Video Monitors for 5DMK2

Working on a project to improve the clarity of my HD video. I am finding it challenging to manually focus the Canon's 5D Mark II, due to the design of the live view mode and physical camera angles. A tethered monitor can be useful to improve my visibility.

These days, very few people are made of money, and I am not one of them. I couldn't consider purchasing an LCD monitor for a service that will not be offered to clients. So I need to figure out a way to resolve this issue without having the additional expenditure. BTW, I did some internet window shopping for a monitor and learned that (prepare for sticker shock) JVC makes a monitor for this purpose. I am sure it's a fine monitor but my pocketbook opened up and laughed.

The next obvious option was to use my notebook, a little big to carry but should work great tethered. But I have a few problems with this idea. It's not as portable as I would like. The HP notebook I have been using has a poorly designed shell. HP has been addressing this and other issues. Netbooks might be an option but I have heard that they could not support most software applications and with small battery life may not be a good option.

Then I remembered that years back, we had purchased a video walkman for my kids (SONY DVE7000S). We have not used that walkman in many months. The monitor was used for long road trips and those came to a halt with the gas prices that rose through the roof. So reusing this video walkman just might work. BTW, a quick search for it reveals that now sells used for $120-150 online. Now to get the right cables and see if it's compatible.

I am getting a black and white screen. Time to go to the manual, I'll keep you posted.

"...Build Confidence in the Creative Spirit."

I thought I'd share some Black and White conversion tips for the blog. For many, this is a simple philosophy but for a few of you, this may change your workflow design. I selected and cropped the image to focus in on the multiple solid colors. The colors in the crab alone make this image interesting enough for conversion. Take a moment and open the image. Look at the colors and acknowledge the transitions in color. I will get back to this later.

Looking at the histogram, I was hoping for a better dynamic range. A little highlight or specular twinkle would have helped. Oh well, at least there are some cool shadows.


If you opened the image, maybe you noticed the bird droppings, or dark cracks in the handle. What about the transition to from flat black to shadow in that same handle? How about the reflective blue upper mid tones in the brushed steel or the burgundy trim around the wheel? Did you notice the dark blue trim around the crab? Indeed a picture is worth a thousand words and I will stop here as the combinations are incredible.

In a basic conversion to grayscale, the image is converted at the push of a button. Unfortunatly, this one button, or one size fits all approach doesn't fit image I wanted. To me, this image was robbed of contrast and looks a bit muted.

The beauty of digital and amazing computer engineering allows us the opportunity to use this as a starting point for incredible options . So, I grabbed one of my primary software editors and began work on the image with the adjusting sliders. Now, you can adjust the sliders till the cows come home and eventually get where you need to be but planning this trip will get you there faster and with your creativity, knowing when to stop is important.

Ansel Adams, " No man has the right to dictate what other men should perceive, create or produce, but all should be encouraged to reveal themselves, their perceptions and emotions, and to build confidence in the creative spirit. "

So let me reveal myself to build confidence in the creative spirit. With this particular digital image there is some hard fast rules. For example, this is an 8 bit RGB color image and when all three colors are the same value it produces 256 shades of gray. Within the saturated shades, you can create contrast and detail. You have a pallet of 256 colors, use them. I have placed a simple gray card at the bottom of this image, imagine this was a painters palate and 256 combinations were available.
Imagine dipping into the color pallet and painting. Start using the sliders and pay attention to the color details. In my work, I'd like to ensure the contrast captured in the color image is revealed.

When I was a kid, I was introduced to canvas painting, it was fun. I learned paint by numbers, and a little landscape painting. I find even those lessons apply to photography. For example, the Paint by numbers , taught me separation, contrast, and natural transitions of color. We are doing the same thing here, just with a different brush.

To apply advanced techniques, search out masters. I like the works of Vincent Versace, Brooks Jensen, and of course Ansel Adams. They are primary influences when it comes to dodge and burn techniques.

To take incredible images, a DSLR is all you need... or is it?

If I had a dollar for every time I was asked... What camera should I buy? I could at least support a non-fat latte habit.

My response is usually the same, "You should get a Canon Powershot G10 they go for about 500 bucks. If that's too much, you can go on craigslist or ebay and get a used G9 for about $320." I always get the strangest look after that. Maybe it's the disillusionment regarding small cameras or the dream of owning an instamatic (DSLR) that produces amazing photos.

Digital is a different animal. $800-1500 will get them in the door nicely for a DSLR body, but if they plan on purchasing a DSLR, they should consider the cost of investing in a system. If you are unwilling to invest $5000, get the G10, or G9 they are amazing cameras. Many professionals use the G9 for personal use. I also heard of one that uses a G9 for stock photography. That is right, paid commercial work!

A cool DSLR system (body, 2 lenses, flash) will run approximately $5000. If you are planning to go professional in the near future, double the system for starters and expect it to depreciate considerably as model numbers change annually. This and some education will help you take better photographs. Just don't expect the new camera to magically make you a better photographer, If you are a self taught kind of person I recommend the following advice from Ryan Libre, 9 tips for the self taught travel photographer.


For the person investing in the G10, pick up a 580exII flash and maybe adobe lightroom and/or Premiere Elements this is still around $1500 and you can get amazing results with little work. BTW G10 also does video and adobe premiere is awesome.

Now, it's time to burst bubbles here. A professional camera does take amazing images but not by themselves. I set up this technically great photo of Mark Reiffs Gas Station to prove a point. A DSLR or any digital camera will not create the vision of the photographer. The photographer must manipulate light and their worktool to create the image that is in their minds eye.

Let's begin by changing the automated setting on the camera to manual. Why, because the automated settings are made for typical lighting scenarios that give close enough results. If you want an exceptional photograph, you should assist the work tool in acheiving your goal. I chose to set the camera at ISO 200, because that is where the sensor naitively offers less digital noise. F9 provides enough depth of field and 30 seconds was the appropriate duration that the shutter would remained open.














If you travel there at night, this photo represents what you will see (with some limitations by the camera sensor) and many people would be incredibly happy to see that they were able to capture this image at night.

From a creative perspective the minds eye expects more. Creative photographers will not be satisfied and use light to manipulate the image. Examples of manipulation would include:

• Removing the heavy glow from the tungsten street light.
  
• Recapture highlights and shadows to digitally manipulate the image later on.
• Reduce digital noise due to sensor limitations.
• Crop the image.
• Strobe, light modifiers and gels for effects.
• Know that this list can never end with possibilites.
  

So how do we turn Mark Reiffs amazing home into a night time fine art photograph that we see in our minds eye?

I used the same settings that were used to take the image above.
Manual, ISO 200, f9, 30 seconds but changed focal length.
White Balance, Photomerge and Crop
Get highlights and shadows in raw.
Layer highlights and shadows for in a mask and reduce opacity.
(sloppy HDR with known limitations)
Flatten, Apply multiple lighting actions in layers and reduce opacity.
Not quite Bert Monroys work but this took hours of tweaking.



P.S. I have heard that the G9 (review) is probably a better camera than the G10 due to the time lapse feature but you should investigate yourself. If you are still looking for a quality DSLR and have a budget... get the Canon 20D. Introduced in early 2004, the 20D is still kicking butt, in the print magazine scene, problem is that it isn't shiny new.

Post-Thanksgiving Kick

There are a million reasons to give thanks this year and there are many blessings to be shared. Often we forget about those blessings that are not so obvious. We forget about the individuals who take the time, and share with you their learning's and failures. In the photographic community, we share ourselves in abundance and I am thankful for my network of photographers that help me creatively.

The images from this quick photo shoot of my son reflects inspiration from Strobist, David Hobbie, and commercial photographers Chase Jarvis and Bill Mahon and interestingly enough Bruce Lee.

I am fortunate enough to have been inspired by the work from the community. David Hobbie and his strobist community inspired me to play with speedlites in a different way. More often, I find myself running to the hardware store and fabric outlets to make light modifiers for my small strobes. Now, my Profoto strobes don't get the workout that they used to. Chase Jarvis has some fun videos. If you have not seen them, check them out. His award winning commercial work for KungFu HD provided the cool factor that inspired my work. His work on that project is much more complex and a much different photograph but the capture concepts are similar.
Now lets not forget, Bill. Over 10 years ago, Bill Mahon taught me lighting and his philosophy that can be broken down to one simple Italian word "Chiaroscuro" or clearly dark. This is Bills signature style but with this project I took it a bit further and wanted a crap load of contrast. Those abdominal muscles don't really pop out to the naked eye.

Finally, I have always had a fascination with Bruce Lees Philosophy around Jeet Kune Do. Mr. Lees' philosophical teaching of continued self discovery was exercised in this process. I have known for years that I can use a strobe this way but have never applied it in this manner. Anyhow thanks for the inspiration guys, I am thankful.

New Photography Form: Freestyle Generalism (Part 1)

Freestyle is a client based form of event photography which reflects the needs of the client and the artisitic expression of their photographer.

A freestyle generalist blends popular forms of event photography, such as photojournalism and traditional portraiture; add in a little fashion, fine art, landscape and digital expression to emphasize an extravagant vision.

ELEMENTS OF FREESTYLE

1. A freestyle generalist is a professional and will show competency in their work.


2. Digital expression does not include digital manipulation of poorly executed images.


3. Like Event Photojournalism, Freestyle captures events as they unfold, unobtrusively.


4. Unlike Event Photojournalists, Freestyle photographers value Traditional Portraiture.


5. Like Generalists, Freestyle photographers are trained in many forms of photography.


6. Unlike Generalists, Freestyle photographers are professionals focusing on event photography.
7. The cost of Freestyle photography is inherently higher that other forms of event photography.