Entries Tagged 'How to's' ↓

Day 2

Today I watched the following tutorials on Apples website; “Exporting Versions, Masters, and Projects”, “Using RAW Fine Tuning”, And “Sharpening Images”. There is a lot of stuff Aperture 2 can do. I’d like to say I’m starting to scratch the surface, but I’m not even close. I feel like I have my index finger extended and ready to start scratching the surface, but I’m still about a mile away from actually starting to scratch. But I’m getting closer.

Today, I decided to try a quick experiment. “What is the experiment?”, you might ask. Let me tell you. I took an image I shot last December, in RAW on my trusty (I said trusty, not rusty) Canon 10D and imported the shot into Aperture 2. I then proceeded to process the image in Aperture, trying to use roughly the same adjustments I used in Canon’s Digital Photo Professional. I know it’s like comparing strawberries to water buffalo, but I just wanted to see a comparison for myself. This will also be the “before” (before I knew anything about Aperture 2) image, and at the 30 day mark I will process the exact same image as the “after” image using all that I have learned (if I learn anything) and we’ll be able to see my progress.

For my client I originally increased the saturation in Canon DPP software so the image would “pop” when printed in the local news paper as a small “Grand Opening” ad. I also added some sharpening to the image. I tried to do something similar in Aperture 2. The image on the left is of the contrast settings I used, and the image on the right is the edge sharpening settings I used.

Now for the comparison shots. I’m not going to make any judgments based the two comparison images. I still have way too much to learn regarding Aperture 2 and making any judgment calls this early would be foolish. So lets wait and see what things look like after 30 days, shall we.

Processed with Canon Digital Photo Professional software

Processed with Aperture 2

Let me know if you have any questions or comments below.

I’ve been wanting to do a post about Aperture 2 for almost a month now since it was announced. The day Aperture 2 was announced I ordered more RAM (Aperture 2 minimum RAM requirement is 1GB) and an external hard drive from an online retailer hoping to get the items in a week or so. Well, I just got the RAM and hard drive yesterday. They were back ordered on the external drive cases. I now have 2GB RAM (recommended) and a 250GB FW400 external drive on iMac G5 2.0 GHz. This is the system and setup I will be using for the next 30 days while using Aperture 2.

My Aperture 2 “test library” resides on the external drive so it doesn’t affect my current image library or my system. I installed the software today and the process was quite simple and seamless. I have never used Aperture before so I decided to watch a couple of the tutorials on Apples website - “Exploring the Interface” and “Importing Basics”. This was enough to get me familiar enough to create a new project and import 23 images into that project. So far things have been easy, but I’m sure that will change as I explore the software more.

Over the next 30 days I will be posting regularly on my experiences using Aperture 2. Since I am noob at using Aperture you’ll be able to learn from my mistakes and probably get a good laugh at the stupid things I end up doing. If there is anything specific you want me to do or try with Aperture just let me know.

Yesterday evening turned into arts and crafts night. I was starting to go stir crazy from being stuck at home with this cold so I had to do something. The following is the result:

I remember in college (long, long time ago) we had these great Mole-Richardson Softlights in one of the studios. And the light they produced was quite nice. So, I thought, lets see if I can make one for my 550EX.

Here are a couple images of the finished softlight.

What you need:

• Ruler
• White fome board
• White bristol board
• Aluminum tape
• Scissors
• Pencil
• X-acto blade/knife
• Glue stick

The first thing i did was cut out the sides from the foam board.

I measured the height of the front edge.

I then transferred that measurement to the bristol board (already cut to the width I wanted, including 1.5″ extra for gluing tabs) and folded the board at that measurement.

I marked on the bristol board where the next fold would be and then folded the board.

I then marked where the 3rd fold would be and folded the board.

I marked the board 1/2″ from the edge on both sides with a pencil.

I then cut out gluing tabs up to the lines I just drew at all the folds and cut smaller notches for the curved back.

I then applied aluminum tape up to the 3rd fold. Leaving the curved back white.

I applied aluminum tape to the foam board sides to the bottom portion (from where the from panel starts to where the curve begins).

I then fold up all the gluing tabs along the 1/2″ pencil marks, using a ruler as a guide.

Then I mark the back where the flash will fit (between the first and second fold) and draw diagonal lines from corner to corner of the flash outline. Then cut along those diagonal lines creating an “X” where the flash fits through.

I then glued the bristol board to one of the foam board sides applying glue to the tabs with a glue stick. Then repeated the gluing process with the other side making sure the aluminum tape faces inside of the softlight.

Here is what the inside of the softlight looks like when complete.

Disclaimer: This project, the photography and the blog post were all done while running a fever and on cold medication. If there is anything that is unclear (like I was during this whole process) please ask any questions in the comments. I will be posting sample images using the softlight as soon as possible.

In the image above I have the model light herself with the flashlight

I was originally thinking of posting a how to on the basics of painting with light, but then I thought, “How boring!” I couldn’t bear the thought of subjecting you to images of things being drawn in mid air, or people being outlined with flashlights. I did a model test shoot years ago in my studio in Toronto using only a small flashlight to light the model. These are some of the images form that shoot.

The setup I used was simple, a black bench, my camera on a tripod set at f16 & bulb with a cable release attached, and the model. Oh yah, and my trusty little flashlight. I tried to keep the exposure time under 30 seconds to keep sensor noise to minimum. Grab your camera, tripod, a flashlight, and a cable release and find a dark room or go outside at night and give it a try. It’s not as hard as it looks. And have fun!

This image looks blurry, but look closely at the reflection of the flashlight in her eyes and eye lashes… It’s tack sharp!

I intentionally asked the model to keep looking at the camera while she moved her head

I just posted a video showing how to make a quick weatherproof cover for your flash out of two ziplock type sandwich bags.

Here is a link directly to the video.

This is the follow up post to “Making Your Own Gray Card”.

There are a few methods you can use to obtain your white balance using your gray card:

RAW
One method for using the gray card is to include the card in a test/reference image, shot in RAW format. You can then continue shooting under the same lighting conditions as the test/reference image. For each lighting change, a new test/reference image will need to be shot. Your camera should allow you to shoot in AWB (Auto White Balance) mode. It is important that you read your camera and software instructions to make sure this method can be used.

Transfer the images to your computer using whatever method you are familiar with. Once the transfer of images is complete you can open your RAW conversion software. Most RAW conversion software packages allow you to pick a neutral gray color point on an image to set a custom white balance. You can use the gray card as your neutral color point. You will now be able to apply that setting to all the images shot under those lighting conditions. See your camera and RAW conversion software instructions.

JPEG
Use the same shooting method as if you were shooting RAW (see above) but instead set your camera’s image output to JPEG. After you have transferred your images to your computer you can now color balance them in your favorite image editing software. Use the reference image with the gray card in it. Open up the levels adjustment and click on the middle eye dropper tool to set gray point. Now, just click on the gray card and your image is white balanced. Check your software for specific instructions on applying the settings of the reference image to the rest of the images shot under those lighting conditions.

Camera
The gray card can be used to obtain your white balance using your cameras internal white balance utility. Just place the gray card in front of your lens and fill the entire frame with the card and use your cameras internal utility to create a custom white balance. See your camera owner’s manual for instructions.