Book Review: Real Moments - Bob Dylan by Barry Feinstein
Posted on October 23, 2008 - Filed Under Culture, Photo | Leave a Comment
Photographer Barry Feinstein has had a successful career as a photographer. His website lists his work as having appeared in Life, Look, Time, Esquire, Newsweek and many others. He has also shot the album covers for Janis Joplin’s Pearl, George Harrison’s All Things Must Pass, Barbra Streisand’s Stoney End, and of particular significance, Bob Dylan’s The Times They Are A Changin’. Dylan and Feinstein were friends, which led to Feinstein being hired on as the exclusive photographer during Dylan’s tour of Europe in 1966, his first since going electric, and he was backed by The Band minus Levon Helm. The vast majority of the book’s photos are from this time. The hardcover book is 12.8” x 10.1”, allowing the photos to be a nice size on the pages. They are all in black and white and being in Europe bring to mind D.A. Pennebaker’s documentary of the 1965 European tour, Don't Look Back. With his style of dress, shaggy hair, and dark sunglasses Dylan stands out as a unique figure wherever he goes, whether working as a musician or just passing time. Most of the shots are taken of Dylan offstage because, as Feinstein explains, “I didn’t really enjoy taking performance pictures… If you want to see a performance, but a ticket.” While Feinstein gets many good, interesting shots, the images aren’t so compelling that they will transcend and be of any interest to anyone outside of Dylan fans. Outside the album cover, the most familiar shot is likely to be Dylan in Bristol at the Aught Ferry terminal, which was used in 2005 as the cover for both the CD and DVD of Martin Scorsese’s No Direction Home. A few print sheets grace the book, revealing Feinstein in action and his creative process. He provides brief commentary for each shot to give some insight behind it. Elsewhere, he reveals his thoughts about these tours in the documentary Bob Dylan World Tours 1966-1974: Through the Camera of Barry Feinstein. The last 20 of the 157 pages are of the 1974 American tour with The Band, 40 shows over six weeks. The music was documented on After The Flood. Dylan looks more like the common man in these photos. His clothes aren’t so unique, he has a small beard, and his eyes aren’t hidden behind sunglasses as often. One photo is of Dylan meeting Jimmy Carter. It states it is in Washington, but Feinstein’s notes mention the meeting took place at the governor’s mansion, which should have been Georgia unless Carter had another mansion. It was the last tour Feinstein ever went on because he believed “it would never be as great as this.” Hard to imagine that if you could get paid to do be a tour photographer, you wouldn’t jump at the chance. If any of Mr. Dylan’s representatives are reading this and have an opening, please drop me a line. Images from the book can be found at Feinstein’s website.
Book Review: Adobe Photoshop Lightroom 2 Book For Digital Photographers by Scott Kelby
Posted on October 12, 2008 - Filed Under Culture, Photo | Leave a Comment
Last August, Adobe released the second incarnation of their photography workflow product Adobe Photoshop Lightroom 2 to rave reviews. As is to be expected, new editions of companion Lightroom books are also coming to market to provide educational assistance to learning Lightroom. Scott Kelby's Adobe Photoshop Lightroom 2 Book For Digital Photographers, along with being one of the best, is also one of the first out of the chutes. Adobe Photoshop Lightroom 2, while it certainly addresses the new features of Lightroom 2, also guides you through the existing features that have not changed. This version is 456 pages in length (40 more pages of material) and contains 14 chapters (3 additional chapters) Chapter 1, "Importing," devotes it's time to showing you how to get your photos into Lightroom. The improvement I see in this chapter is that not only are you shown how to get them in, there is more devotion to figuring out where to store your files, how to set up your folder organization, shooting tethered, as well as discussing topics like the use of the Adobe DNG file format advantage. Chapter 2, "Library," focuses on organizing your photographs. Here the author looks at using Collections, Quick Collections, adding Keywords, working with Metadata, and working with multiple catalogs. This chapter is more focused on the library and some of the content from the previous edition was reorganized and moved to the next chapter. Chapter 3, "Customizing," looks at how to set up Lightroom 2 to fit your work style. Here you will work with setting up two monitors, adding a logo to your interface, choosing what the Filmstrip will display, and learning to work with panels in a faster and much easier method. Chapter 4, "Editing Essentials," gets into the basics of developing your photos. In this chapter you will see how to set the white balance, add more punch to the color of your images, adjust the tone, hue, and color of your photos, as well learning techniques such as vignetting, getting that gritty look, and using AutoSync to fix a bunch of photos live while editing just one. Chapter 5, "Local Adjustments," moves beyond basics to editing specific parts of your image. This includes Dodging and Burning, working with the Adjustment Brush, retouching portraits, and learning how to fix skies. Chapter 6, "Problem Photos," will show you how to correct problems after you have taken the image. Here you will work with cropping, reducing noise, removing red-eye, fixing backlight photos, sharpening, and fixing chromatic aberrations. Chapter 7, "Exporting Images," shows you how to save your images as JPEG's, how to email photos from Lightroom, using the export plug-ins to auto upload to sharing sites like Flicker, and how to export your original RAW photo. Chapter 8, "Jumping to Photoshop," examines how to move between Lightroom and Photoshop. This includes how to get there and back again, how to add Photoshop Automation to your workflow, stitching panoramas by using Photoshop, and working with High Dynamic Range images in Photoshop. Chapter 9, "Gorgeous B&W," begins by showing how to determine if a photo would look good in Black and White. Then you will see how to do it yourself, how to tweak individual areas, how to add a split tone, and how to create a duo tone image. Chapter 10, "Slideshow," begins with a basic slide show and quickly moves to customizing your show, adding music, picking preferences, and finally how to email the show. page 1 | 2
Book Review - Real World Color Management: Second Edition by Bruce Fraser, Chris Murphy, and Fred Bunting
Posted on September 28, 2008 - Filed Under Culture, Photo | Leave a Comment
No matter how much thought and preparation a photographer, artist, or designer puts into the color scheme for a project, unless that color is transposed to the correct output, all of the work is for naught. If your results do not meet the expectation, you may as well not waste your time, money, and energy. The goal of Real World Color Management, the revised second edition, is to ensure that you know everything that you need to know about color management so that whether your final output is print, web, or film, your expectations will be met and you will achieve the color fidelity that you need to get your job done. Real World Color Management Second Edition is 608 pages in length, contains 18 chapters and divided into four parts. I will highlight the breakdown of the four parts Part I, "Introduction to Color Management," encompasses the first four chapters and it lays the groundwork for the remainder of the book. Here you will explore topics such as what is color? Computers and color, color management, and examine what profiles are. While you don't have to be a color expert to use color management, you do have to have understanding of the fundamentals to understand the problems that color management addresses. You also must understand the fact that computers know nothing about color except what people tell them. Because computers understand numbers, to get devices to understand what you mean when you say "red" you must learn to communicate to these different electronic devices with kind of numbers that they understand. To do this you will learn about color management and how they relate to device profiles; a file that correlates device color values with corresponding device-independent color values that represent the actual color that people see. Part II, "Building and Tuning Profiles," explains the fact that color management succeeds or fails based on the accuracy of the profiles that we use to describe the way our color reproduction devices behave. In these next five chapters you will look at real world techniques for creating, evaluating, tuning and maintaining device profiles. You start by learning about measurement, calibration, and process control. Then you learn about building display profiles so that you can see the correct color on your display. Next you will see how to build input profiles; a profile for an input device such as a digital camera, or scanner, because until you are sure that what is coming in is correct there is no way to really measure what is going out. Then you move on to the output profile which is what is used to calibrate devices like printers, or profiling devices. Next you learn how to evaluate and edit your profiles. By learning to evaluate, you see how far off you really are from the desired output. Getting good profiles requires attention to detail and persistence. Getting a great profile takes even more work. page 1 | 2
Video Training Review: Photoshop CS3 Mastering Lab Color With Deke McClelland From Lynda.com.
Posted on September 19, 2008 - Filed Under Culture, Photo | Leave a Comment
Based on the device-independent CIE specification from 1976, Lab color is often thought of as a high tech, labor-intensive color space. In many cases, Lab color performs certain types of color modifications more quickly and with better, more effective results than RGB. In Photoshop CS3 Mastering Lab Color, Deke McClelland explores how to use Lab color "to make bad photographs great and great photographs even better." He demonstrates image manipulations that are best suited to Lab, and walks through a typical, non-destructive Lab correction. Deke also shows how to correct lighting, apply selective color modifications, and reverse the effects of color cast. Your trainer for this library is Deke McClelland. In 1985, Deke McClelland oversaw the implementation of the first personal computer-based production department in Boulder, Colorado. Deke McClelland is a well-known expert and lecturer on Adobe Photoshop, Illustrator, InDesign, and the broader realm of computer graphics and design. To date, he has written 85 books that have been translated into 24 languages, with more than four million copies in print. This library is divided into five lessons and runs six and a half hours. Lesson 1, "What Lab Color Is" begins with defining what Lab color is. Designed decades ago, Lab color has been available in Adobe Photoshop for over 10 years. Unlike the RGB and CMYK color spaces, Lab color is an optional color space but is often overlooked or considered too difficult to use but can save time and can make your images look better. Here you will learn not to fear the Lab mode, you will learn why color is 3D, how to mix Lab colors, as well as other explanations of what Lab Color is. You will learn about the hue/saturation color wheel, the Lab color wheel, the different channels between the three color spaces, and how channels blend in Lab mode. Lesson 2, "What Lab Color Can Do", at least according to McClelland, is "blow your mind." It will have a profound effect on your images, it will surprise you with its power, and it will just simply amaze you. This is where you will see how bad becomes great, and great becomes better. You will see how to favor yellow to balance skin tones, drop out the blues, correct a very bad image in Lab, sharpen luminance independent of color, and sharpen for effect and blur away noise. Lesson 3, "A Typical, Nondestructive Lab Correction" now focuses on more realistic problems — not making the bad great or the great better, but rather how to make the okay or average image much better. You know those images where the colors are drab, the contrast is lackluster, or other problems where the image does not live up to what you saw when you pressed the shutter release. Here you will see a more typical scenario in which you convert an image to Lab and apply adjustment layers, turn the image into a smart object and sharpen it and turn that into an RGB image to resolve the chromatic aberrations — all without harming a pixel. page 1 | 2
Video Training Review: Beyond Skin: Going Deeper With Photoshop CS3 With Lee Varis From Lynda.com.
Posted on September 10, 2008 - Filed Under Culture, Photo | Leave a Comment
Doing photographic portraits, while rewarding, can also be a challenging skill to master. To do it professionally can take years to perfect and having the right post-processing skills and enhancement techniques are a must. In Beyond Skin: Going Deeper With Photoshop CS3, Lee Varis uses Photoshop CS3 to bring out the best in photos of people, faces, and bodies. He examines tone and contrast, color correction, retouching, and much, much more. Your trainer for this library is Lee Varis. Lee Varis is the owner of Varis PhotoMedia, and has worked with photography and computer imaging for the last few decades. He combines digital and conventional photography with computer graphics to create images for use in advertising, commercial graphics, and multimedia. Lee's work has been featured in movie posters, on video box covers, CD covers, and in numerous brochures and catalogs. Lee has developed a unique approach to photography that takes advantage of certain idiosyncrasies of digital capture technology to create impossible lighting effects. Lee has written several books, including Skin: The Complete Guide to Digitally Lighting, Photographing, and Retouching Faces and Bodies (Sybex) This library is divided into 29 lessons in two volumes and runs four and a half hours. I will break this review down by functional areas. You can see the full lesson listing at the bottom of this review. Volume 1: The Basics "The workspace" begins the lessons by showing you around the Photoshop CS3 environment, how to arrange and make custom palette arrangements, customized menus, and other tips to make your use of Photoshop much more comfortable. "Curves" is sometimes considered one of the least understood tools in Photoshop, yet it is one of the more important image adjustment tools. In this section the instructor begins with a grayscale image so you only focus on tone and contrast and not with color. Next you add color to mix. Here you work with threshold adjustment layer to set black and white points to make your balance adjustments. You then move on to using the same techniques for working with skin tones. Once you get the contrasts, then you work for the most important color in the image; the color of skin. Finally, he finishes up with some speed techniques for streamlining your work. "The Hue/Saturation command" takes a look at a different problem — getting the red out. This is helpful when trying to get the red tones out of the skin tones. This is done by using the hue/saturation adjustment layer. Varis then ties the curve techniques to the hue/saturation adjustments to complete this section. "Basic retouching" takes you through the process of retouching images and the tools that are needed to fix images. These include the Healing Brush, the Patch Tool, the Clone Tool, and working with the Dodge and Burn Tools.page 1 | 2 | 3
Software Review: Adobe Photoshop Lightroom 2
Posted on September 1, 2008 - Filed Under Culture, Photo | Leave a Comment
Adobe Photoshop Lightroom 2 is the much anticipated second version of Adobe’s highly praised photo management and editing system. Photoshop Lightroom 2 adds new editing tools as well as enhances the existing environment, while at the same time reduces the dependence on Adobe’s Photoshop. On the outside, Photoshop Lightroom 2 retains much of the look and feel of its predecessor, while providing many workflow improvements that will have current users singing its praises. As well as the expected improvements to existing functionality that one would anticipate in a version two product, there are also a lot more features to improve your importing, processing, managing, and the showcasing of your images. Before we look at the improvements and enhancements, what do you need to run Lightroom 2? You will need Windows XP SP2 or Vista on an Intel Pentium 4 - 1.4 GHz or higher, or Mac OS X 10.4 or 10.5 on PowerPC G4 or G5, or Intel Based Processor, 1GB RAM 1 GB hard drive space, 1024×768 display, and CD-ROM Drive. For those who are new to Adobe Photoshop Lightroom, I find that there is still some confusion between Lightroom and Photoshop. The basic difference it that Photoshop is an image editing program. It has the big guns to do just about anything you want to an image. What it doesn’t have is true image management, organization, and workflow processing that a photographer might want and need. Sure, it has Adobe Bridge, and that works great to a point, but for someone who is a photographer; whether professional or hobbyist, it really is not enough. That is where Adobe Photoshop Lightroom 2 comes in. It has all of the things that Adobe Bridge was missing; these include things like advanced file management, enhanced printing capabilities, and easy web output. Lightroom then adds much of those image processing capabilities that Photoshop contains and are used by photographers. It puts it all into a single package. Does that mean that you no longer need Photoshop? For some that answer would be yes. In fact Adobe Photoshop Lightroom 2 is the better choice, especially for those who do not do a lot of advanced processing. For others, Lightroom is a better way to get to that point where they send their file to Photoshop for additional enhancements. So what is new with Adobe Photoshop Lightroom 2? Local Adjustment Brush - gives you a more flexible method to apply more accurate enhancements by targeting a specific area of a photo for dodging, burning, as well as other local adjustments. Make exposure, brightness, clarity, or other enhancements exactly where you want them.page 1 | 2 | 3
The Collecting Bug: “Band of Brothers” Photo Album
Posted on August 26, 2008 - Filed Under Culture, Photo | Leave a Comment
This is the first article in an occasional series on collecting. First editions of scarce, time-worthy publications by known authors, or which covered newsworthy events, are fetching five figures on the market. As with any collectible category, low-print editions, special editions, autographed editions, or otherwise scarce or hard-to-come-by editions can command even more. Also like any collectible, condition is paramount. Please bear in mind that I’m not plugging any particular company, in spite of this article’s focus, which I use as an example. Genesis Publications is a London-based company, a part of which specializes in publishing collectible manuscripts or, in this case, photographs that for the most part have not been publicly displayed previously. Genesis searches out and capitalizes on scarce and rare collectibles, making them even more collectible by the use of special bindings, low print runs, autographed copies, etc. Like any worthy collectible, this volume shows provenance by including something that the millions of other copies extant do not have: original, authentic signatures, in which case it is bound to be the most desired and probably net the highest sale price. Genesis has just announced a special edition, limited to 1,000 copies, of a book entitled Easy Company, 506th PIR, In Photographs. The book is signed by seven surviving members of the US Army unit whose World War II story was told in the book and movie entitled Band of Brothers. The photographs and story follow the men of Easy Company, 2nd Battalion, 506th Infantry Regiment, a part of the famed 101st Airborne Division. (The 101st was also the unit to which another famous American was assigned: Jimi Hendrix.) The book follows the men's brave, valorous exploits, beginning with training at Camp Toccoa, Georgia, through additional training in England, D-Day, and the invasion of Nazi Europe. From there, the men move through Normandy, Holland, and Belgium, engage in the Battle of the Bulge, and, in their final wartime triumph, capture Adolf Hitler’s Alpine fortress, “The Eagle’s Nest.” The book contains 400 photographs and 20,000 words of text, with a foreword by Tom Hanks, and reproductions of maps, literature, and pamphlets from the era. As editor Alex Hedley says, “This book speaks for itself – all you need to do is look through to realize what an astounding group of men this was.” It is available only through Genesis Publications. This volume is bound in medium-grain black leather, and has hand-tooled gold lettering on the spine. The backing boards of the book are bound in US Army M1942 8-ounce cloth, which is what the uniforms of the soldiers were made of. A replica of the unit patch for the 101st Airborne Division is embossed on the front board. The edges of the 232 pages are gilded, and each page is of heavyweight matte art acid-free paper. Idea Generation, the public relations company for Genesis Publications, has also gained recent press coverage from mounting the first UK exhibition of photographs by former Rolling Stone photographer Robert Altman. More recently, The Fame Bureau announced a planned auction featuring the original Beatles recording contract, signed by all four members of the Beatles and their manager Brian Epstein, dated 1 October 1962, which is expected to bring in at least $500,000. Coverage of this 4 September event at the Idea Generation Gallery will be my next article in this series.
Software Review: Adobe Photoshop Plug-in - Silver Efex Pro From Nik Software
Posted on August 19, 2008 - Filed Under Culture, Photo | Leave a Comment
Silver Efex Pro is the latest addition to Nik's collection of digital photographic filters and effects for Adobe Photoshop. This is a brand new product that is aimed at creating dynamic black and white images by offering the traditional tools of the darkroom while including the flexibility and precision of digital photography. Not only is Silver Efex Pro a black and white converter, it contains Nik's premier U Point technology that gives you pinpoint control over what you want to do. No longer are you limited to working with global changes and masking to accomplish your goals. Rather, now you can precisely control specific areas of your image with a couple of clicks of your mouse. What do you need to run Silver Efex Pro? System requirements are Windows 2000 Pro or better, Mac OS 10.4 or better, 512 MB, and Photoshop 7 through CS3 on Windows, CS2 and CS3 on Mac, Photoshop Elements 2.0 or better on Windows, 4.0 and 6.0 on Mac, or any image editing software program that accepts Adobe Photoshop Plug-ins. Basically, the Silver Efex Pro workflow works like this. Launch Photoshop, open an image, and open Silver Efex Pro from the filter menu, which will open the Silver Efex interface. By default, the Style Browser with sample thumbnails of your image will appear on the left hand side of the interface. On the right side are the enhancement controls. Once you select the style from the left that most closely represents what you want to accomplish, you can use the enhancement control options on the right to make global adjustments to the image. These include controls to adjust the brightness and contrast, and structure sliders. Next you can use the U Point Control Points to selectively control where each filter is applied to the images. This allows you to control the effect without having to use selections and/or masking. By placing Control Points on an image, you can control brightness, contrast, and structure to fine tune certain areas of your images independently of the rest of the photo. The next set of controls are the Color Filters. These work much in the same way that traditional color filters work when used with panchromatic black and white films; objects of the color of the filter are lightened while objects the opposite of the filter's colors are darkened. Then you have the film type selection. Here you get 18 different film types based on the most popular black and white films. These include ISOs from 32 to 3200 and film types from manufacturers like Agfa, Ilford, Kodak, and Fuji. For each you can control grain, sensitivity, and tone curve.page 1 | 2
Book Review: Joyce Tenneson - A Life In Photography 1968 - 2008
Posted on August 3, 2008 - Filed Under Culture, Photo | Leave a Comment
Considered by American Photo magazine to be one of the ten most influential women photographers in the history of photography, Joyce Tenneson has had her work published in LIFE, Esquire, Newsweek, and The New York Times Magazine. She is the author of over 12 prior books, including the best seller “Wise Women,” and she is the recipient of numerous awards. In A Life In Photography 1968 - 2008, Tenneson provides a retrospective of a career that spans four decades. Beginning with her first black-and-white studies in self-portraiture, through her transformations period, through her work with light, color and into the exploration of maturing women, as well as trying to look to what is ahead. Joyce Tenneson - A Life In Photography 1968 - 2008 is divided into several sections which encompass these periods. While not everything is covered, it does seem to take into account each decade. “Early Work” examines the early personal journey that is played out by someone who is trying to find themselves in photography. Her photographic career started while she was modeling, when someone gave her a camera. These are very autobiographical images that are a record of the first steps in a long career. They include the self portraits as well as the images of her son Alex. These cover the late ’60s and ’70s. “Transformation” is based on the first Tenneson book to feature her color work. Published in 1993, it was timed to coincide with a traveling exhibition. These images present the full range of her personal color work since she began to work in color in the mid ’80s. “Light Warriors” is a selection of images from her 2000 book that paints women as a mystic and timeless vision of the female psyche by using a bold departure into the colors of luminous dark browns and blacks. It is the universal quest for the spiritual warrior trying to find their own uniqueness.page 1 | 2
Product Review: ExpoDisc: Professional Digital White Balance - From ExpoImaging
Posted on July 28, 2008 - Filed Under Culture, Photo | Leave a Comment
Have you ever tried to get good white balance from your camera, but the consistency was never good? I am sure that you tried some of those preset balance settings, but they did not always work as well as you expected them to. This is where the ExpoDisc comes in. Sure you can always use a light meter to get your correct readings. Once you have learned how to use it, you can get very accurate readings. The downside is that it takes time to learn and time to set up to get everything correct. Also you don't always have time to get everything just right. With ExpoDisc, getting the proper exposure is as easy as snapping on the disc. Just what is an ExpoDisc? Invented by George A. Wallace, the original ExpoDisc was an incident exposure and printing tool for use with the 35mm SLR cameras. Generally it comes as a disc although there is square/rectangular version available for large lenses and video mattebox systems. The disc snaps onto the lens of your camera and it allows you then use the camera to set a proper custom white balance that is accurate. By using the ExpoDisc, you are able to eliminate the need, or certainly reduce the amount of post-processing color adjustment work that needs to be done to your RAW and/or JPEG files. It is much easier to use than a light meter or gray, white, or color calibration cards. You use the ExpoDisc by snapping it over your camera lens. The ExpoDisc comes in different sizes for different lenses (available sizes are listed at the end of this article). If you have a lot of lenses of differing sizes, get one for the largest size and you can hold it over the smaller lenses when calibrating them. Since the specific steps are different for each camera, I will just give an overview of the steps to calibrate. You first place the ExpoDisc over the lens. You then take a picture of the light source. For the image of the pony below, I was outside and so I took a shot of the sky behind me, the sun being the source of the light. If you were doing a portrait you would take it of the lighting system. For strobe flash, you would need to trigger your flash system. This shot to look at is nothing more than a gray image, like taking a shot of a gray card, for your camera to use to create a custom white balance. page 1 | 2