Why Should I Always Update Photoshop?

Or Lightroom come to that!

Okay, so here’s why.

Adobe always issue a list of corrections, bug fixes and improvements to accompany an update.

I know a lot of people who read the update synopsis and decide it doesn’t apply to them, so they skip the update, because they see nothing that they think applies to them.

I also know a lot of people who just never bother – until the glorious day comes when they DO decide to run an update from 4 or 5 versions behind – and all does not go well.

Here’s why I ALWAYS recommend a CURRENT VERSION UPDATE such as the latest v20.0.1 to v20.0.2. (Please note I’m talking version updates NOT upgrades).

Every time an update is applied, the internal architecture of Ps is altered by Adobe, and the changes are often far more expansive than those listed in the update synopsis.

Say they facilitate a change to Content-Aware Fill – you think one thing has changed.  But to facilitate that one change they’ve maybe had to change a few hundred lines or more of code in the background.

For all I or you know, the v20.0.2 update might well have changed thousands of code lines from those of v20.0.1. 

The previous version of Photoshop ran from v19.0.0 all the way to v19.1.7 so there were 10 updates to PsCC2018, all of varying sizes and levels of complexity.

When Adobe created the v19.1.7 update for CC2018 it was designed to ‘overlay’ v19.1.6 architecture – NOT that of v19.0.0

Making small gradual changes to anything is far safer than trying to make large changes, and so I always recommend you apply every update to Photoshop and Lightroom when they are available.

Updates also designed to fit with the current version of your computer operating system – indeed some updates are built to improve the Photoshop-to-OS interface itself.

In all fairness to Adobe they have a massive job to do in making Photoshop work across so many platform variations.  Don’t forget that PC users have a huge variety of machinery in terms of CPU, GPU, Main Board and RAM and all these variations can and do impinge upon Photoshop functionality.

By comparison Mac users are a lot easier for Adobe to cope with, but it all adds to the workload mix.

Many Mac users, myself included, had stuck with the fully updated El Capitan OS for a long time after the launch of first Sierra and later High Sierra OS versions due to suspect colour management policies within the latter versions.

As long as Apple and Adobe both continued to support the latest version El Capitan – which worked to virtual perfection – there was no desire to change; after all if it ain’t broke why fix it ???

But before October last year (2018) the Photoshop dev teams had reached a breaking point with backwards OS compatibility support for the forthcoming v20 release, and had to draw a line in the sand, dropping support for certain Windows versions and all pre-Sierra Mac OSX versions.

So fair play to ’em I say, because their job is a lot harder than most users care to imagine.

Adobe are not in the habit of releasing version updates for Photoshop that break anything, so take my advice and apply them as they appear; this way you are ALWAYS ‘on’ the current version. (Alas we can’t always say the same for version updates to Lightroom!).

Where they have been known to screw up in the past is in the premature release of new VERSIONS or what used to classed as version UPGRADES.

If you want to be super-cautious about either updates or indeed upgrades then my advice is always the same – back up your system drive before applying the update or upgrade. That way you can always roll-back if you need to.

Keeping your software application versions up to date is always the best policy.

Photoshop Update January 2019

If you have Photoshop on your system then go and update it NOW.

Don’t just think “I’ll do it later…..” because I know a lot of folk for whom later never comes!

And remember, if you have a Creative Cloud subscription then Lightroom, Photoshop and CameraRaw all need to up to date and in synch with each other all the time in order for the Lightroom>Photoshop>Lightroom workflow to function correctly.

Apologies and Content Roundup

Apologies for not posting direct to my blog since November 6th.

I’ve been posting direct to the free-to-view section of my Patreon site, so no I’ve not been idle!

So I thought I’d post a roundup of the video content I’ve produced over the last couple of months in case you hadn’t seen any of it.

The Blend If sliders within the layer styles of Photoshop – so powerful yet SO underused by people!
So here’s a short example of just one of the many powerful ways to use Blend If – and there’s not a mask or selection in sight!

Pro Grade Image Sharpening Training https://wildlifeinpixels.net/shopfron…

Help support this FREE content by joining my Members site over on Patreon where you will find lots of ‘secret’ members-only content not available on my normal YouTube channel https://www.patreon.com/andyastbury
Even though I advocate spot metering for nearly everything, here is an explanation of why I DON’T use it for the majority of my ‘bird in flight’ photography. Put simply, it often leads to over exposure.

Help support this FREE content by joining my Members site over on Patreon where you will find lots of ‘secret’ members-only content not available on my normal YouTube channel https://www.patreon.com/andyastbury
Get LUMENZIA here: https://getdpd.com/cart/hoplink/21529…

In this video I explain why I DO NOT ever use the Shadow Highlight adjustment in Photoshop. Even though I don’t use it myself, I do show you two different non-destructive methods of deploying it at 10:00 minutes into the video. Luminosity masking with a targeted adjustment will always give a better more accurate result.

Help support this FREE content by joining my Members site over on Patreon where you will find lots of ‘secret’ members-only content not available on my normal YouTube channel https://www.patreon.com/andyastbury
My Patreon Members Site: https://www.patreon.com/andyastbury

My Pro Grade Image Sharpening Training: http://bit.ly/2EaXyU2

I was going to have a rant today, but thought better of it!
So here’s a top tip for working in Lightroom when you need to keep things nice and real by using the rarely talked about Calibration Panel Master Channel Sliders and the new improved Negative Dehaze function in the latest version of Lightroom.
My Patreon Members get the raw file to follow along with me during processing. Join my Members Only website at: https://www.patreon.com/andyastbury #Lightroom #LightroomHotTips #ImageProcessingMastery
Tonight, Neil Burton sends me some ‘SMILS’, I babble about exposure and some other ‘stuff’, and we process a 2000ISO shot in Lightroom.

Help support this FREE content by joining my Members site over on Patreon where you will find lots of ‘secret’ members-only content not available on my normal YouTube channel https://www.patreon.com/andyastbury

#Lightroom #HighISO #ImageProcessing
Processing a 16000 ISO image in Lightroom is easy, especially when you expose the shot in a way that is beneficial to the reduced dynamic range at ISO Stupid 😱
No one should really set out to use these ISO values, but sometimes you have use them or miss the shot completely.
Understanding what happens to your camera dynamic range at these insane values enables you to understand how both a sympathetic exposure and sympathetic processing can help produce images that are both saleable and printable.

Help support this FREE content by joining my Members site over on Patreon where you will find lots of ‘secret’ members-only content not available on my normal YouTube channel https://www.patreon.com/andyastbury

#Lightroom #1DXMk2 #PartialMetering
Following on from my previous video we look at another Canon 1DXMk2 shot at 10,000ISO in very low light.
The shot was taken in low light misty conditions, and we process the image to enhance the atmosphere and mood of the shot.
But to begin with I give my thoughts on the main pitfall of shooting with Auto ISO with exposure compensation, and why sometimes it’s more prudent to capitalize on a cameras ISO invariance.

If you want to see more videos like this or have your own images processed then join my members only section at: https://www.patreon.com/andyastbury

#ISO_Invariance #low_light_photography #wildlife_photography
In this video we look at how Partial Metering can help with good exposure for both light subject/dark background and dark subject/light background situations.
Lightroom manages to process any image better if exposure is done correctly and highlights are exposed to the right of the histogram – basic ETTR principles are always the best!

Help support this FREE content by joining my Members site over on Patreon where you will find lots of ‘secret’ members-only content not available on my normal YouTube channel https://www.patreon.com/andyastbury

#canon #partial_metering #wildlifephotography
Subscribe to My Members Only site here: https://www.patreon.com/join/andyastb… to support my add-free content and gain access to special content videos and articles.

“My user presets have vanished Andy”.
This is something I here all the time from Lightroom users, and it usually happens when they make a new catalog.
Over the years I have come across a few ways that Lightroom can ‘drop the ball’ with your User Presets, but this one is a real ball-ache for those of you who are not 100% savvy with Lightroom CC’s vagaries.

#lightroompresets #missinglightroompresets #lightroom_missing_user_presets
Fed up or lost with Photoshop Clutter?
Then learn how to easily Customize your Photoshop Toolbar and Workspace Panels so you only see the tools and panels you need.

Help support this FREE content by joining my Members site over on Patreon where you will find lots of ‘secret’ members-only content not available on my normal YouTube channel https://www.patreon.com/andyastbury
In this video I answer a question from Les – one of my patrons – on how to make a single image file Triptych for either print or digital projected at his local photo club.
As we all know a triptych should normally be three separate images but clubs ask their members to do all sorts of strange things, and truthfully the only way to project a triptych to full effect is to make it into a single image file.
Anyway, this video covers both digital and print output using simple tasks in Photoshop and a triptych template in the Lightroom print module.
Even if you don’t want to make a triptych there are some useful Photoshop operations in this video that will add to your knowledge and skill.

Please consider helping support this FREE content by subscribing to my Members Site over on Patreon: https://www.patreon.com/join/andyastb… There is a growing amount of Members Only content available to my members as well as other benefits to membership, and there are more scheduled between now and the end of March.


Camera Imaging Area

Camera Imaging Area

For God’s Sake! Another bloody idiot YouTuber uploaded a video the other day where they were trying out the Fuji GFX 50, and just moments into said video he came out with the same old pile of junk which amounts to “it’s a bigger sensor so it soaks up more light”.

So now his 76,000+ subscribers are misled into believing something that is plain WRONG.

For anyone who didn’t manage to grasp what I was saying in my previous post HERE let’s try attacking this crackpot concept from a different angle.

Devotees of this farcical belief quite often liken larger sensors to bigger windows in a room.

“A bigger window lets in more light” they say.

Erm…no it doesn’t.  A bigger window has an increased SURFACE AREA that just lets in a larger area of THE SAME LIGHT VALUE.

A 6 foot square pane of glass has a transmission value that is EXACTLY the same as as a 3 foot square pane of the same glass, therefore a ‘BIGGER WINDOW’ onto the outside world does NOT let in more light.

Imagine we have a room that has a 6×6 foot and 3×3 foot window in one wall.  Now go press your nose up to both windows – does the world outside look any different?

No, of course it doesn’t.

The only property that ‘window size’ has any bearing on is the area of ‘illumination foot print’.

So basically the window analogy has ZERO bearing on the matter!

What lets light into the camera is the LENS, not the damn sensor!

The ‘illuminant value’ – or Ev – of the light leaving the back of the lens and entering the imaging plane DOES NOT CHANGE if we swap out our FX body for a crop body – DOES IT!!??!!

So why do these bloody idiots seem to think physics changes when we put a bigger sensor behind the lens?  It’s pure abject stupidity.

The imaging area of a sensor has ZERO effect on the intensity of light striking it – that is something that is only influenced by aperture (intensity) and shutter speed (time).

With digital photography, exposure is ‘per unit area’ NOT total area.  A dslr sensor is NOT a unit but an amalgamation of individual units called PHOTOSITES or pixels.  Hence it is the photosite area that governs exposure NOT sensor total area.

There is a sensor on the market that blows all this ‘sucks in more light’ crap clean out of the water, and that sensor is the Sony IMX224MQV.  This is a 1/3 class sensor with a diagonal dimension of just 6.09mm and 1.27Mp.  By definition this one hell of a small ‘window’ yet it can ‘see’ light down to 0.005lux with good enough SNR to allow the image processor to capture 120 10bit images per second.

A cameras ‘window onto the world’ is the lens – end of!

Imagine going back to film for a moment – correct exposure value was the same for say Ilford FP4 irrespective of whether you were using 35mm, 120/220 roll film, 5×4 or 10×8 sheet film.

The size of the recording media within the imaging plane was and still is completely irrelevant to exposure.

Bigger recording media never have and never will ‘suck in’ more light, because they can’t suck in more light than the lens is transmitting!

The only properties of the sensor within the imaging area that WILL change how the it reacts to the light transmitted by the lens are:

  • Photosite surface area – number of megapixels
  • Sensor construction – FSI vs BSI
  • Micro lens design
  • CFA array absorption characteristics

After my previous post some stroppy idiot emailed me saying Ken Wheeler AKA The Angry Photographer says the Nikon D850 is a full frame Nikon D500, and that because the D850 is an FX camera and has better dynamic range then this proves I’m talking bollocks.

Well, Ken never said this in terms of anything other than approximate pixel density – he’s not that stupid and dick-heads should listen more carefully!

The D500 is an FSI sensor while the D850 is a BSI sensor and has a totally different micro lens design, AD Converter and IP.

Out of the 4 characteristics listed above 3 of them are DRASTICALLY different between the two cameras and the other is different enough to have definite implications – so you cannot compare them ‘like for like’.

But using the same lens, shutter speed, ISO and aperture while imaging a flat white or grey scene the sensor in a D850 will ‘see’ no higher light value than the sensor in a D500.

Why?  Because the light emanating from the scene doesn’t change and neither does the light transmitted by the lens.

I own what was the best light meter on the planet – the Sekonic 758.  No where does it have a sensor size function/conversion button on it, and neither does its superseding brother the 858!

There are numerous advantages and disadvantages between bigger and smaller sensors but bigger ‘gathering’ or ‘soaking up’ more light isn’t one of them!

So the next time you hear someone say that increased size of the imaging area – bigger sensor size – soaks up more photons you need to stop listening to them because they do not know what the hell they’re talking about.

But if you chose to believe what they say then so be it – in the immortal words of Forrest Gump ” Momma says stoopid is as stoopid does………”

Post Script:

Imaging Area

Above you can see the imaging area for various digital sensor formats. You can click the image to view it bigger.

Each imaging area is accurately proportional to the others.

Compare FX to the PhaseOne IQ4.  Never, repeat never think that any FX format sensor will ever deliver the same image fidelity as a 645 sensor – it won’t.

Why?

Because look at how much the fine detail in a scene has to be crushed down by the lens to make it ‘fit’ into the sensor imaging area on FX compared to 645.

Andy your talking crap!  Am I ?  Why do you think the worlds top product and landscape photographers shoot medium format digital?

Here’s the skinny – it’s not because they can afford to, but rather they can’t afford NOT TO.

As for the GFX50 – its imaging area is around 66% that of true MF and it’s smaller than a lot of its ‘wannabe’ owners imagine.

Lumenzia – Update 2nd July 2018

Lumenzia and Basics – Update 2nd July 2018

lumenzia

Greg Benz has just issued new updates for both the Lumenzia and Basics Photoshop plugins. So don’t forget to go and grab the updates for both.

I’ve included below a full list of all the updates for both Lumenzia and Basics.

If you haven’t got the plugin yet then I’d highly recommend that you do.  Click HERE to get the very latest retail version.

If you have the plugin, but you haven’t invested in Gregs training course then you can buy that buy CLICKING HERE and selecting the option on the left.

Or for those who don’t have Lumenzia yet, you can save money by buying it bundled with Gregs own training course and learn from the man himself how to harness the power of Lumenzia – click HERE.and selecting the option on the right.

And YES, if you use the links above then Greg pays me a small commission.

Lumenzia v6.1.0 (released July 2, 2018) updates:

New: -click “Curves” for advanced options to create curves for each wide zone.
Updated: <cmd/ctrl>-click “Sat” or “Vib” in normal mode to immediately create a masked HSL layer. This can save a lot of time, as saturation/vibrance masks are most commonly used with HSL adjustments.
Updated: “Sat” and “Vib” are now available in LIVE-M mode.
Updated: “Sat” and “Vib” are now available in LIVE-S mode.
Updated: “?” can be used on all buttons at any time (including currently disabled options)
Updated: Shortened layer name used for BlendIf:under (the layer name will no longer include “under” in order to keep the name shorter. Layers for BlendIf:this will continue to get a longer name).
Updated: Improved warnings if the user tries to make invalid changes to the temporary orange/red layers.
Updated: Convert layers to linked PSB allows ( and ) in filename.
Updated: When selecting “vector mask” as a mask output, a more prominent warning is shown to alert the user not to use this option with luminosity selections (as conversion of these complex selections into vector masks is slow in Photoshop, and can even trigger a Photoshop bug that causes a crash in some cases). Vector masks are meant to be used with simpler selections, such as those created with the lasso tool.
Updated: High Pass Smart Object is created at higher strength.
Updated: Button reference switched to a 2-page format to make it easier to read.
Updated: JSXBIN installer makes desktop log files optional to avoids cluttering your desktop. If log files are needed, hold <alt/option> while clicking the “Install” button during installation (as noted in the button’s tooltip).
Fixed: PreBlend using “Blend Documents” with output set to “New Document” may create an output document in 8 bits instead of 16.
Fixed: PreBlend using “Blend Documents” with output set to “New Document” may create an output document with a different RGB color space.
Fixed: “If” visualization does not clear any other existing layer styles.
Fixed: Sharpen “protect edges” affects the filter mask, not layer mask, when working on a Smart Object.
Fixed: Sharpen using Smart Object creates two white masks.
Fixed: Sharpen Smart Object asks about all/selected layers when not needed.
Fixed: PreBlend fails to rename layer when using existing document as output
Fixed: Bug that prevents Lumenzia actions from showing as an option in the utilities menu.
Fixed: Bug where re-importing an external PSB may fail to align correctly under rare circumstances.
Fixed: “Traditional” masks fail to render on images with no color profile.
Fixed: Bug where PSB re-import fails to work on CS6.
Fixed: LIVE-M updates layer names as expected.
Fixed: A bug where CS6 would not remember last settings used for “Dodge”.
Fixed: PreBlend improperly renames base layer when using an existing output document other than the first choice in the list.
Fixed: Error message when choosing to use BlendIf with “Contrast”
Fixed: PreBlend may produce an error message in CS6 that prevents the ability to blend different documents.
Fixed: Allowing greater maximum panel width to account for certain display situations where the full panel width may not be visible.

Lumenzia Basics v6.1.0 update includes:

New: “<<” and “>>” buttons to cycle through blend modes. This allows you to cycle through and experiment with various blend modes for different effects (not all the blend modes, just the best ones for photography). And there are still discrete buttons for other blend modes you may want for other needs that don’t typically involve experimentation (such as “difference” blend mode for visually aligning layers manually).
Updated: “Fill” now allows feathering.
Updated: Hold <alt/option> when clicking “Show Mask” to see the mask as a color overlay on the image. (ie, this is like what you’ve always been able to do for visualizing BlendIf with the “If” button, but you can now do it with layer masks as well).
Updated: “Pass Through” is used instead of “Normal” blend mode for layer sets, as this is more likely the user intent.
Updated: <ctrl/cmd>-click “SmartObj” to export linked layers to PSB (i.e. Basics now has this same functionality as in the Lumenzia menu.)
Updated: “SmartObj” provides a more useful error message if the user attempts to convert a single adjustment layer to a Smart Object.
Updated: “RAW” and “Verticals” provide a more useful error message if the user accidentally tries to use them on an adjustment layer.
Fixed: “SmartObj” can now be used on a group.
Fixed: Deconvolution sharpen now works properly on CS6.
Fixed: “Verticals” fails to clear guides when requested
Fixed: CS6 Bug where opening Basics panel could affect certain aspects of Lumenzia until rebooting Photoshop.
Fixed: “RAW” displays an incorrect error message about locked layers.
Fixed: Bug where “SmartObj” extract may fail to align correctly under rare circumstances.
Fixed: Bug where “SmartObj” extract fails to work on CS6.
Fixed: Numerous tooltip fixes and updates.

If you want to ‘get into masking’ and find mask production and blending tedious then Lumenzia is a superb way to help you unlock the power of luminosity masking without the stress!

November News

November News

I realise that some of you don’t subscribe to my YouTube channel or get notifications from my Facebook page – so you might not have seen the latest videos I’ve put up for your edification and delight!

So, first things first – here they are (if you are reading this on a subscribers email PLEASE go to the blog page, as videos don’t always embed in the emails properly).

First up is a super-simple way to remove halos and white edges from exposure blends:

Next up is a demo of what CAN SOMETIMES happen when you opt to shoot LOSSLESS compressed raw, as opposed to UNCOMPRESSED – I do stress the ‘sometimes’ bit:

If you’ve not yet tried Lightroom Classic CC, then here’s the sensible way to install it on your machine, without removing the older version:

And finally, a demo of how unsharp mask sharpening works, and how we used to use it in the ‘pre digital’ days:

The moral here folks is to SUBSCRIBE to my YouTube channel by clicking HERE then hit the subscribe button – and while you’re there click the notifications bell icon!  Subscribing to the channel costs YOU “bugger all” but it certainly helps me out – so do it!

Other News

Well, Calumet have cancelled all workshops until the new year, so I’ve now got the time to concentrate on recording a new retail Training Video set.  So I’m going to do a full training title about Image Sharpening.

I get asked about this A LOT, so I’m going to ‘go to town’ on these videos, drilling down into the sharpening permutations for Lightroom and Photoshop – the good, the bad and the plain indifferent.  I’ll also be discussing just how ‘lightweight’ Lightroom and Photoshop sharpening is when it comes to sharpening perfection, and how we can utilise the sharpening power of other third party applications – namely Raw Therapee.

Raw Therapee – ahh, everyone should get some!

You can get it here – it’s FREE!  But be warned – if you think Lightroom is complex, well, think again!  It’s something of a hostile working environment is Raw Therapee!

Update: The training is now complete, and available below:

sharpening

Click the image to visit the training page.

 

Become a patron from as little as $1 per month, and help me produce more free content.

Patrons gain access to a variety of FREE rewards, discounts and bonuses.

Eagle & Musk Ox Trip Report

Eagle & Musk Ox Trip Report – September 2017

Eagle & Musk Ox Trip Report - September 2017

Class of 2017, left to right – Steve Kaluski, Malcolm Stott, Mohamed Al Ashkar, some Bearded Fat Git, Phil Piper and the best Dovre guide in the business Sigbjorn Frengen.

And the most important member of the team – “Brew Dog”

Eagle & Musk Ox Trip Report - September 2017

The most important team member on a long hike on Dovrefjel – ‘Tell’ the GWP that looks like a GSP, otherwise known as “Brew Dog”.
pic by Steve Kaluski.

KLM  screwed up Malcolms arrival in Trondheim by a few hours, and managed to separate him from his hold luggage for an astonishing 72 hours, but other than that, the trip was hitch-free.

Other than my good pal Mohamed, none of the guys on this trip had really spent much “up close and personal” time with Musk Ox or White-tailed Eagles before – they were in for a few surprises on those two scores. And ‘shock & awe’ at just how much ‘stuff’ Mohamed buys from the Spa shop in Lauvsnes to take home to Cairo!

We had spotted a lone bull Muskie on the way up on the Friday evening.  He was only perhaps 300m from the main E6, but there’s a big cold river and a railway line between the road and the bull, so getting to him would be somewhat indirect.

Sig arrived early on the Saturday morning and said that the bull was pretty much in the same place – great!  But we couldn’t approach him from the shorter, eastern access point because that would have meant approaching him from upwind – not really a good idea all things considered.

So we were left with a much longer hike into what bit of breeze there was:

Eagle & Musk Ox Trip Report - September 2017

The military road heading north east on the aerial shot above has been torn out as part of the re-wilding of the fell – it looks like some freakish giant mole has been though the place, and it’s horrible to walk on.  Thank God there were no midges around; they’d have made the long hike murder!

But wow, was it worth it!

We spent pretty much the whole day in the company of this stunning animal – and being in such an amazing place made the whole experience feel like a real privilege.  Cheers Sig, you did it again…

The underlying theme of the week was getting to grips with the Canon 1DX2 autofocus system, and the different setting requirements for big, semi-static subjects like Musk Ox, and the somewhat closer, fast-moving eagles.  As I frequently demonstrate to folk on training days, one setup will NOT cover both categories of subject efficiently.

Eagle & Musk Ox Trip Report - September 2017

Canon 1DX MkII & 200-400+tc for 506mm.
1/1000th @ f6.3
MA +5

Now if we take a close look at an unprocessed raw file we can see the surprising amount of depth of field we get even at f6.3 – that’s just 1/3rd of a stop down from wide open with the internal teleconverter engaged.

Without the MA +5 value, with the TC engaged, the camera side of the Muskies head would be at the rear DoF limit – like the unripe berries on the juniper are in this full resolution unprocessed crop below:

Eagle & Musk Ox Trip Report - September 2017

Click to view at full resolution.
Note the DoF distribution at f6.3

Eagle & Musk Ox Trip Report - September 2017 Eagle & Musk Ox Trip Report - September 2017 Eagle & Musk Ox Trip Report - September 2017 Eagle & Musk Ox Trip Report - September 2017 Eagle & Musk Ox Trip Report - September 2017

On the Sunday we drove up into the mountains near Oppdal, close to the Sæterfjellet breeding station, to a location where Arctic Fox had been reported.  Sadly it was full of photographers and the foxes were having none of it, they stayed firmly out of sight.

I found a small quarry and decided to test out the new Irix 11mm:

Eagle & Musk Ox Trip Report - September 2017

And so we began the lengthy drive to Lauvsnes and the awesome eagles….it’s the pedal on the right Ole!

The weather was a bit grey and flat on Monday, but it got the guys used to the manic action that comes with eagle photography from the boat around the Lauvsnes coastline, without the added difficulty of the boat pitching and rolling.

Plus it gave Phil Piper a chance to try some drag shutter Eagle shots:

Eagle & Musk Ox Trip Report - September 2017

“Arty-Farty Eagle” as Ole would say. Photo by Phil Piper

But once we got into Tuesday the wind began to build, and Wednesday/Thursday saw plenty of long swell and the boat heaving a few feet – usually upwards as an eagle is coming down!  The workload was now up to it’s normal degree of severity, and I have to say that all the guys coped with it admirably.

Eagle & Musk Ox Trip Report - September 2017

Eagle & Musk Ox Trip Report - September 2017

Super-imposing the two shots above and lining the bait and swell up, clearly shows the distance traveled by the eagle between two successive frames at 10 frames per second. You can think of a mature White-tail as being around 1 metre from end to end, so the speed is around 10 metres per second.

Eagle & Musk Ox Trip Report - September 2017

A 1 meter change at 60 or 70 meters is something of a minor change, but at sub 25 meters like these then that same distance change becomes something major than minor.

Tracking Sensitivity and Accel/decel tracking control the system resistance/sensitivity to major and minor changes, but in truth these settings will fall short when a fast subject gets close – that point where minor changes become major ones.

The result will invariably be back-focused images.

But we can help the system be making it focus closer to the camera than it thinks it should do, and we can do this very easily with negative AF MA values – in these cases -3.

Here is a quick sequence of O.J. aka “The Terminator” – big, permanently angry, fearless of close proximity to the boat, ignorer of wind direction, and fast.

Eagle & Musk Ox Trip Report - September 2017 Eagle & Musk Ox Trip Report - September 2017

Eagle & Musk Ox Trip Report - September 2017 Eagle & Musk Ox Trip Report - September 2017 Eagle & Musk Ox Trip Report - September 2017 Eagle & Musk Ox Trip Report - September 2017 Eagle & Musk Ox Trip Report - September 2017

Every shot tack sharp, and the sequence covers just shy of 1 second because, according to Lightroom, they were all taken at the same second!

Yup, told you he was fast!  Not quite as psychotic as the late lamented Brutus, but not far off.

So all in all, a good trip, with happy clients – I couldn’t ask for more!

Let’s finish with a couple of sunset eagles.

Eagle & Musk Ox Trip Report - September 2017

Eagle & Musk Ox Trip Report - September 2017

Become a patron from as little as $1 per month, and help me produce more free content.

Patrons gain access to a variety of FREE rewards, discounts and bonuses.

Irix 15mm Firefly Offer

Irix 15mm Firefly Offer for UK customers.

Irix 15mm Firefly f2.4

Just had this info in from the Irix UK sales team:

IRIX 15mm f2.4 Firefly
**LENS SPECIAL**
Limited period offer – FREE Delivery in the UK
FREE Gelatin Filter Kit – contains 15 x Neutral Density Filters
List €475.00 Offer Price €451.25 (£395.00 approx.)
www.irixlens.com
register and enter this code to purchase: 5W1YJ62C

  • IRIX 15mm Firefly lens
    Full Frame Rectilinear lens
    Focus Locking Ring
    Hyperfocal Markings
    Infinity Click & Calibration
    Neutrino Coating
    3 Weather Seals
    95mm Filter & Gelatin Slot
    Removable Lens Shade
    Lightweight Polycarbonate
    Minimum distortion
    Canon, Nikon and Pentax fit
    2 Year Warranty
    Same optics as the Blackstone version

I have not seen a Firefly, let alone used one – and I’m a miserable old goat who can’t see the point in a light weight version of something so small as the Blackstone.  But I can definitely see the point of the money saving properties of a Firefly purchase!

Irix Blackstone 15mm f2.4 – update.

Lens Review – Irix Blackstone 15mm f2.4 update.

Some bad weather made us lose a day and a half in Norway last week and so the landscape opportunities didn’t arise as they were expected to do – eagle action takes precedence, and we certainly managed a lot of that.

But I had to grab a real world test shot sequence on a real scene.

Even though this lens had impressed the hell out of me up to this point, I wasn’t quite prepared for the spectacular performance it gave me.

Important: None of the images below have had ANY vignette or profile corrections added to them.

Irix Blackstone 15mm f2.4

Perfect exposure for the highlights, the setting sun is creating an 18 point star as you would expect from a 9 blade aperture – and where’s the flare some reviewers are talking about?
Full resolution jpg from the original raw file with no post processing.
Click to view full size in new window.

Now let’s not mess about, let’s go 2 stops over:

Irix Blackstone 15mm f2.4

Vestigial 18 point star due to the 9 blade aperture diaphragm and zero flare anywhere.
Zero enhancements and no added sharpening.
Full resolution jpeg, f16 and focused using the infinity click stop – it’s simpler than shelling peas.
Click to view full size in new window.

Now let’s turn the camera over and go the full 15mm AoV in the horizontal – this was the real eye-opener for me:

Irix Blackstone 15mm f2.4

Check out the vertical lines of the planking on the shack, no flare around the cable stay, and the boat masts on the right edge of the frame.
It can’t get any better with a 15mm focal length.
Just a tiny amount of Lightroom adjustment brush in the deepest foreground shadows and nothing else.
Click to view full size in new window.

Just check out the perfect verticals on the boat masts at the right edge of the frame, and still those planks on the shack are vertical – it seriously doesn’t get any better than this with a super-wide.

We had a 300km road trip in a staggering 35 degree heat up to Stekenjokk in Sweden – Long-tailed Skuas and great landscapes says Ole.

So we get there – no skua, they’ve all mysteriously vanished a few days before, so it was decided we’d force Ole to drive all the way back again to get a boat trip for eagles in the early morning – he wasn’t happy doing 600kms with an hours break but it serves him right!

But there’s a real gem of a shot to be had under a road bridge across the Gaavesjohke river:

Irix Blackstone 15mm f2.4

Heading back south on the 824 road there’s a turn on the right and a bridge over the Gaavesjohke River. This is taken from rocks underneath said bridge.

Taken at 11.30pm 29th June, it’s not the best processing but it still serves to prove my point about the Irix Blackstone 15mm f2.4 lens:

  • 1/8th sec @ f16 and ISO 100.
  • Infinity click-stop focus.
  • Compose in Live View.
  • Close the viewfinder blind.
  • Turn off Live View.
  • Engage Mirror Up shooting and hit the remote release once, wait 5 seconds and hit it again.

Seriously, it’s like operating a point-and-shoot!

There’s no messing about doing differential focus, just turn the focus ring until you feel the ‘click’ and take the shot – simple.

I’m just waiting for some Irix filters to turn up and I’ll be off to North Wales for the day.  With a bit of luck we’ll shot a demo video or two so I can talk you through how easy this lens is to use.

Message to IRIX: please send filters ASAP!

 

Become a patron from as little as $1 per month, and help me produce more free content.

Patrons gain access to a variety of FREE rewards, discounts and bonuses.

Latest News

Apologies all – I know I’ve been a bit quiet for the last 4 weeks, but I’ve been busy with a few things.

Ive just finished my new video training title – the Complete Guide to Photographing and Processing Night Sky Images.

Topics covered throughout the video training lessons include:

  • Focusing at Night
  • Camera settings
  • Correct shutter speed for your focal length, sensor size and latitude
  • How many frames to shoot
  • When and when NOT to use long exposure noise reduction in your camera
  • Correct neutral white balance in Lightroom
  • Lightroom sharpening & Noise Reduction settings
  • Shot Noise & Fixed Noise
  • Stacking & aligning stars to reduce SHOT noise in Starry Landscape Stacker and Photoshop
  • Manual star alignment in Photoshop – the way that actually works!
  • Masking using the Image Calculations Panel inside Photoshop
  • Normal brush masking in Starry Landscape Stacker
  • Using precise masks made in Photoshop inside Starry Landscape Stacker
  • Photoshop layer masks, layer blend modes, layer groups & group masks
  • Retouching image layers & masks in Photoshop
  • Photoshop Smart Objects & the Camera Raw smart filter

and more.

Over 7.5 HOURS (465mins approx:) of video training spread over 43 lessons that I GUARANTEE will make you an excellent photographer of this most enigmatic natural wonder.

You wouldn’t believe how long it takes to produce these video training lessons when you work on your own with a shoe-string setup!

Click the link above if you shoot landscapes and fancy a crack at proper night sky photography – once you start you won’t be able to stop – it gets very addictive!

Anyone who bought my original ‘Basic Milky Way Workflow’ training can email me and get a discount code, as the new title incorporates re-worked versions of the videos they already have, plus 30 new lessons.

In between bouts of recording videos I’ve been testing a lens that’s had me intrigued ever since I heard about it early this year.

I’m talking about this little baby:

Irix Blackstone 15mm f2.4

Yes, the Irix 15mm f2.4 Blackstone.

And I have to say that it’s impressed me – greatly.

Irix Blackstone 15mm f2.4

I decided to test it against two of the most expensive and respected lenses in the same focal length group I could think of – the Nikon 14-24 f2.8 zoom and the hugely expensive Zeiss 15mm f2.8 Distagon ZF2.

Nope, no Rokinon/Samyang/Tamy/Tokie/Sigy glass comparisons as this Irix is something of a cut above, if you get my drift.

I’m off to Norway on Saturday for a week, but when I get back I’ll finish the review of this cracking bit of kit – suffice to say this Irix is having a trip to Norway on Saturday, and it won’t be its last!

If you want any info on this lens in the meantime just email Mr. Irix in the UK – Charles Woods at info@actionmc.co.uk

And speaking of Norway, I’ve decided to be different on this eagle trip and shoot using the Nikon D5 and a 500mm f4 prime (the heavy one).

Am I making a mistake – who knows, but I am taking the trusty D4 – just in case!

Become a patron from as little as $1 per month, and help me produce more free content.

Patrons gain access to a variety of FREE rewards, discounts and bonuses.