Results and Feedback for the "Insightful" assignment

[keithsnell]

The guidelines for this assignment were to capture an insightful image that helps the viewer to see and understand something about our world that they otherwise might not have noticed or understood.


Michele's Egg for two image was simply outstanding.  The lighting was exquisite, and served to highlight the curvaceous forms and shapes in the image.  The reflective surface highlighted the geometric shapes and curves and complemented the image very well, and the background faded out very nicely so that it didn't detract from the image.  Like Dave, I liked thought the concept of cradling the fragile egg in the hard tines of the fork was symbolic.  The image could be considered "insightful" because it explored the potential relationships between such diverse objects, and showed us that simple utilitarian objects can become "art" in the hands of an artist.  Again, this was an outstanding image.  Thank you for sharing your artistic vision and inspiration Michele.

Egg for two
Photographed by Michele Bollhalder

Michele's Home Office image was a fun contrast to the simple forms of her previous image.  I love the way she set up her "story" in this image, and used the expressions of the woman to convey the frustrations we often feel when trying to work in the typical "home office."  I thought the dog added a fun element of discontinuity to the image, and helped us "laugh at ourselves."  This was another outstanding image (and one from a series of images similar to it) from our muse Michele.

Home Office
Photographed by Michele Bollhalder

I really liked the rich tonalities and colors in Jack's image titled Yes Father, I Understand...  Jack captured a great moment between the two lions, and the strong composition did a great job highlighting the relationship between them.  I thought the background was a bit distracting, and when I pulled the image into Photoshop to try to soften the background, I noticed that the website hadn't been reading the color space tag correctly, and that the version I opened into Photoshop had quite different colors (more of a green tint, and colors and contrast that produced a much flatter image).  Since I liked the "rich colors and tonality" in the version I had seen on the website, I tried to adjust the Photoshop version to match.

Yes Father, I Understand...
Photographed by Jack Powers

Here's the version I played with in Photoshop.  I used the lens blur filter in Photoshop to add a soft blur to the background, and then manually darkened the edges in select places in order to focus the viewer's attention in the center of the frame.  NOTE:  You will need to view these images in a color managed browser like Safari.  If you don't, you will think I've been smoking something since the second image will look WAY too saturated in a browser like Internet Explorer that doesn't have color management.

Yes Father, I Understand...
Photographed by Jack Powers, background blurred and vignetted by Keith

Alan did a great job conveying the texture of the stone (concrete?) in his Big Money image.  Both the angle of the light, and good technique were responsible for being able to render this much realistic detail in the rough surface.  I can almost feel the rough texture as I imagine rubbing my fingers across the surface.

Big Money
Photographed by Alan Albrecht (Ribot)

I had a tough time picking my favorite between Marilyn's two images of the Navajo rug weaver.  In the end, I think I prefer her second image, titled Alice Turquoise: Demonstrating Spinning of wool because the colors are a bit cleaner, there's no shadow from the flash (the camera was held horizontal instead of vertical so the shadow from the flash fell behind instead of beside the subject) and because it shows more detail and expression in Alice's face.

Navajo rug weaver
Photographed by Marilyn McKinney

Alice Turquoise: Demonstrating Spinning of wool
Photographed by Marilyn McKinney

My image titled In Between was just a simple image of moss in the cracks between patio pavers.  The exercise did get me looking, and helped me to see this small patch of beauty, with the moss being one of the first signs of Spring in our area.

In Between
Photographed by Keith

I love the way Dave processed his Tin-clad Shed image to give it the feel he was looking for.  Dave explained that "this was changed to a black & white image, given a touch of toning, then a bit of the original color blended back in until it had the feeling I wanted."  I also like the philosophy that this image conveyed, that "you make do with what you have."

Tin-clad Shed
Photographed by Dave Leiker (prairiedust)

Alan's Two Worlds was another image that benefited from processing that gave it an artistic effect that enhanced the feeling Alan was trying to create.  I like the "gritty" feeling to the image, and the surreal feeling of the watercolor like effect on the skyline.  Very nicely done.

Two Worlds
Photographed by Alan Albrecht (Ribot)

Michele's Food in the fast lane! series of images were a fun series that explored the effects of using a slow shutter speed to convey the way we rush through life.  The second image titled Faster, faster! was my favorite, with motion blur that perfectly conveyed the feeling of rushing (almost running) down the grocery store aisle.  (It makes me smile to think of all the times I've been the one rushing through the aisle, frantically trying to meet my self-imposed timeline so that I can get on to the next task.)  The girl's smile added to the image as well, almost as a counterpoint to convey that even though the person in charge was rushing through the task, a child could still take pleasure in the activity.  Great job experimenting with this series Michele.  (As a "learning point" it is worth mentioning that both Michele and Dave seemed to agree that 1/4 second was about the right speed for "people motion studies.")

Food in the fast lane!
Photographed by Michele Bollhalder

Faster, faster!
Photographed by Michele Bollhalder

Lars' Running Through Life image was another great commentary on the way that we rush through modern life.  I love the fact that Lars captures a lot of his images with the camera in his cell phone.  This just goes to show that "artistic vision" is usually much more important, and that we don't need fancy equipment to communicate through our photography.

Running Through Life
Photographed by Lars

It seems like a recurring theme throughout the assignment was a commentary on the pace of modern life.  Rebecca portrayed the issue from the other perspective, celebrating those who Take time to care for the babies.  I like the natural pose she captured, and the image helped me to realized that it is the day to day "priorities" in our lives that teach our children the most about life.

Take time to care for the babies
Photographed by Rebecca

Three Generations of Babies
Photographed by Rebecca

Jaime did a wonderful job capturing the backlighting on the wings of the Ibis in his image titled "Ibon man may layang lumipad (Even birds are free to fly).....  This scene presented an extremely challenging range of exposure values, and I think Jaime handled it just about right.  I suspect that the histogram was probably clipping slightly in the backlit areas of the wings, but the rendering of this image is faithful to how I would have expected the scene to look in real life.  That said, I might have tried lowering the exposure a bit for this image in order to preserve a bit more detail in the wings, and then bringing it up a bit more in post processing in order to get the proper rendering.  (A quick "sunny sixteen" calculation tells me that the shutter speed I would expect to use for a normal daylight scene with an ISO of 100 and aperture of 2.8 would be about 1/3200, so I would expect that bright highlights shot at ISO 100, f2.8, and a shutter speed of 1/1250 would be a bit over-exposed.)   I'm wondering now if a future assignment on "compressed highlights" (a method for handling these extreme exposure ranges) might be a good idea.  The strong diagonal from the Ibis to its intended landing spot gives this image a very dynamic feeling.  Very nice image Jaime.

"Ibon man may layang lumipad (Even birds are free to fly).....
Photographed by Jaime Dorotan (girod)

The detail and clarity in Jaime's "Waiting to exhale" image definitely helped me to see and understand more about the seal? sea lion? than I would have probably seen in real life.  Very nicely done!

"Waiting to exhale"
Photographed by Jaime Dorotan (girod)

Dave's Sea Wall #2 image was another great example of the use of a super wide-angle lens to convey the vast distances and scale of life on the plains.  Everything about the image was calculated to show that scale, including the tree on the far horizon.  To someone that was not familiar with the central plains in the US and Canada, this image would have indeed been "insightful."  It does a wonderful job of conveying the feeling of being diminished by those vast distances.  Wonderful image Dave, and well deserving of People's Choice and Editor's Choice for Artistic Merit.

Sea Wall #2 - fixed
People's Choice and Editor's Choice for Artistic Merit
Photographed by Dave Leiker (prairedust)

[Michele]

Dave, amazing beautiful "Prairiedust" style.  I love that shot!

Thank you for all the feedback, you always put a smile on my face too.  (Thank you for the drop shots too.  I had fun trying to figure out how the drops were going to react.  I used three light sources and reflection card for them.  I could just guess when the drop was falling when to click on the shutter.  After a while, it feels like slow motion and you can really get a feel when to actually click.)

I can't wait to see what your students put together!

Michèle

[keithsnell]

I do have to say that experimenting with the colors in Jack's lion image had me delving back into color management and monitor calibration, etc.  The second image (the one I played with in Photoshop) was more saturated on Rebecca's very high end NEC PA241 Spectraview II monitor.  Since I would consider this as our "reference" monitor, I did further testing to see whether her monitor was more accurate, or mine.  It turns out that my monitor probably matches the print better.  (I printed out the image to compare to both monitors.)  But (and this is a big "but"), which monitor was the best match depended on what type of light the print was viewed under.   And, just because my monitor was the "best match" to the print doesn't necessarily mean that mine was displaying the most accurate colors.  Since printers typically can't print to the same saturation and contrast range that you can view on a high end monitor, the monitor may be "more accurate" with respect to the defined color values, but "less accurate" with respect to what you will actually get in print.

Since our primary goal with respect to monitor calibration is to be able to match screen to print, we decided to adjust the calibration on Rebecca's monitor by reducing the brightness and then recalibrating with the hardware calibrator.  I had originally set her display brightness at the "high end" of the recommended brightness range (at 140 cd/m2) because I thought that would work better for Rebecca working in a "normal" office environment.  We agreed that reducing the brightness to 120 cd/m2 would probably better match the print, and so i will re-calibrate the monitor to that brightness setting this evening.

Does this make sense?

Keith

[prairiedust]

Thanks everyone, I'm glad you like that.  It's warm here today and I'm looking to some fresh colors. On a walk this evening we saw hyacinth, crocus and daffodils, magnolias opening at the tops of the trees, some other delicate flowering trees I couldn't identify.And bugs.. I miss bugs - at least the photogenic ones.

[girod]

Thanks Keith. In both of those images (Ibis and the sea lion), I was experimenting on "ISO-less" concept in capture stage/phase with the Nikon D7K but failed to avoid highlights clipping in the Ibis image (I'll go back to the NEF file and see if CNX2 can still recover those clipped highlights). With the D700 with a fast moving subject in a rapidly changing lightings, I usually use Auto-ISO (200-800) and Manual Exposure Mode (Matrix metering) then, adjust EC according to the tonality of the subject under the AF-focus point. For focusing for both D700 and D7K, I use: AF-ON (AF/AE-L button for D7K), AF-C, shutter priority, dynamic - 9 points, 51/39 AF points, focus tracking lock ON (Normal interval).

What is your (and other members too) technique (and recommendation specifically for D700 and D7K) in shooting fast moving subject in a rapidly changing lightings?

[keithsnell]

Hi Jaime,

I use a similar method as you, with a few minor differences.  I find that using aperture priority mode in conjunction with Auto ISO provides a more flexible solution that using manual exposure with Auto ISO.  In the example you gave (using manual exposure with auto ISO of 200 - 800) the camera has essentially two stops of adjustment available.  If the camera lowers the ISO to 200, and the shot is still overexposed, then it will simply be forced to overexpose the shot.  (Since the shutter speed and aperture are set manually, the camera won't change them.)  On the other hand, if I set Aperture Priority and Auto ISO, then the camera will use the lowest ISO (200) and simply adjust the shutter speed, until it reaches the threshold of the shutter speed I have specified in the Auto ISO setup.  At that point it will start raising the ISO as needed in order to maintain the shutter speed I want.  Does that make sense?  Using Aperture priority and Auto ISO provides a much larger range of adjustments available, and can help prevent overexposure or highlight clipping.

In rapidly changing light conditions, I would tend to use exposure compensation based on the tonality of the subject under that active AF point, just as you stated.  I would choose either matrix metering or spot metering depending on how much different the subject was from mid-tone.  Matrix works fine for those scenes where the subject doesn't differ by too much from mid-tone, but in situations where the subject is considerably different (a white bird for instance) I would tend to use spot metering instead.  Matrix (or evaluative) often won't adequately protect the bright white subject from blowing out (since the meter reading will also be affected by other areas of the scene) while spot metering will.  Make sense?

For autofocus, I tend to use the minimum number of focus points that will allow me to adequately track the subject.  Most often, that means I'm using a single AF point.  That's more precise, and keeps the other AF points from "pulling focus" off the primary subject.  However, if the subject is moving erratically, or I'm having trouble keeping my AF point on the subject, then I'll select dynamic with 9 points, and if I still can't keep the subject within that area, then I'll select dynamic with 21 AF points.  One way to look at this is to view 9-point AF as if you were using a single AF point with a "buffer" around that AF point that was one AF point deep.  Selecting a setting for 21 AF points is like using a single AF point with a "buffer" of two AF points around the primary AF point.  You should still try to keep your "primary" AF sensor on the subject, but if the subject is moving erratically you have a "buffer" of 2 AF points before your subject moves outside the tracking area.  But, having those extra AF points turned on can be a detriment if you track past an area in the scene that has higher contrast than your subject.  If that happens, the higher contrast background (or foreground) can "steal focus" from your primary subject.

Hopefully that explanation helps?

Keith

[girod]

Thanks Keith for sharing your techniques and describing them very clearly. I will try them.

In Aperture-priority, Auto-ISO setting - how consistent would the camera pick the right shutter-speed to freeze the moving subject (slow or fast)?

The AF tracking lock feature can prevent the "steal focus" that you have described. For lateral motions, I improved my results when I started using this lock-ON feature. I haven't have the chance to see if this feature also works with consistency on back-to-front motions. But "steal focus" can still happen even with AF-S area mode because the actual focus point area in the sensor is bigger than what is indicated in the viewfinder.

 

[keithsnell]

In Aperture-priority, Auto-ISO setting - how consistent would the camera pick the right shutter-speed to freeze the moving subject (slow or fast)?

I usually set the "minimum" shutter speed  required to freeze the moving subject in the auto-ISO setup.  The camera will stop lowering the shutter speed when it reaches that threshold, and start raising the ISO instead, until it gets to the top of the ISO range you specified in your auto-ISO setup (then it will start lowering the shutter speed again).  At the other extreme, if you are shooting in bright light and the ISO is at the lowest setting in the range, and you have sufficient aperture (set as a priority) then it doesn't really matter how fast the shutter speed goes as long as it is above the minimum.  (Too much light just results in a faster shutter speed than you need.)

The AF tracking lock feature can prevent the "steal focus" that you have described. For lateral motions, I improved my results when I started using this lock-ON feature. I haven't have the chance to see if this feature also works with consistency on back-to-front motions.

I would qualify that to "the AF tracking lock feature can help prevent the steal focus."  The lock-On feature is primarily designed for "transient" objects that pass in front of your focus point (like another player that briefly runs between you and the quarterback you are tracking).  It will prevent the camera from immediately refocusing on that "transient" object.  A higher contrast background (or foreground) can still "steal focus" if one of your outer AF points dwells on that area long enough.  

"steal focus" can still happen even with AF-S area mode because the actual focus point area in the sensor is bigger than what is indicated in the viewfinder.

True.  That is why it is important to chose your focus point carefully.  Trying to focus on a low-contrast subject when the AF point is also covering a high-contrast foreground or background will often result in the higher contrast area stealing focus.  Instead of focusing on an area of your subject that has low contrast, you can try focusing on an area with higher contrast that is in the same plane as where you want your focus.  That's also why it is important to learn to "visually verify" your focus accuracy.  It's easy to assume that your camera is focusing where you want it to (because you placed the AF point there) and not critically examine what you are seeing in the viewfinder to ensure that the subject really is in focus.  Nikon camera's are actually better now than they used to be in this respect.  The D2x had HUGE AF point coverage, and the focus could get stolen quite often if you weren't careful.  The newer Nikons have relatively smaller AF points (especially in the full frame bodies).

[girod]

Got it Keith.

[jpowersrrt]

Thanks Keith for the heads up on the tint differences of my lion photo.  I've never had my monitor calibrated and I know it can make a huge difference in what I view and what others do.  What do you use to calibrate your monitors?  I've read up on some and they can be pricey. Again thanks for the heads up and taking the time to correct in photoshop - jack

[keithsnell]

Thanks Keith for the heads up on the tint differences of my lion photo.  I've never had my monitor calibrated and I know it can make a huge difference in what I view and what others do.  What do you use to calibrate your monitors?  I've read up on some and they can be pricey. Again thanks for the heads up and taking the time to correct in photoshop - jack

Hi Jack,
 
The best answer depends on what type of monitor you have.  As long as it isn't a "wide gamut" monitor, the Spyder3 Express is a fairly inexpensive option that will do a decent job.  Some of the more expensive wide gamut monitors require a more expensive calibrator designed to accommodate the wider gamut colors. 

If you don't mind telling me the make and model of your monitor, I can probably do a better job of recommending an appropriate calibrator.  The list price of the Spyder3 Express was down to $89.00 last time I checked, but I imagine you could probably find it on special for a lower price if you shopped around a bit.  At that price, it's definitely worth the investment.

Keith

[jpowersrrt]

Keith,
I have two monitors. The one I am currently using is a Dell SP2008WFP 20 inch Widescreen Flat Panel Display and the other one I have packed away is a Acer AL2216W flat panel widescreen.

Jack

[keithsnell]

Keith,
I have two monitors. The one I am currently using is a Dell SP2008WFP 20 inch Widescreen Flat Panel Display and the other one I have packed away is a Acer AL2216W flat panel widescreen.

Jack

Hi Jack,

The specs I found for the SP2008WFP indicate that it covers 72% of Adobe RGB gamut (which is roughly equivalent to the sRGB gamut).  Based on that, I think the Spyder3 Express would work fine for the SP2008WFP.

I've attached a handout that I built for one of my workshops that covers basic color management principles.  If you are interested in color management, you might find the handout useful.  (I'd like to find the time soon to develop this into a tutorial for the website.)

Keith

[jpowersrrt]

Thanks Keith, I read the article and made the suggested changes to my adobe photoshop color settings. May need to check on buying a spider calibration device down the road. = jack