This week both Corel and Adobe announce new digital imaging solutions, Paint Shop Pro XI and Elements 5, which would both appear to be aimed at the consumer. I haven't had the chance to play with Elements 5, but I did get a tour of PSPXI. OK I'm going to be honest here, Corel have released their latest version of Paint Shop Pro, and Version XI is quite user friendly with lots of power, but it is more than just a consumer centric application. There are many pros, who could look at this solution, as a viable alternative to Photoshop. I've even installed it on my machine and taken it for a spin and I can tell you it's no lightweight. The application has been upgraded with some excellent new features and the integration with their new imaging platform, Snapfire, is something to explore.
The best new features are the powerful integrated organizer, the powerful and easy to use Color-Changer Tool, the Depth of Field and Skin Smoothing tools as well as the new film based Time Machine and the Film and Filters tools. Time machine was cool because it provides the user a simple and effective way to stylize their images using effects which are based on historical photographic techniques.
I plan to take a look at Elements in the next week or so, but look for a more in-depth review of PSPXI real soon...
Pics, Pixels and People - Covering photography, photographers, imaging, technology, tidbits, news and reviews...
Wednesday, September 13, 2006
Monday, September 04, 2006
Digital Heritage - Review
Digital Heritage, edited by Lindsay W. MacDonald,
ISBN: 0-7506-6183-6
Reviewed by: Mario Georgiou, September 2006
Published by: Butterworth-Heinemann/Elsevier
Requires: N/A
MSRP: US$110.00, UK£69.99, EUR 102.50
As a designer and digital imaging consultant, the range of technologies I deal with during the course of my work has been constantly changing. The need to keep up with change has meant that the time available for sitting back and resting is in very short supply. Asset management is one of the biggest issues confronting everyone working with large amounts of digital media. But what if your collections, archives or working research materials consist of old books, documents or even ancient artifacts? How do digital technologies affect the way in which we catalog and archive such assets?
Digital Heritage from Butterworth-Heinemann (an Elsevier imprint), explores the issues and technologies which surround the world of our heritage. The book is a reference work aimed at professionals whose job it is to preserve our past and present. The book contains a lot of valuable information and many project-centric case studies. It's organized in three distinct sections: User Requirements, Technology and Applications.
User Requirements looks at specific types of media and how they are handled, digitized, archived and accessed. The chapters in this section look at the way the Victoria & Albert Museum, Octavo, and The British library, amongst other archives, each deal with their specific asset types and workflows.
The Technology section takes a qualitative look at the technologies involved in the world of digital heritage. This includes image capture technologies, image handling, color management, file compression and image quality management. The issue of color management in particular is one which has become increasingly important because of the need for fidelity throughout the entire workflow—from acquisition through archiving and into printing. The presence of this information reaffirms the serious responsibilities borne by professional archivists in the course of establishing and maintaining the accuracy and integrity of the artifacts they are trying to preserve.
The use of TIFF and JPG files is detailed in many cases as standards to follow. The coverage of JPEG 2000 was an eye opener due to the qualitative comparisons demonstrated in the pictured examples. I found it disappointing that there is poor coverage of one area of contention in current digital imaging workflows: the issue of Camera RAW, where images are captured and recorded in a digital camera's native format. The issue exists because each camera manufacturer has their own flavor of RAW, so the potential exists to create a file format mess, especially if a manufacturer either goes out of business or discontinues support for a proprietary format. You could be left with data which will become inaccessible on future computer systems.
Section three, Applications, details specific uses for the technologies and how unique combinations of technologies are helping to bring our historical artifacts and structures to virtual life. Particularly interesting was the use of removal algorithms to digitally erase the bars, screens and metal mesh used to protect stained glass windows. There's no way to avoid capturing the protective bars, screens and mesh during photography sessions, so preservation experts have developed sophisticated techniques to carefully analyze the main subject while accurately removing digital traces of the protective barriers invariably recorded during the imaging process.
Of interest also were the formulas present in the book. They're invaluable to scientists involved in this field and certainly lend to the completeness of some of the information presented in the book. I especially enjoyed reading the chapters dealing with recording architectural and dimensional artifacts as I've had exposure to some of these recording methods and devices. Other essential coverage includes the concept of file naming conventions and the use of off-site storage and redundant backups of data.
Overall, I was impressed by how well everything was presented and by the comprehensive level of detail throughout most the book. I did find several figures in the book which could have benefited from a little more attention with respect to presentation.
Cons: Little coverage of the issues surrounding camera RAW. Text heavy and some of the illustrations needed a little more clarification.
Pros: Professional coverage of specific applications throughout. Well written. Comprehensive. Highly technical and excellent reference listings. Digital Heritage is thought provoking, and is the kind of book in which any digital imaging professional concerned with asset management and digital archiving, should invest. It's a comprehensive look at the specific needs of the archivist, conservator and heritage professional. This is a book which all libraries, art schools and museums should have in their archive. Overall, the book is excellent. Highly recommended.
This review has been reproduced in its entirety from Kickstartnews.com
ISBN: 0-7506-6183-6
Reviewed by: Mario Georgiou, September 2006
Published by: Butterworth-Heinemann/Elsevier
Requires: N/A
MSRP: US$110.00, UK£69.99, EUR 102.50
As a designer and digital imaging consultant, the range of technologies I deal with during the course of my work has been constantly changing. The need to keep up with change has meant that the time available for sitting back and resting is in very short supply. Asset management is one of the biggest issues confronting everyone working with large amounts of digital media. But what if your collections, archives or working research materials consist of old books, documents or even ancient artifacts? How do digital technologies affect the way in which we catalog and archive such assets?
Digital Heritage from Butterworth-Heinemann (an Elsevier imprint), explores the issues and technologies which surround the world of our heritage. The book is a reference work aimed at professionals whose job it is to preserve our past and present. The book contains a lot of valuable information and many project-centric case studies. It's organized in three distinct sections: User Requirements, Technology and Applications.
User Requirements looks at specific types of media and how they are handled, digitized, archived and accessed. The chapters in this section look at the way the Victoria & Albert Museum, Octavo, and The British library, amongst other archives, each deal with their specific asset types and workflows.
The Technology section takes a qualitative look at the technologies involved in the world of digital heritage. This includes image capture technologies, image handling, color management, file compression and image quality management. The issue of color management in particular is one which has become increasingly important because of the need for fidelity throughout the entire workflow—from acquisition through archiving and into printing. The presence of this information reaffirms the serious responsibilities borne by professional archivists in the course of establishing and maintaining the accuracy and integrity of the artifacts they are trying to preserve.
The use of TIFF and JPG files is detailed in many cases as standards to follow. The coverage of JPEG 2000 was an eye opener due to the qualitative comparisons demonstrated in the pictured examples. I found it disappointing that there is poor coverage of one area of contention in current digital imaging workflows: the issue of Camera RAW, where images are captured and recorded in a digital camera's native format. The issue exists because each camera manufacturer has their own flavor of RAW, so the potential exists to create a file format mess, especially if a manufacturer either goes out of business or discontinues support for a proprietary format. You could be left with data which will become inaccessible on future computer systems.
Section three, Applications, details specific uses for the technologies and how unique combinations of technologies are helping to bring our historical artifacts and structures to virtual life. Particularly interesting was the use of removal algorithms to digitally erase the bars, screens and metal mesh used to protect stained glass windows. There's no way to avoid capturing the protective bars, screens and mesh during photography sessions, so preservation experts have developed sophisticated techniques to carefully analyze the main subject while accurately removing digital traces of the protective barriers invariably recorded during the imaging process.
Of interest also were the formulas present in the book. They're invaluable to scientists involved in this field and certainly lend to the completeness of some of the information presented in the book. I especially enjoyed reading the chapters dealing with recording architectural and dimensional artifacts as I've had exposure to some of these recording methods and devices. Other essential coverage includes the concept of file naming conventions and the use of off-site storage and redundant backups of data.
Overall, I was impressed by how well everything was presented and by the comprehensive level of detail throughout most the book. I did find several figures in the book which could have benefited from a little more attention with respect to presentation.
Cons: Little coverage of the issues surrounding camera RAW. Text heavy and some of the illustrations needed a little more clarification.
Pros: Professional coverage of specific applications throughout. Well written. Comprehensive. Highly technical and excellent reference listings. Digital Heritage is thought provoking, and is the kind of book in which any digital imaging professional concerned with asset management and digital archiving, should invest. It's a comprehensive look at the specific needs of the archivist, conservator and heritage professional. This is a book which all libraries, art schools and museums should have in their archive. Overall, the book is excellent. Highly recommended.
This review has been reproduced in its entirety from Kickstartnews.com
Digital Collage and Painting - Review
Digital Collage and Painting: Using Photoshop and Painter to Create Fine Art, by Susan Ruddick Bloom
ISBN: 0-240-80705-7
Reviewed by: Mario Georgiou, September 2006
Published by: Focal Press/Elsevier
Requires: N/A
MSRP: US$49.95, UK£27.99
Adobe Photoshop and Corel Painter IX are programs that you always leave with the feeling that you're just scratching the surface of their capabilities. This book does an excellent job of showing just what these powerful programs are capable of when you've got a specific creative project in mind. The creation of digital collages and paintings are very artistic applications of Photoshop's capabilities and something to which Painter, as a natural media emulation tool, is dedicated.
At over 600 pages, "Digital Collage and Painting: Using Photoshop and Painter to Create Fine Art" is a hefty volume which is bursting with hints, tips, case studies and example based projects. It also features coverage of several third party plug-ins and tools including Nik Color Efex and the AutoFX range which augment the already powerful features of both Photoshop and Painter.
Susan Bloom is well qualified to author this book, being a Professor of Art and Chair of the Department of Art & Art History at McDaniel College in Maryland. She teaches respected courses on the subjects covered by this book and is also a very capable photographer. The book consists of 13 chapters organized into 3 distinct sections. To attempt to cover each chapter in detail is beyond the scope of this review, so I've chosen to focus mainly on how well each section achieves its goals.
In section one, Planning and Inspiration, the reader is taken through concepts, factors for consideration and then through inspirational examples provided by the contributing artists selected for the book. The short introductory chapters are light and easy to follow and only serve to cover the basics. The inspirational sections feature and impressive list of digital artists such as Julieanne Kost, Stephen M. Burns and Audrey S. Bernstein, all of whose work I am familiar with, and as well as many others who are well chosen for their ability to showcase the creative possibilities inherent in Photoshop and Painter. Each artist discusses their equipment, history and their creative process and takes readers through the process of creating one of the selected projects.
The second section deals with the process of working with the featured tools. First a chapter on painting with Photoshop and then one with Painter and then chapters on creating collages with both tools respectively. In all chapters the use of brushes, filters and layering techniques help to build a picture of the very powerful capabilities to be found in both these programs. The chapters also provide some very useful tips on how to create your own edge effects, creating background textures, hand tinting photos and on creating grid based photo-collages.
The final chapter in this section covers the creation of panoramic images, which until I came across this book, I must admit I never really thought of in the context of being collages. The coverage is quite comprehensive and also discusses and provides tips on a whole range of issues that artists and photographers producing panoramas will very definitely encounter.
The final section deals rather grandly with artistic considerations and looks first at the use of filters and effects in your projects. The coverage, even though it is not comprehensive, does succeed in showing what can be achieved with the judicious application of both stock and third party plug-ins. The chapter on experimentation however, was actually one which I enjoyed the most because of its coverage of output techniques and media. The suggestions for paper types were something which I had considered, but now formed a reminder for me to rediscover. The last few chapters are dedicated to exercises you can explore by yourself. The lack of a tutorial CD is disappointing, though the projects can be found via the Focal Press web site.
Cons: No tutorial CD.
Pros: Digital Collage and Painting is yet another reason why Focal Press have become one of my favored publishing imprints. Excellent coverage of Photoshop and Painter. Contributing authors and their featured projects are well selected. Well written. Excellent examples. The book is well written and researched and it provides a wealth of information which is both relevant and useful. The range of projects showcased and each artist's insights are something we can all benefit from. I thoroughly enjoyed the book. For anyone interested in digital painting or creating digital collages, this one is highly recommended.
This review has been reproduced in its entirety from Kickstartnews.com
ISBN: 0-240-80705-7
Reviewed by: Mario Georgiou, September 2006
Published by: Focal Press/Elsevier
Requires: N/A
MSRP: US$49.95, UK£27.99
Adobe Photoshop and Corel Painter IX are programs that you always leave with the feeling that you're just scratching the surface of their capabilities. This book does an excellent job of showing just what these powerful programs are capable of when you've got a specific creative project in mind. The creation of digital collages and paintings are very artistic applications of Photoshop's capabilities and something to which Painter, as a natural media emulation tool, is dedicated.
At over 600 pages, "Digital Collage and Painting: Using Photoshop and Painter to Create Fine Art" is a hefty volume which is bursting with hints, tips, case studies and example based projects. It also features coverage of several third party plug-ins and tools including Nik Color Efex and the AutoFX range which augment the already powerful features of both Photoshop and Painter.
Susan Bloom is well qualified to author this book, being a Professor of Art and Chair of the Department of Art & Art History at McDaniel College in Maryland. She teaches respected courses on the subjects covered by this book and is also a very capable photographer. The book consists of 13 chapters organized into 3 distinct sections. To attempt to cover each chapter in detail is beyond the scope of this review, so I've chosen to focus mainly on how well each section achieves its goals.
In section one, Planning and Inspiration, the reader is taken through concepts, factors for consideration and then through inspirational examples provided by the contributing artists selected for the book. The short introductory chapters are light and easy to follow and only serve to cover the basics. The inspirational sections feature and impressive list of digital artists such as Julieanne Kost, Stephen M. Burns and Audrey S. Bernstein, all of whose work I am familiar with, and as well as many others who are well chosen for their ability to showcase the creative possibilities inherent in Photoshop and Painter. Each artist discusses their equipment, history and their creative process and takes readers through the process of creating one of the selected projects.
The second section deals with the process of working with the featured tools. First a chapter on painting with Photoshop and then one with Painter and then chapters on creating collages with both tools respectively. In all chapters the use of brushes, filters and layering techniques help to build a picture of the very powerful capabilities to be found in both these programs. The chapters also provide some very useful tips on how to create your own edge effects, creating background textures, hand tinting photos and on creating grid based photo-collages.
The final chapter in this section covers the creation of panoramic images, which until I came across this book, I must admit I never really thought of in the context of being collages. The coverage is quite comprehensive and also discusses and provides tips on a whole range of issues that artists and photographers producing panoramas will very definitely encounter.
The final section deals rather grandly with artistic considerations and looks first at the use of filters and effects in your projects. The coverage, even though it is not comprehensive, does succeed in showing what can be achieved with the judicious application of both stock and third party plug-ins. The chapter on experimentation however, was actually one which I enjoyed the most because of its coverage of output techniques and media. The suggestions for paper types were something which I had considered, but now formed a reminder for me to rediscover. The last few chapters are dedicated to exercises you can explore by yourself. The lack of a tutorial CD is disappointing, though the projects can be found via the Focal Press web site.
Cons: No tutorial CD.
Pros: Digital Collage and Painting is yet another reason why Focal Press have become one of my favored publishing imprints. Excellent coverage of Photoshop and Painter. Contributing authors and their featured projects are well selected. Well written. Excellent examples. The book is well written and researched and it provides a wealth of information which is both relevant and useful. The range of projects showcased and each artist's insights are something we can all benefit from. I thoroughly enjoyed the book. For anyone interested in digital painting or creating digital collages, this one is highly recommended.
This review has been reproduced in its entirety from Kickstartnews.com
Wednesday, August 30, 2006
DMax and Dynamic Range.
A few weeks back I was asked some questions about particular scanners and their capabilities. One feature mentioned was Dynamic Range (DR) and the DMax specification. I'd promised I'd get back in short order with a post discussing DMax, DMin and the whole dynamic Range issue. This is a tough nut to crack mind you, therefore, I've decided, I would try to keep it simple.
DMax relates to the Maximum Readable Density or the maximum "opacity" achievable in a given medium.
DMin equates to the Minimum Density or a films maximum "transparency".
It has been suggested that the DMin value should reflect the density reading where the detail is still retained in the light areas of an image. Whereas DMax has been described as the darkest area of an image that a scanner can still discern detail from.
Back when I was pulling film for typesetting and printing, we would try to ensure our films were all checked by densitometer and that the darkest areas were kept around a DMax of 4.0.
The ideal range for scanners would be to be a DMin of 0 and a DMax of 4.0 giving a DR of 4. One thing to bear in mind, the capture of dynamic range varies greatly. Factors like sensor type, colour channel, sensor noise and bit conversion depth all play a part. View all manufacturer specifications, with a prove it to me mind set. Probably the best bit of advice I have to offer is, that you should look to third party reviews for information on how well a scanner performs.
One of the best descriptions of Dynamic Range, that I've come across, can be found at photo.net.
DMax relates to the Maximum Readable Density or the maximum "opacity" achievable in a given medium.
DMin equates to the Minimum Density or a films maximum "transparency".
It has been suggested that the DMin value should reflect the density reading where the detail is still retained in the light areas of an image. Whereas DMax has been described as the darkest area of an image that a scanner can still discern detail from.
Back when I was pulling film for typesetting and printing, we would try to ensure our films were all checked by densitometer and that the darkest areas were kept around a DMax of 4.0.
The ideal range for scanners would be to be a DMin of 0 and a DMax of 4.0 giving a DR of 4. One thing to bear in mind, the capture of dynamic range varies greatly. Factors like sensor type, colour channel, sensor noise and bit conversion depth all play a part. View all manufacturer specifications, with a prove it to me mind set. Probably the best bit of advice I have to offer is, that you should look to third party reviews for information on how well a scanner performs.
One of the best descriptions of Dynamic Range, that I've come across, can be found at photo.net.
Sigma promises new DSLR for Photokina
With a rather basic and pedestrian presentation, featuring poor typographic treatment, Sigma launched their new teaser website for the SD14 DSLR. I for one am sick of these over produced and rather underwhelming websites which do nothing more than tease (and rather ineffectually at that). I can't wait however to see what they're up to with the new camera, and also to see the specs ... this interest isn't based upon any response to their promtional site but rather, more related to a seeing just how much they've improved on the foveon based technology used in their older DSLRs. No guessing on the specs mind you, I'll wait till the end of the month. Sigma-sd14.com
Saturday, August 26, 2006
Bedouin Ventures, release MicroStock Watcher
In the space of one week I get two emails from Marc C. Johnson, the president of Bedouin Ventures LLC. With the release of MicroStock Watcher, Bedouin Ventures, addresses a need which suppliers of Stock images have to be able to track the usage and sales of their products. MicroStock Watcher is a Java-based widget (Yahoo! Konfabulator or OS X Dashboard) and it provides information on stock photography earnings, uploads and downloads for six of the largest microstock websites.
MicroStock Watcher currently supports the following agencies:
Dreamstime
Fotolia
iStockphoto
LuckyOliver
Shutterstock
StockXpert
For more information, visit the MicroStock Watcher product page.
MicroStock Watcher currently supports the following agencies:
Dreamstime
Fotolia
iStockphoto
LuckyOliver
Shutterstock
StockXpert
For more information, visit the MicroStock Watcher product page.
Canon USA Produce a White Paper on their Full Frame CMOS Technology
Rob Galbraith reported that Canon USA has published a new white paper which promotes the benefits of their full frame CMOS sensors used in their EOS-1Ds, EOS-1Ds Mark II and EOS 5D digital SLRs. The Paper which is titled "Canon's Full-Frame CMOS Sensors: The Finest Tools for Digital Photography" is a 30-page document in which Canon takes a look at the advantages of 35mm film frame-size sensors. The White paper is definitely worth a look ... it can be downloaded from following page at Rob Galbraiths Digital Photography Insights:
Canon's Full-Frame CMOS Sensors: The Finest Tools for Digital Photography
Canon's Full-Frame CMOS Sensors: The Finest Tools for Digital Photography
DPReview Begin Their Coverage Of Photokina 2006
Ok, so it’s a month away, but things are shaping up for Photokina to be very busy show for folks that are lucky enough to visit. I'm of the mind that digital cameras are not going to be the big news at Photokina. I'm looking for new storage and output technologies, display systems and accessories. That having been said, this is going to definitely going to be the year of Image-stabilization. Visit the Photokina 2006/ page at DPReview to see their coverage. The official Photokina site can be found at http://www.photokina-cologne.com/.
Canon New Products Blitz
It's been quite the week for new product releases, Canon generally announce their products in batches and this week is no different. Canon announced a new consumer D-SLR, several new point and shoots and a couple of lenses in addition to several non photographic products. Their new D-SLR is EOS 400D which is set to replace their successful 350D. I'm personally excited by their new EF lenses, the 50mm F1.2L and the 70-200 mm F4L IS USM lens. For more information please visit DPReview, who have good coverage of many of these new products.
Thursday, August 17, 2006
BabelPix™ Keyword Translator
I received an intriguing email from Marc C. Johnson of Bedouin Ventures, LLC. His company has just announced called BabelPix™ a great tool which translates keywords which embedded in images, into foreign languages. It does so, by allowing you to select the image(s) to be translated, and then allow you to specify a target directory into which your translated image(s) will be placed. The product is aimed at photographers and designers who create images for sale through stock agencies and facilitates the easy access to their images in other language markets. It currently supports English to Spanish and back, other languages will follow. BabelPix™ is available in Mac, Windows and Linux versions. For more info on this product, visit the Babelpix homepage.
Sunday, August 13, 2006
The theatre of reportage...
One of the most damning bits of disinformation has been the medias handling of events in the middle east ... don't get me wrong, I think that both sides of this war are wrong, with innocents stuck in the middle and paying the price. Thats as far as I'm going on the subject of this war and its reality ... What is a concern is how reporters have allowed themselves to be pawns in a propaganda war and not only obviously, but also in such a callous and underhanded way that the dead bodies of children are being handled with utter disrespect and also to elicit an emotional response that is tainted by the cold blooded calculation with which the events have been managed. From staged photo-ops to extremely badly retouched photography the perversion of the truth is causing a firestorm of consensus from many online bloggers.
I think that reportage should be just that ... any retouching should be kept to a minimum, clean up of dust and removal of corporate logos only. If more is done then a logo should be added which clearly states that the image concerned has been photomanipulated (even better would be to disqualify such imagery from usage in the news media). The press should also endeavour to indicate where the shot has been managed through media handlers, who limit the press representatives access through corralling or by staging a scene, though in reality this is nearly impossible an expectation.
Reportage should be about truth and not about theatre ... if you want theatre watch entertainment ... with the news I want truth. What happens in all cases like this, is a disrespect of the worse kind ... in this case it appears that it is an abuse of the dead, someones children!!!
If your interest has been piqued then visit the Times Online for an intro to a story which upset me almost as much as the war itself.
I think that reportage should be just that ... any retouching should be kept to a minimum, clean up of dust and removal of corporate logos only. If more is done then a logo should be added which clearly states that the image concerned has been photomanipulated (even better would be to disqualify such imagery from usage in the news media). The press should also endeavour to indicate where the shot has been managed through media handlers, who limit the press representatives access through corralling or by staging a scene, though in reality this is nearly impossible an expectation.
Reportage should be about truth and not about theatre ... if you want theatre watch entertainment ... with the news I want truth. What happens in all cases like this, is a disrespect of the worse kind ... in this case it appears that it is an abuse of the dead, someones children!!!
If your interest has been piqued then visit the Times Online for an intro to a story which upset me almost as much as the war itself.
Nikon Announce 10MP D80 DSLR
Nikon announced their new ten megapixel D80 digital SLR. This new model is the successor to the D70/D70s and has a new look and feel, with improvements to the user interface and a range of new features. New improvements include; a 10.2 mp CCD, a new image processing engine, 3D Color Matrix Metering II, 11-area AF system, configurable Auto ISO and high ISO NR, a larger and brighter viewfinder, in-camera retouching (including red eye reduction and D-Lighting), a multiple exposure feature, a built-in wireless flash commander, SD card storage (with SD-HC support) and it also supports the D200's higher capacity battery. The D80 will go on sale in September with a body only price of $999 in the US/£699 in the UK or as a kit with the new 18-135 mm DX lens for $1299 in the US/£949 in the UK. DPReview have produced an eleven page preview of this camera.
Fujifilm USA announce S3 PRo UVIR for Criminal Investigation
Fujifilm announced a specialized version of their S3 Pro digital SLR. The new S3 PRo UVIR model has been modified to facilitate the taking of photographs which are sensitive in the Ultra Violet and InfraRed parts of the light spectrum. This capability is clearly aimed at users in law enforcement, science, medical and fine art. The S3 Pro UVIR is capable of recording otherwise invisible evidence such as gun shot residue, blood stains and burned writing. This new model which also features a live preview capability will be available from selected dealers as will be priced at $1,799 I'm not certain if the model will be available outside of the US as it is only featured on the Fujifilm USA site. For more info visit the product page at fujifilmusa.com
Tuesday, August 08, 2006
Espon V750-M Pro Vs Microtek i900
After posting a notice back in february on some new scanners by Epson, I was asked recently if I had any comments on the Espon V750-M Pro and how it compares to the Microtek i900, unfortunately having not seen either scanner in action and having no reference files to compare between the two I really cannot accurately comment.
I can make some assuptions though, and those are, that manufacturers claims on DMax are usually generous. So the difference between the Epson and the Microtek will most probably be small. There is an excellent review of the i900 at The Photography Blog and there is also the factor of resolution the V750-M Pro has a higher optical resolution 6400 vs 3200 and the fluid mount technology which I eagerly await seeing results from reviewers lucky enough to get hold of this unit.
You can also read some interesting comments from Ovidiu Predescu someone who has had experience with the V750-M Pro. One other thing to consider is investing in some third party film holders which allow you to optimize the distance between the scanning head and the film. Better Scanning creates custom film holders for a variety of devices including the V series of scanners.
I was going to post this as a response to one of my earlier posts but I needed to post some links and some information which would have been lost. If you are lucky enough to have a friendly digital technology vendor who carries these models you can perhaps arrange to take or send some samples for scanning. Given the difference in the age of the technologies and the differences in optical resolution I'd take a good look at the Epson, also feel free to contact me directly if you have a more specific question relating to the type of media you are using.
Although these types of flatbeds are quite competent as all round units they are not a replacement for dedicated transparency scanners, some of which like the Minolta Dimage Scan Multi PRO claim a DMax of 4.2. In all cases, it is only when you can accurately compare scanned images side by side, when the true capabilities of a scanner come into play. The Wet scan capability of the Epson looks to be a good capability but I'm wondering how much difference it would actually make in comparison to Microteks E.D.I.T.™ and glassless SnapTrans™ solution.
All manufacturers are notorious for making all sorts of claims about their equipments capabilities and it is best to try the scanners you are interested in, if you've been looking at the Epson and the Microtek also look at the Canon flatbeds and Nikons Transparency Scanners. I'm going to follow this up with an article on DMax and just what it means.
Wednesday, August 02, 2006
Alien Skin releases Blow Up
Alien Skin Software have released yet another useful tool for photographers and imageers. Blow Up, which is designed to create high quality digital enlargements of your images at up to 1600% (3600% in some cases) without perceivable artifacts. In most cases many of these types of software packages and tools create images which have a liquidy type of look where detail is lost and averaged. Blow Up has a rather nice feature which introduces "grain" or noise to reorganify images so they look more natural. Some of the results I saw in their examples where quite effective. I look forward to trying it out and getting back to you on how it compares to other tools with a similar purpose. For more info please visit the Blow Up page at Alien Skin Software.
Monday, July 31, 2006
Canon Announce New Scanners
Canon have followed Epsons recent scanner announcement with 4 new releases of their own. The new models include the CanoScan 8600F, the LiDE 600F , the CanoScan 4400F and the LiDE 70. The new scanners offer new features and ease of use. The CanoScan 8600F and CanoScan 4400F feature built-in Film Adapter Unit and 3 of the scanner are pdf creation friendly.
Adobe updates digital photography documents
Adobe has updated several of its publicly available white papers and primers relating to digital photography. CS2 centric primers include: Digital Image Integrity, Black and White Conversion Tutorial, About Metadata, A Color Managed Raw Workflow, Making the Transition from Film to Digital, and Highlight Recovery in Adobe Camera Raw. Visit the following pages on Adobe Digital Imaging Solutions and Adobe digital photography white papers and primers to access the downloadable PDFs.
DPReview post Sony Alpha A100 Review
DPReview have just posted their 30 page review of Sony's New Alpha DSLR. As usual they've provided comprehensive coverage of what looks to be an excellent new entry to the DSLR world from Sony. Read the full review starting here.
Thursday, July 27, 2006
Extensis Release Universal Binaries for Portfolio.
Extensis have released Universal Binaries of Portfolio, Portfolio Server , Portfolio Server and SQL Connect and Portfolio NetPublish that will run natively on both Intel- and PowerPC-based Macs. Version 8.1 of each Portfolio variant is available for download as a free update to v8.0. For those of you who aren't familiar with portfolio visit http://www.extensis.com/ to familiarise yourself with this excellent asset management solution.
BreezeBrowser Pro 1.5.1 for Windows Released
Breeze Systems has released an updated version of BreezeBrowser Pro for Windows. According to Breeze Systems, new features include:
Adobe XMP metadata support for JPEG, TIFF, PSD, DNG, PNG, JPEG 2000 and RAW files. The program creates a Photoshop-compatible XMP sidecar file to store the XMP information.
New IPTC scene and subject code editors which use the NewsCode XML topicsets.
A new keyword editor.
Improved colour in Nikon D200 RAW conversions.
An option to output either 8 bit or 16 bit Photoshop (PSD) format files when creating proofs or converting RAW files.
Updated lens distortion correction.
The ability to display a frame around a picture in proofs and slideshows. The frame and matte can be chosen from a selection of included ones, or you can create your own.
For more information, pricing and to download the update, visit Breeze Systems.
Adobe XMP metadata support for JPEG, TIFF, PSD, DNG, PNG, JPEG 2000 and RAW files. The program creates a Photoshop-compatible XMP sidecar file to store the XMP information.
New IPTC scene and subject code editors which use the NewsCode XML topicsets.
A new keyword editor.
Improved colour in Nikon D200 RAW conversions.
An option to output either 8 bit or 16 bit Photoshop (PSD) format files when creating proofs or converting RAW files.
Updated lens distortion correction.
The ability to display a frame around a picture in proofs and slideshows. The frame and matte can be chosen from a selection of included ones, or you can create your own.
For more information, pricing and to download the update, visit Breeze Systems.
Epson Announce 2 New Slimline Scanners
Epson have announced the new Perfection V350 Photo and Epson Perfection V100 Photo scanners, both of which are aimed at consumers and feature a new slimline design suited for either portrait or landscape orientation. The lid on these models can be opened up to 180 degrees and is well suited to facilitating the scanning of three-dimensional objects, as well as oversized objects, photos and documents. These scanners offer hardware resolutions up to 4800 x 9600 dpi on the Perfection V350 Photo and up to 3200x 9600 dpi on the Perfection V100 Photo. Both units support 48-bit color scanning and feature a 3.2 dynamic range for high quality scans. The bundled Epson Easy Photo Fix software allows for automatic color restoration and dust removal, providing a complete solution for the consumer. I look forward to reading the reviews. For more information, please visit Epson.
Wednesday, July 19, 2006
Adobe Release Lightroom Public Beta 3 for Windows
I, like many of you no doubt, have just received a notification from Adobe, indicating that they have released a public Beta of Lightroom for Windows. Visit the Adobe® Lightroom™ beta* Site to download the beta today.
Sunday, July 16, 2006
Nikon Release Trial Version of Capture NX
Nikon announced the immediate availability of a trial version of its new image workflow, editing and conversion application, Capture NX. Capture NX is the result of a collaboration between Nik software and Nikon, and should be welcome news for many Nikon owners who have wanted better Nikon raw, NEF, conversion software. Capture NX will available for $149.95 for the full package or $89.95 as an upgrade to registered owners of Nikon capture 4. There is a 30-day trial available for download at http://www.nikonusa.com. An online demo of how Capture NX works is available at http://www.capturenx.com/ or http://www.nikondigital.com/.
Fujifilm unveil new cameras and Logo.
Fujifilm debuts its Face Detection technology in the FinePix S6500fd. The Camera should be available here in the Uk from October onwards and will feature a 10.7x optical zoom lens, TV-quality VGA movie recording at 30 frames per second with sound, Jpeg and RAW file formats, Super CCD HR VI sensor delivering 6 megapixel images and PictBridge™ support.
The second camera which Fujifilm annnounced is the FinePix F20 which shares many of the features the FinePix F30. Its compact design features a 6.3 MegaPixel Super CCD HR sensor and a 2.5-inch LCD display. Another excellent feature a Picture Stabilization feature in the form of a button that boosts ISO sensitivity to as high as 2000 at full resolution. For more info on these cameras visit these FinePix S6500fd, and FinePix F20 pages on the Fujifilm website.
They also unveiled a new Logo which can be seen just above, and which should come into use sometime in October.
The second camera which Fujifilm annnounced is the FinePix F20 which shares many of the features the FinePix F30. Its compact design features a 6.3 MegaPixel Super CCD HR sensor and a 2.5-inch LCD display. Another excellent feature a Picture Stabilization feature in the form of a button that boosts ISO sensitivity to as high as 2000 at full resolution. For more info on these cameras visit these FinePix S6500fd, and FinePix F20 pages on the Fujifilm website.
They also unveiled a new Logo which can be seen just above, and which should come into use sometime in October.
Wednesday, July 12, 2006
Catherine Leroy Dies
French Born Catherine Leroy, has passed away from Cancer at the age of 60. As a photojournalist she is famous for her work during the Vietnam War. Her work often appearing in the pages of Life magazine and other publications.
At the age of 21 she bought a one-way ticket to Saigon and began to record the life of American troops in Vietnam, becoming the only accredited journalist to actually participate in a combat parachute jump when she joined the 173rd Airborne in Operation Junction City.
Leroy was even captured by the NVA during the Tet Offensive, after talking her way out, she left with images of the NVA in action that were used for a Life magazine cover. Jonathan Randal, a longtime Washington Post correspondent who met Leroy in late 1965 said "She was tiny and totally fearless," To see examples of Catherine Leroys work visit Piece Unique Gallery.
At the age of 21 she bought a one-way ticket to Saigon and began to record the life of American troops in Vietnam, becoming the only accredited journalist to actually participate in a combat parachute jump when she joined the 173rd Airborne in Operation Junction City.
Leroy was even captured by the NVA during the Tet Offensive, after talking her way out, she left with images of the NVA in action that were used for a Life magazine cover. Jonathan Randal, a longtime Washington Post correspondent who met Leroy in late 1965 said "She was tiny and totally fearless," To see examples of Catherine Leroys work visit Piece Unique Gallery.
Monday, July 10, 2006
Tabblo - Photos, Stories and Printing
I came across a new photo sharing community today - Tabblo, which is no doubt derived from Tableau, which means; "A vivid or graphic description". It looks pretty cool and is definitely aimed at the consumer who wants to tell a story with their pictures. In their own words "What is Tabblo? Your photos. Your words. Put them together with Tabblo and tell your story." It is based a round a template driven interface which allows you to upload your photos, add your own text and then select a tempate for your personal portal, which by the way you can share and even customize. There is even a facility for creating prints and posters of your photos. Visit Tabblo and take a tour.
Thursday, July 06, 2006
Nikon Exceeds dSLR Sales Estimates
Nikon's digital SLR sales have exceeded what they projected for April and May 2006. Nikon has said that production is running at full capacity to meet demand for the D50, D70s and D200. With new models expected from Sony and Pentax it should be interesting to see how the dSLR market progresses.
Nikon post trial version of Camera Control Pro
Nikon Europe and USA have posted 30-day trial versions of Camera Control Pro for Windows and Mac OS. Camera Control Pro is Nikon's new standalone application for both tethered and wireless remote operation of Nikon cameras. Visit the Nikon USA site for the Windows and Mac versions and these pages on the European site for the Windows and Mac versions.
Nikon posts notice of lack of D2Xs NEF support
The Nikon Europe tech support website has posted a notice which explains that NEF (RAW) files from the D2Xs, which has just hit the market, are not supported by any Nikon software except PictureProject. Even Nikon Capture 4.4 does not support NEF files from the D2Xs and it appears from the statement that it will not be updated to do so. Capture NX, will support D2Xs NEF files, but the release of NX is delayed. It begs to wonder, how the hell do Nikon think they can appease current users of the D2Xs ... get it together guys.
Canon Firmware updates for 5D and 1D MKII N
Canon have released two firmware upgrades for their EOS digital SLR cameras. The updates are the EOS 1D Mk II N firmware 1.1.0 which enhances the direct printing function in combination with the PIXMA Pro 9000 or PIXMA Pro 9500 professional photo printers.
The EOS 5D firmware 1.1.0 includes the enhancement of direct printing with specific printers and corrects communication errors which occurred when shooting with EOS 5D and EOS Capture software after shooting about 138 shots. It also corrects an error in which the flash mode settings are changed from E-TTL to Manual when the EOS 5D is used in combination with the Speedlite Transmitter ST-E2 and the Speedlite 580EX.
The EOS 5D firmware 1.1.0 includes the enhancement of direct printing with specific printers and corrects communication errors which occurred when shooting with EOS 5D and EOS Capture software after shooting about 138 shots. It also corrects an error in which the flash mode settings are changed from E-TTL to Manual when the EOS 5D is used in combination with the Speedlite Transmitter ST-E2 and the Speedlite 580EX.
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