f2.8-4D lens which seemed good when I used to shoot on film, or on a cropped-sensor DSLR (my old D70) but which has shown itself to be very soft around the edges (especially at zoomed out and at wide apertures) since I switched to a full frame D700. Nikon say this there is nothing wrong with the lens (they still charged me a chunk of money to service it though) but Ken Rockwell also found it lacking in sharpness in his review so I’d have to say it’s a design “feature”, not a “bug”.

A return trip to London a couple of days later with my family (sans DSLR and tripod but with my Coolpix P7100) gave me another go, which was better, but the P7100 just doesn’t have the low-light performance of my DSLR. With a couple of trips to the Paralympic Games planned (as well as a photography weekend coming up in North Yorkshire), I decided to splash out on a new lens (Nikon 50mm f1.4D) but only had one opportunity to shoot the projections on Parliament again.  The original Olympic show ended with the Olympic Games, but a re-worked version is currently running for the Paralympic Games, except that I’m busy at the weekends, and it’s not on this week because Parliament is in session. That left me with two possible evenings to try and get the shot and, as Amazon delivered my new lens so quickly, last Wednesday I was back in London for a wander around Westminster, culminating in lots of night shots on and around the Thames. This time I think I nailed the shot (I hope so anyway!) but it took two hours (8 viewings of the projection on a 15 minute loop) before I was confident I had the image(s) I wanted in the bag.

The final problem is that, when shooting the projection, the clock face of “Big Ben” is just too bright and the highlights are burned out. Unfortunately, the minus one stop exposure that suited the projections onto Parliament was not enough for Big Ben – and that needed to be underexposed by closer to 4 or 5 stops. Thankfully I was able to take two images in the few seconds during which the Union Flag was projected onto Parliament, grabbing shots at -1EV and -4EV (both at an aperture of f4 and using the same focus point). Then, working in Photoshop, I layered the two images, with the darker one on top, and created a mask to hide all but the clock face of Big Ben, allowing the main elements of the -1EV image to show and the composite image to be correctly exposed.

Union Flag on the Houses of Parliament/Paralympic Projections (9)

This is the resulting image and, although a wider angle would have been preferable (as would have been twilight rather than a pitch black sky), I can’t have everything, the weather was kind to me, and I’d rather have a sharp, correctly exposed, image!

New cameras, raw image support and Adobe software

Posted on By Mark Wilson
This content is 13 years old. I don't routinely update old blog posts as they are only intended to represent a view at a particular point in time. Please be warned that the information here may be out of date.

In yesterday’s post about my Nikon Coolpix P7100, I mentioned that I’d had to invest in new software when I bought a new camera (as if a new camera wasn’t a big enough expense). As I’m reading about Adobe’s beta of Lightroom 4, I thought it was probably worth eleborating on this, as once of my friends also had a similar experience last year – and it’s something that pretty much all Adobe users will come across if they buy new cameras and shoot raw images.

Whilst some might argue that there is no noticable difference between a fine JPEG image and something generated from a raw file, the simple fact is that multiple edits on compressed files will lead to a gradual degradation in quality. I prefer to capture in the highest possible quality, work on that, and only save to .JPG at the end of my workflow (typically before uploading to the web, or sending to a lab for printing).

So, when I bought the P7100, I found that I needed the latest version of Adobe Camera Raw to read the .NRW (raw) images that it created. That wouldn’t have been a problem, except that Adobe Camera Raw 6.x doesn’t work with the software I was using at the time – Adobe Lightroom 2.x and Photoshop CS4. So I purchased Lightroom 3, although I have to make do without editing my P7100’s images in Photoshop – it’s just too expensive to upgrade at the drop of a hat.

It’s not just me – a friend who bought a Canon EOS 600D last year suddenly found that she needed to upgrade from Photoshop Elements 8 to Elements 9 in order to work with her raw images (she could also use Apple iPhoto… but it’s seriously limited for anything more than the most basic of edits).

With the coming of Lightroom 4/Photoshop CS 6, I guess we’ll see Adobe Camera Raw 7 and, if past history is any judge of what’s coming, I’ll expect that will not work with Lightroom 3 or CS 5. In effect Adobe is forcing us to upgrade their software, in order to use the raw capabilities of a new camera.

Obviously, Adobe would like us to all use its digital negative (.DNG) format for raw images (indeed, Adobe offers a free DNG converter) but, given that neither Canon nor Nikon – the two largest camera manufactirers – are showing any sign of moving away from their proprietary formats, that doesn’t help a lot.

There may be other tools to convert from the P7100’s raw images to .DNG or .TIF for working on, but I can’t help feeling Adobe’s decision to tie Camera Raw to certain releases of its software is a retrograde step, and it won’t encourage me to upgrade my software again until I am forced to (probably by a new camera purchase…).

Nikon Coolpix P7100: Great carry-everywhere camera with SLR-type controls but could do with being a little more responsive

Posted on By Mark Wilson
This content is 13 years old. I don't routinely update old blog posts as they are only intended to represent a view at a particular point in time. Please be warned that the information here may be out of date.

For a while, I’ve been looking for a camera that will fit in my bag so I can take it anywhere, is inexpensive enough to leave in a car glovebox without fear of theft but is capable enough to replace my DSLR in certain scenarios (so, not a mobile phone camera…).

Then, on a photography trip to Cornwall last September, I broke one of my lenses, rendering my D700 next to useless (my 80-200 f2.8 is a good lens, but a bit long for everyday use and without my 24-85 f2.8-4 I was pretty lost). Lacking the funds to replace the lens (I’ve since repaired it and can wholeheartedly recommend Dave Boyle’s Camera Repair Workshop), I decided to purchase the camera I’d been waiting for – a Nikon Coolpix P7100, which competes with Canon’s G12 to replace the earlier Coolpix P7000 (adding a pivoting screen, although not the flip-out type found on camcorders – which is, arguably, a good thing).

Why the Nikon? Well, I have a Nikon D700 DSLR and a Canon Ixus 70 point and shoot (correction – had a Canon Ixus – as my son has claimed it as “his” camera) but the P7100 has a longer zoom range than the G12 (28-200 35mm equivalent) and a better LCD screen. Ultimately the longer zoom is what clinched the deal for me – although I would like to have gone down the Canon route.  Offering full control over images (e.g. aperture priority, shutter speed priority, manual ISO selection, raw capture and even a flash hotshoe) but also fully-automatic mode (and video), it’s a chunky “little” camera/video camera but still small enough to slip in my coat pocket.

The retail price for this camera is £499 and I originally paid around £423 on Amazon but, the day it arrived, I found the price had dropped to closer to £371.  I was just about to return it (unopened) and repurchase but instead, I got in touch with Amazon, who refunded the difference (saving shipping costs) although they did claim this is not normal practice.  Since then, it’s dropped a little further but I think I paid a fair price, given that it was a newly-released camera at the time.  Although I’ve yet to find a case to keep the camera in, it’s pretty substantial and should be able to withstand everyday knocks but I did decide to get a screen protector to cover the LCD panel.  Ebay came up trumps here with some protectors from Protection 24 Films.

So, is it any good? Well… that’s one of the reasons this post has taken so long to write (the comments on this DPReview post are worth reading). It is good, but I can’t quite make up my mind as there have been a couple of disappointments. I’m glad I didn’t get one of the new Nikon 1 series cameras – I don’t need to mess around with interchangable lenses on something for this purpose – but an entry-level DSLR costs about the same as the P7100 and that has no shutter lag/focus delay/ (the P7100 does – and that’s inconvenient when taking pictures of moving objects). Also, the noise levels are not great with noticeable grain at ISO 400/800 worsening rapidly above that (although they do look like grain, rather than the digital noise I used to get with my old D70) but I’d expected better in a camera from this day and age.

Even so, I was looking at my Flickr stream last night and realised just how many of my recent shots were taken on the little P7100. These two were taken last weekend in London and, considering I was holding the camera in the air and using some slow shutter speeds, have come out remarkably well:

An eye on Big Ben

London Eye

These were taken in Lincoln just before Christmas:

Exchequergate

Top of Steep Hill

Lovely Post Office

And these were taken early one morning in October just after I got the camera:

Mist rising over the Ouse Valley

Petsoe Wind Turbines at Dawn

Early morning balloon ride

The grain is noticeable in the full-resolution versions of the dawn shots, and there is some distortion (particularly obvious on the buildings in Lincoln) that I haven’t been able to correct in Lightroom (I need to work out the appropriate settings). I also had to update my Adobe software to use Camera Raw 6.x which meant a new copy of Lightroom (thank goodness for educational discounts) and that I can’t edit my P7100 raw files in Photoshop CS4 (that will be the subject of another blog post, I think).

Given that I don’t want to lug a heavy (and expensive) DSLR rig around everywhere – its unlikely I would have taken some of these if I hadn’t bought the P7100, so it’s clearly a useful tool (I use it with my Joby Gorillapod too) but it’s worth bearing in mind some of the limitations before shelling out some cash. Those looking to expand their photography might prefer to get an entry-level DSLR and those looking for a point and shoot may well be happy with a cameraphone – the Coolpix P7100 attempts to fill a very small niche between these two form factors.

Hardware lineup for 2011

Posted on By Mark Wilson
This content is 14 years old. I don't routinely update old blog posts as they are only intended to represent a view at a particular point in time. Please be warned that the information here may be out of date.

This is a bit of a copycat post really but I saw Mike Taulty and Phil Winstanley‘s hardware lineups and thought it was a good idea. So, here it is, a summary of the technology I use pretty much every day and how I see that changing this year.

Car: Audi A4 Avant 2.0 TDI 170 S-Line

Audi A4 Avant 20 TDI 170 S-LineMy wife and I have been Volkswagen fans for a few years now (we find them to be good, solid, reliable cars that hold their value well) so, a couple of years ago, when I heard that Volkswagen and Audi were being added to our company car scheme, I held back on replacing my previous vehicle in order to take advantage. I did consider getting a Passat but the A4 (although smaller) had a newer generation of engine and lower emissions, so it didn’t actually cost much more in tax/monthly lease costs.

After a year or so, I’m normally bored/infuriated with my company cars but I still really enjoy my A4 – so much so that I will consider purchasing this one at the end of its lease next year. My only reservations are that I would really like something larger, sometimes a little more power would be nice (although this has 170PS, which is pretty good for a 2 litre diesel) and I do sometimes think that the money I contribute to the car might be better spent on reducing the mortgage (I add some of my salary to lease a better car than my grade entitles me to).

Either way, it’s on lease until I hit 3 years or 60,000 miles, so it’s a keeper for 2011.

Verdict 9/10. Hold.

Phone: Apple iPhone 3GS 16GB

Apple iPhone 3GSI actually have two phones (personal and work SIMs) but my personal needs are pretty basic (a feature phone with Bluetooth connectivity for hands free operation in the car) and I recycled my iPhone 3G when I was given a 3GS to use for work.

After having owned iPhones for a few years now (this is my third one), I don’t feel that the platform, which was once revolutionary, has kept pace and it now feels dated. As a result, I’m tempted by an Android or Windows Phone 7 device but neither of these platforms is currently supported for connection my corporate e-mail service.

The main advantages of this device for me are the apps and the Bluetooth connectivity to the car (although I needed to buy a cable for media access). I use Spotify and Runkeeper when I’m running but there are a whole host of apps to help me when I’m out and about with work (National Rail Enquiries, etc.) and, of course, it lets me triage my bulging mailbox and manage my calendar when I’m on the move. Unfortunately, the camera is awful and it’s not much use as a phone either, but it does the job.

I could get an iPhone 4 (or 5 this summer?) but I’d say it’s pretty unlikely, unless something happened to this one and I was forced to replace it.

Verdict 3/10. Not mine to sell!

Tablet: Apple iPad 3G 64GB

Apple iPadAfter several weeks (maybe months) of thinking “do I? don’t I?”, I bought an iPad last year and I use it extensively. Perhaps it’s a bit worrying that I take it to bed with me at night (I often catch up on Twitter before going to sleep, or use it as an e-book reader) but the “instant on” and long battery life make this device stand out from the competition when I’m out and about.

2011 will be an interesting year for tablets – at CES they were all over the place but I’ve been pretty vocal (both on this blog, and on Twitter) about my views on Windows as a tablet operating system and many of the Android devices are lacking something – Android 3 (Gingerbread [correction] Honeycomb) should change that. One possible alternative is Lenovo’s convertible notebook/tablet which runs Windows but features a slide out screen that functions as an Android tablet (very innovative).

I may upgrade to an iPad 2, if I can get a good resale price for my first generation iPad, but even Apple’s puritanical anti-Adobe Flash stand (which means many websites are unavailable to me) is not enough to make me move away from this device in 2011.

Verdict 8/10. Hold.

Everyday PC: Fujitsu Lifebook S7220 (Intel Core 2 Duo P8400 2.2GHz, 4GB RAM, 250GB hard disk)

Fujitsu Lifebook S7220My personal preference for notebook PCs is a ThinkPad – I liked them when they were manufactured by IBM and Lenovo seem to have retained the overall quality associated with the brand – but, given who pays my salary, it’s no surprise that I use a Fujitsu notebook PC. Mine’s a couple of years old now and so it’s branded Fujitsu-Siemens but it’s the same model that was sold under the Fujitsu name outside Europe. It’s a solid, well-built notebook PC and I have enough CPU, memory and disk to run Windows 7 (x64) well.

Unfortunately it’s crippled with some awful full disk encryption software (I won’t name the vendor but I’d rather be using the built-in BitLocker capabilities which I feel are better integrated and less obtrusive) and, even though the chipset supports Intel vPro/AMT (to install the Citrix XenClient hypervisor), the BIOS won’t allow me to activate the VT-d features. As a result, I have to run separate machines for some of my technical testing (I’m doing far less of that at work anyway these days) and to meet my personal (i.e. non-work) computing requirements.

My hope is that we’ll introduce a bring your own computer (BYOC) scheme at work and I can rationalise things but, if not, it’ll be another two years before I can order a replacement and this will soldier on for a while yet.

Verdict 6/10. Holding out for a BYOC scheme at work.

Netbook: Lenovo S10e (Intel Atom N270 1.6GHz, 2GB RAM, 160GB hard disk)

Lenovo IdeaPad S10In its day, my netbook was great. It’s small, light, can be used on the train when the seatback tables are too small for a normal laptop and I used mine extensively for personal computing whilst working away from home. It was a bit slow (on file transfers) but it does the job – and the small keyboard is ideal for my young children (although even they could do with a larger screen resolution).

Nowadays my netbook it sits on the shelf, unloved, replaced by my iPad. It was inexpensive and, ultimately, consumable.

Verdict 2/10. Sell, or more likely use it to geek out and play with Linux.

Digital Camera: Nikon D700

Nikon D700After a series of Minoltas in the 1980s and 1990s, I’ve had Nikon cameras for several years now, having owned an F90x, a D70 and now a D700. I also use my wife’s D40 from time to time and we have a Canon Ixus 70 too (my son has adopted that). With a sizeable investment in Nikon lenses, etc., I can’t see myself changing brands again – although some of my glass could do with an upgrade, and I’d like an external flash unit.

The D700 gives me a lot of flexibility and has a high enough pixel count, with minimal noise and good low-light performance. It’s a professional-grade DSLR and a bit heavy for some people (I like the weight). It’s also too valuable for some trips (which is when I use the D40) but I always miss the flexibility and functionality that the D700 body provides. Maybe sometimes I think some video capabilities would be nice but I won’t be changing it yet.

Verdict 9/10. Hold.

Photography PC: Apple MacBook MB062LL/B (Intel Core 2 Duo T7500 2.2GHz, 4GB RAM, 320GB hard disk)

Apple Macbook White (late 2007)It’s been three years since I bought my MacBook and, much as I’d like one of the current range of MacBook Pros it’ll be a while before I replace it because they are so expensive! In fairness, it’s doing it’s job well – as soon as I bought it I ungraded the hard disk and memory, and whilst the the CPU is nt as fast as a modern Core i5 or i7, it’s not that slow either.

For a machine that was not exactly inexpensive, I’ve been disappointed with the build quality (it’s had two new keyboard top covers and a replacement battery) but Apple’s customer service meant that all were replaced under warranty (I wouldn’t fancy my chances at getting a new battery from many other PC OEMs).

I use this machine exclusively for photography and the Mac OS suits me well for this. It’s not “better” than Windows, just “different” and, whilst some people would consider me to be a Microsoft fanboi and an iHater, the list of kit on this page might say otherwise. I like to consider myself to have objective views that cut through the Redmond or Cupertino rhetoric!

So, back to the Mac – I may dive into Photoshop from time to time but Adobe Lightroom, Flickr Uploadr, VueScan and a few specialist utilities like Sofortbild are my main tools. I need to sweat this asset for a while longer before I can replace it.

Verdict 5/10. Hold.

Media: Apple Mac Mini MA206LL/A (Intel Core Duo 1.66GHz, 2GB RAM, 120GB hard disk)

(+ iPad, iPhone 3GS, various iPods, Altec Lansing iM7 iPod speakers)

Apple Mac MiniMy Mac Mini was the first Intel Mac I bought (I had one of the original iMacs but that’s long gone) and it’s proved to be a great little machine. It was replaced by the MacBook but has variously been used in Windows and Mac OS X forms as a home media PC. These days it’s just used for iTunes and Spotify, but I plan to buy a keyboard to have a play with Garage Band too.

It may not be the most powerful of my PCs, but it’s more than up to this kind of work and it takes up almost no space at all.

Verdict 6/10. Hold.

Gaming: Microsoft Xbox 360 S 250GB with Kinect Sensor

Microsoft Xbox 360sI’m not a gamer – I sold my Playstation a few years ago because the driving games that I enjoyed made me feel ill! Even so, I was blown away by the Xbox with Kinect when I saw it last month. I bought myself a 250GB model and now Kinect Adventures and Kinect Sports have become family favourites (with a bit of Dance Central thrown in!). I can’t see myself getting into first person shooters, but I can see us doing more and more with the Xbox, particularly if I can use the Connect 360 application to hook into my media library. The final piece of the jigsaw would be BBC iPlayer on Xbox – but that looks unlikely to come to fruition.

Verdict 9/10. Hold.

Servers and Storage: Atom-based PC, Dell PowerEdge 840, 2x Netgear ReadyNAS Duo

As my work becomes less technical, I no longer run a full network infrastructure at home (I don’t find myself building quite so many virtual machines either) so I moved the main infrastructure roles (Active Directory, DHCP, DNS, TFTP, etc.) to a low-power server based on an Intel Atom CPU. I still have my PowerEdge 840 for the occasions when I do need to run up a test environment but it’s really just gathering dust. Storage is provided by a couple of Netgear ReadyNAS devices and it’s likely that I’ll upgrade the disks and then move one to a family member’s house, remote syncing to provide an off-site backup solution (instead of a variety of external USB drives).

Verdict 6/10. Hold (perhaps sell the server, but more likely to leave it under the desk…).

Preparing images for projection in photography club competitions

Posted on By Mark Wilson
This content is 14 years old. I don't routinely update old blog posts as they are only intended to represent a view at a particular point in time. Please be warned that the information here may be out of date.

Earlier this year, I took a day out to attend the Focus on Imaging exhibition at the National Exhibition Centre, near Birmingham.  I spent a fair amount of the day on the Epson stand – some of which was looking over some great printers (a Stylus Pro 4880 is now on my wishlist) but whilst I was there I also had the opportunity to listen to two professional photographers sharing their experience with the audience.

The first of these was Mike McNamee, who spoke about preparing images for print and digital competition exhibition.  In this first post, I’ll look at digital competition entries and a follow-up post will concentrate on preparing images for printing.

(The steps described are based on Adobe Photoshop CS4 on a Mac but the settings should be the same for other packages, even if the methods are different – Photoshop users with Windows PCs should use Ctrl where I have written Cmd).

There are two common image resolutions used by photography clubs in the UK  – 1024x768px and 1400x1050px.  Therefore, when preparing an image for projection in a club competition, create a new document 1024 or 1400 pixels wide, and 768 or 1050 pixels high, 72 DPI (although this doesn’t really matter for projection) and 8 bit sRGB. Choosing the colour space is important as images submitted using another colour space (e.g. AdobeRGB), will appear desaturated when projected.  Optionally, save these settings as a preset:

Screenshot showing Photoshop CS4 (Mac) settings for entering projected images into UK photographic club competitions

Next up, take an image (pre-sharpened during raw conversion and left at full size), select the area you want to show in the presentation and, making sure the Move Tool is selected (V), drag/drop it onto the blank canvas (holding down the shift key whilst dragging/dropping will place the image in the centre of the canvas).

Because the source image will typically be much larger than the target, we need to resize it on the canvas. From the Edit menu, select Free transform (Cmd+T) and zoom out until the controls on the edge of the image are visible (a quick way to do this is to select Fit on screen from the View Menu – or Cmd+0).

Hold down the shift key and drag in the corners until the image fits on the canvas, then press Enter to leave a scaled image on the canvas.  Move this to the centre by selecting the whole image (Cmd+A), then making sure that the Move tool is selected (V) and clicking the Align vertical centers and Align horizontal centers buttons in the toolbar. Deselect the image (Cmd+D).

The image will probably look tiny on the screen by now, so adjust the view if necessary, and then change the background colour.  To do this, select the background layer (if there is one – if the background is transparent, create a new layer) then, from the Edit menu, select Fill (Shift+F5) and choose appropriate contents (generally Black), then click OK.

Screenshot showing Photoshop CS4 (Mac) settings for a black background fill

Some people like to add a keyline to their images.  To do this, select the image layer then, from the Layer menu, select Layer Style and Stroke… Pick a size (around 3px is probably fine), select Inside as the position (Outside will leave jagged edges at corners) and select the colour.

Screenshot showing Photoshop CS4 (Mac) settings for a 3px white keyline/stroke

We’re almost done now, but some clubs will require metadata (e.g. Author) to be stored inside the file.  From the File menu, select File Info… (Alt+Shift+Cmd+I) and add appropriate details (e.g. to the IPTC fields) before clicking OK.

Screenshot showing Photoshop CS4 (Mac) settings for adding/accessing file metadata

Finally, save the edited image by selecting Save As… from the File menu (Shift+Cmd+S) and pick an appropriate format (JPEG or TIFF).  Depending on the competition and the software being used, there may be a specific naming format required.

The final image, ready for projection (reduced size)

(The photographic image in this post is ©2010 Mark Wilson, all rights reserved and is therefore excluded from the Creative Commons license used for the rest of this site.)

A few things for digital photographers to consider before upgrading a Mac to Snow Leopard

Posted on By Mark Wilson
This content is 15 years old. I don't routinely update old blog posts as they are only intended to represent a view at a particular point in time. Please be warned that the information here may be out of date.

If you use a Mac, the chances are that you’ve heard about a new release of the Mac operating system – OS X 10.6 “Snow Leopard”.  I haven’t bought a copy yet, largely because I can’t really see any “must-have” features (increased security and improved performance is not enough – even at a low price), but mainly because I use my Macs for digital media work – primarily my digital photography workflow on the MacBook – and upgrading to a new operating system brings with it the risk that applications will fail to work (I already have problems with NikonScan on MacOS X 10.5 and 10.6 is likely to introduce some more issues).

If you are, like me, primarily using your Mac for digital photography then there are a few things, that it might be useful to know before upgrading to Snow Leopard:

I’m sure that I will move to Snow Leopard in time; however these notes may well be useful if you’re a photographer first and foremost and the whole idea about using a Mac was simplicity.  Don’t be fooled by the glossy cover – Snow Leopard may bite you – and, like all operating system upgrades, it needs to be handled with care.

Basic math lesson for American software companies

Posted on By Mark Wilson
This content is 15 years old. I don't routinely update old blog posts as they are only intended to represent a view at a particular point in time. Please be warned that the information here may be out of date.

Adobe, Apple, Microsoft, et. al. please take note that the US Dollar price for your product multiplied at the current exchange rate, plus 15% value added tax (UK sales tax at today’s rate) is a lot less than the price you charge us for your software.

For example:

A 20-25% uplift is pretty bad (and the VAT will be back to at least 17.5% at the end of January 2010) but Apple and Microsoft are clearly not pushing this as far as they can… let’s look at what Adobe charges:

  • Adobe Photoshop CS4 is $699 in the States (which is £373.03, or £428.98 if we include the VAT) but, get this, Adobe charges us £615.25 – that’s almost a 45% premium… it’s a good job they’re offering free shipping at the moment if I spend more than £350.

Just to be clear, I didn’t deliberately pick the most expensive products to make software vendors look bad. These are the latest operating system releases from Apple/Microsoft and probably Adobe’s best-known product. No wonder the UK is the third-most expensive country in the world.

Camera raw support for my Canon Digital Ixus: enabling DNG support with CHDK

Posted on By Mark Wilson
This content is 16 years old. I don't routinely update old blog posts as they are only intended to represent a view at a particular point in time. Please be warned that the information here may be out of date.

Late last year, Garry Martin alerted me to an alternative firmware for certain Canon cameras – the Canon Hackers Development Kit (CHDK) – and I’ve been running it on my Canon Digital Ixus 70 ever since.

Importantly, CHDK makes no modifications to my camera’s firmware. The appropriate version for the camera model is downloaded and placed in a folder on the SD card that the camera uses and, when the card is write protected, this firmware is loaded at startup. If CHDK is missing or the card is not write protected, then the normal camera firmware loads. In addition to the extended functionality afforded by CHDK (which is significant – Lifehacker wrote a review of CHDK last year), I have full access to the standard camera features but the main advantages I find from CHDK include camera raw support, a live histogram and better battery information (I may also take a look at using it for time lapse photography at some point).

One of the frustrations I’ve had with CHDK is that the raw format it produces is not recognised by any of the major image editing applications (for me, that means using Adobe Camera Raw to interface with Photoshop CS4 and Lightroom 2 on a Mac). I tried installing an application that should convert these files to Adobe Digital Negative (.DNG) format (DNG4PS2) but the pre-built Mac version is known to be unstable on Mac OS X 10.5 (Leopard) and I was unable to make it compile using the latest source. There seems little point in running it on another operating system when I do all of my digital media work on the Mac, so I went back to getting the camera to store raw files in .DNG format at capture.

Unfortunately, each time I tried this, I was greeted with a message which said something like Cannot load/CHDK/badpixel.bin. Thanks to a comment from James W Manning on Flickr, I was able to work my way through creating this file: downloading a program to analyse an existing raw image taken with the same camera and identify any bad bits to create the required badpixel.bin file (I did need to run this on Windows though – the command was show_bad_b.exe rawfile.crw), which I could then copy to the CHDK folder on my SD card and enable DNG support.

Now my £130 compact camera takes raw images in .DNG format (as well as some JPEGs for reference) and I can work with the raw files just as I do with the ones produced by my DSLR. Of course, the tiny sensor means that the 7 million pixels on my Ixus 70 are inferior to the six million pixels on my old D70 (and way behind my full-frame D700 – more on that in another post!) but the additional flexibility is useful – as is the knowledge that I have the actual data that was recorded by the camera sensor, rather than with any post-processing in camera (e.g. boosted saturation that’s typically used with the compressed JPEG images).

Enabling Adobe Lightroom 2 integration with Photoshop CS3 and later

Posted on By Mark Wilson
This content is 16 years old. I don't routinely update old blog posts as they are only intended to represent a view at a particular point in time. Please be warned that the information here may be out of date.

A couple of weeks back, my friend Jeremy Hicks was demonstrating Adobe Photoshop Lightroom to me. Whilst I’m still not convinced that Lightroom is the answer to all my digital image editing requirements, it it great for managing my digital workflow – and it has the advantage of being integrated with my pixel editor of choice: Adobe Photoshop CS3.

Unfortunately I found that, whilst Lightroom’s Photo menu included Edit In options for Adobe Photoshop CS3, some of the options that would be useful when merging multiple exposures – Merge to Panorama, Merge to HDR and Open as Layers – were all greyed out (unavailable). After a bit of Internet research, I found that I needed to be running an updated version of Photoshop CS3 (v10.0.1) to enable the integration with Lightroom. Some people have also suggested that Lightroom needs to be at least v2.1 (I’m running v2.3).

After the upgrade, the options to in the words of a former Senior Marketing Manager for Professional Photography at Adobe, Frederick Van Johnson) (“leverage the power of Photoshop CS3 to do some of the more complex and niche ‘heavy-lifting’ imaging tasks, while still providing seamless access to the powerful organizational features in Lightroom 2” were available.

Not surpisingly, Lightroom v2.3 (and presumably earlier versions too) are perfectly happy to work with later versions of Photoshop, such as CS4 (v11).