Technology Tales

EVF or OVF?

In photography, some developments are passing fads while others bring longer lasting changes. In their own way, special effects filters and high dynamic range techniques cause their share of excitement before that passed and their usage became more sensible. In fact, the same might be said for most forms of image processing because tastefulness eventually gets things in order. Equally, there are others that mark bigger shifts.

The biggest example of the latter is the move away from film photography to digital image capture. There still are film photographers but they largely depend on older cameras since very few are made any more. My own transition came later than others but I hardly use film any more and a lack of replacement parts for cameras that are more than fifteen years old only helps to keep things that way. Another truth is that digital photography makes me look at my images more critically and that helps for some continued improvement.

Also, mobile phone cameras have become so capable that the compact camera market has shrunk dramatically. In fact, I gave away my Canon PowerShot G11 earlier this year because there was little justification in hanging onto it. After all, it dated back to 2010 and a phone would do now what it once did though the G11 did more for me than I might have expected. Until 2017, my only photos of Swedish locations were made with that camera. If I ever was emotional at its departure and I doubt that I was, that is not felt now.

If you read photography magazines, you get the sense that mirrorless cameras have captured a lot of the limelight and that especially is the case with the introduction of full frame models. Some writers even are writing off the chances of SLR’s remaining in production though available model ranges remain extensive in spite of the new interlopers. Whatever about the departure of film, the possible loss of SLR’s with their bright optical viewfinders (OVF’s) does make me a little emotional since they were the cameras that so many like me aspired to owning during my younger years and the type has served me well over the decades.

Even so, I too have used mirrorless cameras and an Olympus PEN E-PL5 came into my possession in 2013. However, I found that using the screen on the back of a camera was not to my liking and the quality of mobile phone cameras is such that I no longer need any added portability. However, it needs to be remembered that using a Tamron 14 to 150 mm zoom lens with the body cannot have helped either. Wishing to sample a counterpart with an electronic view finder, I replaced it with an Olympus OM-D E-M10 Mark III earlier this year and have been getting on fine with that.

The body certainly is a compact one but the handling is very like an SLR and I have turned off the automatic switching between viewfinder and screen since I found it distracting; manually switching between the two is my preference. As it happens, using the EVF took a little acclimatisation but being able to add a spirit level overlay proved to as useful as it was instructive. The resulting images may be strong in the green and blue ends of the visible spectrum but that suits a user that is partial to both colours anyway. It also helps that the 16.1 megapixel sensor creates compact images that are quick to upload to a backup service. There have been no issues working with my Tamron lens and keeping that was a deciding factor in my remaining with Olympus in spite of a shutter failure with the older camera. That was fixed efficiently and at a reasonable cost too.

As good as the new Olympus has been, it has not displaced my existing Canon EOS 5D Mark II and Pentax K5 II SLR’s. The frame size is much smaller anyway and January saw me acquire a new Sigma 24 to 105 mm zoom lens for the former after an older lens developed an irreparable fault. The new lens is working as expected and the sharpness of any resulting images is impressive. However, the full frame combination is weighty even if I do use it handheld so that means that the Pentax remains my choice for overseas trips. There also is an added brightness in the viewfinders of both cameras that I appreciate so the OM-D complements the others rather than replacing them.

While I can get on with EVF’s if SLR’s ever get totally superseded, I am planning to stick mainly with SLR’s for now. Interestingly, Canon has launched a new enthusiast model so there must be some continuing interest in them. Also, it seems that Canon foresees a hybrid approach where live viewing using the screen on the back of the camera may add faster autofocus or other kinds of functionality while the OVF allows more traditional working. That of itself makes me wonder if we might see cameras that can switch between EVF and OVF modes within the same viewfinder. The thought may be as far fetched as it is intriguing yet there may be other possibilities that have not been foreseen. One thing is clear though: we are in an age of accelerating change.

Rethinking photo editing

Photo editing has been something that I have been doing since my first-ever photo scan in 1998 (I believe it was in June of that year but cannot be completely sure nearly twenty years later). Since then, I have been using a variety of tools for the job and wondered how other photos can look better than my own. What cannot be excluded is my preference for being active in the middle of the day when light is at its bluest as well as a penchant for using a higher ISO of 400. In other words, what I do when making photos affects how they look afterwards as much as the weather that I had encountered.

My reason for mentioning the above aspects of photographic craft is that they affect what you can do in photo editing afterwards, even with the benefits of technological advancement. My tastes have changed over time, so the appeal of re-editing old photos fades when you realise that you only are going around in circles and there always are new ones to share, so that may be a better way to improve.

When I started, I was a user of Paint Shop Pro but have gone over to Adobe since then. First, it was Photoshop Elements, but an offer in 2011 lured me into having Lightroom and the full version of Photoshop. Nowadays, I am a Creative Cloud photography plan subscriber so I get to see new developments much sooner than once was the case.

Even though I have had Lightroom for all that time, I never really made full use of it and preferred a Photoshop-based workflow. Lightroom was used to select photos for Photoshop editing, mainly using adjustments for such things as tones, exposure, levels, hue and saturation. Removal of dust spots, resizing and sharpening were other parts of a still minimalist approach.

What changed all this was a day spent pottering about the 2018 Photography Show at the Birmingham NEC during a cold snap in March. That was followed by my checking out the Adobe YouTube Channel afterwards where there were videos of the talks featured every day of the four-day event. Here are some shortcuts if you want to do some catching up yourself: Day 1, Day 2, Day 3, and Day 4. Be warned though that these videos are long in that they feature the whole day and there are enough gaps that you may wish to fast-forward through them. Even so, there is quite a bit of variety of things to see.

Of particular interest were the talks given by the landscape photographer David Noton who sensibly has a philosophy of doing as little to his images as possible. It helps that his starting points are so good that adjusting black and white points with a little tonal adjustment does most of what he needs. Vibrancy, clarity and sharpening adjustments are kept to a minimum while some work with graduated filters evens out exposure differences between skies and landscapes. It helps that all this can be done in Lightroom, so that set me thinking about trying it out for size and the trick of using the backslash (\) key to switch between raw and processed views is a bonus granted by non-destructive editing. Others may have demonstrated the creation of composite imagery, but simplicity is more like my way of working.

Confusingly, we now have the cloud-based Lightroom CC while the previous desktop counterpart is known as Lightroom Classic CC. Though the former may allow for easy dust spot removal among other things, it is the latter that I prefer because the idea of wholesale image library upload does not appeal to me for now and I already have other places for off-site image backup like Google Drive and Dropbox. The mobile app does look interesting since it allows capturing images on a such a device in Adobe’s raw image format DNG. Still, my workflow is set to be more Lightroom-based than it once was and I quite fancy what new technology offers, especially since Adobe is progressing its Sensai artificial intelligence engine. The fact that it has access to many images on its systems due to Lightroom CC and its own stock library (Adobe Stock, formerly Fotolia) must mean that it has plenty of data for training this AI engine.

Pondering travel device consolidation using an Apple iPad Pro 12.9″

It was a change of job in 2010 that got me interested in using devices with internet connectivity on the go. Until then, the attraction of smartphones had not been strong, but I got myself a Blackberry on a pay as you go contract, but the entry device was painfully slow, and the connectivity was 2G. It was a very sluggish start.

It was supplemented by an Asus Eee PC that I connected to the internet using broadband dongles and a Wi-Fi hub. This cumbersome arrangement did not work well on short journeys and the variability of mobile network reception even meant that longer journeys were not all that successful either. Usage in hotels and guest houses though went better and that has meant that the miniature laptop came with me on many a journey.

In time, I moved away from broadband dongles to using smartphones as Wi-Fi hubs and that largely is how I work with laptops and tablets away from home unless there is hotel Wi-Fi available. Even trips overseas have seen me operate in much the same manner.

One feature is that we seem to carry quite a number of different gadgets with us at a time and that can cause inconvenience when going through airport security since they want to screen each device separately. When you are carrying a laptop, a tablet, a phone and a camera, it does take time to organise yourself and you can meet impatient staff, as I found recently when returning from Oslo. Checking in whatever you can as hold luggage helps to get around at least some of the nuisance and it might be time for the use of better machinery to cut down on having to screen everything separately.

When you come away after an embarrassing episode as I once did, the attractions of consolidating devices start to become plain. In fact, most probably could get with having just their phone. It is when you take activities like photography more seriously that the gadget count increases. After all, the main reason a laptop comes on trips beyond Britain and Ireland at all is to back up photos from my camera in case an SD card fails.

Parking that thought for a while, let’s go back to March this year when temptation overcame what should have been a period of personal restraint. The result was that a 32 GB 12.9″ Apple iPad Pro came into my possession along with an Apple Pencil and a Logitech CREATE Backlit Keyboard Case. It should have done so, but the size of the screen did not strike me until I got it home from the Apple Store. That was one of the main attractions because maps can be shown with a greater field of view in a variety of apps, a big selling point for a hiker with a liking for maps, who wants more than what is on offer from Apple, Google or even Bing. The precision of the Pencil is another boon that makes surfing the website so much easier and the solid connection between the case and the iPad means that keyboard usage is less fiddly than it would if it used Bluetooth. Having tried them with the BBC iPlayer app, I can confirm that the sound from the speakers is better than any other mobile device that I have used.

Already, it has come with me on trips around England and Scotland. These weekend trips saw me leave the Asus Eee PC stay at home when it normally might have come with me and taking just a single device along with a camera or two had its uses too. The screen is large for reading on a train but I find that it works just as well so long as you have enough space. Otherwise, combining use of a suite of apps with recourse to the web does much of the information seeking needed while on a trip away and I was not found wanting. Battery life is good too, which helps.

Those trips allowed for a little light hotel room blog post editing too and the iPad Pro did what was needed, though the ergonomics of reaching for the screen with the Pencil meant that my arm was held aloft more than was ideal. Another thing that raised questions in my mind is the appearance of word suggestions at the bottom of the screen as if this were a mobile phone since I wondered if these were more of a hindrance than a help given that I just fancied typing and not pointing at the screen to complete words. Copying and pasting works too but I have found the screen-based version a little clunky so I must see if the keyboard one works just as well, though the keyboard set up is typical of a Mac so that affects word selection. You need to use the OPTION key in the keyboard shortcut that you use for this and not COMMAND or CONTROL as you might do on a PC.

Even with these eccentricities, I was left wondering if it had any utility when it came to backing up photos from digital cameras and there is an SD card adapter that makes this possible. A failure of foresight on my part meant that the 32 GB capacity now is an obvious limitation but I think I might have hit on a possible solution that does not need to upload to an iCloud account. It involves clearing off the photos onto a 128 GB Transcend JetDrive Go 300 so they do not clog up the iPad Pro’s storage. That the device has both Lightning and USB connectivity means that you can plug it into a laptop or desktop PC afterwards too. If that were to work as I would hope, then the laptop/tablet combination that I have been using for all overseas trips could be replaced to allow a weight reduction as well as cutting the hassle at airport security.

Trips to Ireland still may see my sticking with a tried and tested combination though because I often have needed to do some printing while over there. While I have been able to print a test document from an iPad Mini on my home network-connected printer, not every model supports this and that for NFC or Air Print is not universal either. If this were not an obstacle, apps like Pages, Numbers and Keynote could have their uses for business-related work and there are web-based offerings from Google, Microsoft and others too.

In conclusion, I have found that my iPad Pro does so much of what I need on a trip away that retiring the laptop/tablet combination for most of these is not as outrageous as it once would have seemed. In some ways, iOS has a way to go yet before it could take over from macOS but it remains in development so it will be interesting to see what happens next. All the while, hybrid devices running Windows 10 are becoming more pervasive and that might provide Apple with the encouragement that it needs.

A Look at a Compact System Camera

During August, I acquired an Olympus Pen E-PL5 and it is an item to which I still am becoming accustomed and it looks as if that is set to continue. The main reason that it appealed to me was the idea of having a camera with much of the functionality of an SLR but with many of the dimensions of a compact camera. In that way, it was a step up from my Canon PowerShot G11 without carrying around something that was too bulky.

Before I settled on the E-PL5, I had been looking at Canon’s EOS M and got to hear about its sluggish autofocus. That it had no mode dial on its top plate was another consideration though it does pack in an APS-C sized sensor (with Canon’s tendency to overexpose finding a little favour with me too on inspection of images from an well aged Canon EOS 10D) at a not so unappealing price of around £399. A sighting of a group of it and similar cameras in Practical Photography was enough to land that particular issue into my possession and they liked the similarly priced Olympus Pen E-PM2 more than the Canon. Though it was a Panasonic that won top honours in that test, I was intrigued enough by the Olympus option that I had a further look. Unlike the E-PM2 and the EOS M, the E-PL5 does have a mode dial on its top plate and an extra grip so that got my vote even it meant paying a little extra for it. There was a time when Olympus Pen models attracted my attention before now due to sale prices but this investment goes beyond that opportunism.

The E-PL5 comes in three colours: black, silver and white. Though I have a tendency to go for black when buying cameras, it was the silver option that took my fancy this time around for the sake of a spot of variety. The body itself is a very compact affair so it is the lens that takes up the most of the bulk. The standard 14-42 mm zoom ensures that this is not a camera for a shirt pocket and I got a black Lowepro Apex 100 AW case for it; the case fits snugly around the camera, so much so that I was left wondering if I should have gone for a bigger one but it’s been working out fine anyway. The other accessory that I added was a 37 mm Hoya HMC UV filter so that the lens doesn’t get too knocked about while I have the camera with me on an outing of one sort or another, especially when its plastic construction protrudes a lot further than I was expecting and doesn’t retract fully into its housing like some Sigma lenses that I use.

When I first gave the camera a test run, I had to work out how best to hold it. After all, the powered zoom and autofocus on my Canon PowerShot G11 made that camera more intuitive to hold and it has been similar for any SLR that I have used. Having to work a zoom lens while holding a dinky body was fiddly at first until I worked out how to use my right thumb to keep the body steady (the thumb grip on the back of the camera is curved to hold a thumb in a vertical position) while the left hand adjusted the lens freely. Having an electronic viewfinder instead of using the screen would have made life a little easier but they are not cheap and I already had spent enough money.

The next task after working out how to hold the camera was to acclimatise myself to the exposure characteristics of the camera. In my experience so far, it appears to err on the side of overexposure. Because I had set it to store images as raw (ORF) files, this could be sorted later but I prefer to have a greater sense of control while at the photo capture stage. Until now, I have not found a spot or partial metering button like what I would have on an SLR or my G11. That has meant either using exposure compensation to go along with my preferred choice of aperture priority mode or go with fully manual exposure. Other modes are available and they should be familiar to any SLR user (shutter priority, program, automatic, etc.). Currently, I am using bracketing while finding my feet after setting the ISO setting to 400, increasing the brightness of the screen and adding histograms to the playback views. With my hold on the camera growing more secure, using the dial to change exposure settings such as aperture (f/16 remains a favourite of mine in spite what others may think given the size of a micro four thirds sensor) and compensation while keeping the scene exactly the same to test out what the response to any changes might be.

While I still am finding my feet, I am seeing some pleasing results so far that encourage me to keep going; some remind me of my Pentax K10D. The E-PL5 certainly is slower to use than the G11 but that often can be a good thing when it comes to photography. That it forces a little relaxation in this often hectic world is another advantage. The G11 is having a quieter time at the moment and any episodes of sunshine offer useful opportunities for further experimentation and acclimatisation too. So far, my entry in the world of compact system cameras has revealed them to be of a very different form to those of compact fixed lens cameras or SLR’s. Neither truly get replaced and another type of camera has emerged.

A display of brand loyalty

Since 2007, my main camera has been a Pentax K10D DSLR and it has gone on many journeys with me. In fact, more than 15,000 images have been captured with it and I have classed it as an unfailing servant. The autofocus may not be the fastest but my subjects tend to be stationary: landscapes, architecture, flora and transport. Even any bus and train photos have included parked vehicles rather than moving ones so there never have been issues. The hint of underexposure in any photos always can be sorted because DNG files are what I create, with all the raw capture information that is possible to retain. In fact, it has been hard to justify buying another SLR because the K10D has done so well for me.

In recent months, I have looking at processed photos and asking myself if time has moved along for what is not far from being a six year old camera. At various times, I have been looking at higher members of the Pentax while wondering if an upgrade would be a good idea. First, there was the K7 and then the K5 before the K5 II got launched. Even though its predecessor is still to be found on sale, it was the newer model that became my choice.

My move to Pentax in 2007 was a case of brand disloyalty since I had been a Canon user from when I acquired my first SLR, an EOS 300. Even now, I still have a Powershot G11 that finds itself slipped into a pocket on many a time. Nevertheless, I find that Canon images feel a little washed out prior to post processing and that hasn’t been the case with the K10D. In fact, I have been hearing good things about Nikon cameras delivering punchy results so one of them would be a contender were it not for how well the Pentax performed.

So, what has my new K5 II body gained me that I didn’t have before? For one thing, the autofocus is a major improvement on that in the K10D. It may not stop me persevering with manual focusing for most of the time but there are occasions the option of solid autofocus is good to have. Other advances include a 16.3 megapixel sensor with a much larger ISO range. The advances in sensor technology since when the K10D appeared may give me better quality photos and noise is something that my eyes may have begun to detect in K10D photos even at my usual ISO of 400.

There have been innovations that I don’t need too. Live View is something that I use heavily with the Powershot G11 because it has such a pitiful optical viewfinder. The K5 II has a very bright and sharp one so that function lays dormant, especially when I witnessed dodgy autofocus performance with it in use; manual focusing should be OK, I reckon. By default too, the screen stays on all the time and that’s a nuisance for an optical viewfinder user like me so I looked through the manual and the menus to switch off the thing. My brief flirtation with the image level display met an end for much the same reason though it’s good that it’s there. There is some horizon auto-correction available as a feature and this is left on to see what it offers since there have been a multitude of times when I needed to sort out crooked horizons caused by my handholding the camera.

The K5 II may have a 3″ screen on its back but it has done nothing to increase the size of the camera. If anything, it is smaller that the K10D and that usefully means that I am not on the lookout for a new camera holster. Not having a bigger body also means there is little change in how the much camera feels in the hand compared with the older one.

In many ways, the K5 II works very like the K10D once I took control over settings that didn’t suit me. Both have Shake Reduction in their camera bodies though the setting has been moved into the settings menu in the new camera when the older one had a separate switch on its body. Since I’d be inclined to leave it on all the time and prefer not to have it knocked off accidentally, this is not an issue.  Otherwise, many of the various switches are in the same places so it’s not that hard to find my way around them.

That’s not to say that there aren’t other changes like the addition of a lock to the mode dial but I have used Canon EOS camera bodies with that feature so I do not consider it a step backwards. The exposure compensation button has been moved to the top of the camera where I found it very easily and have been using perhaps more than on the K10D; it’s also something that I use on the G11 so the experimentation is being brought across to the K5 II now as well. Beside it, there’s a new ISO button so further experimentation can be attempted with that to see how it does.

If I have any criticism, it’s about the clutter of the menus on the K5 II. The long lists through you scrolled on the K10D have been replaced with a series of extra tabs so that on-screen scrolling is not needed as before. However, I reckon that this breaks up things too much and makes working through the settings look more foreboding to anyone who is not so technical in mindset. Nevertheless, settings such as the the type of file to capture are there and I continue to use RAW DNG files as is usual for me though JPEG and Pentax’s own RAW format also are there. For a while, I forgot to set the date, soon found out what I did and the situation was remedied. The same sort of thing applied to storing files in different folders according to the capture date. For my own reasons, I turned this off to put everything into a single PENTX directory to suit my own workflow. My latest discovery among the menus was the ability to add photographer and copyright holder information to the EXIF metadata attached to the image files created by the camera. With legislative proposals that dilute the automatic rights of copyright holders going through the U.K. parliament, this seems a very timely inclusion even if most would prefer that there was no change to copyright law.

Of course, the worth of any camera is in the images that it produces and I have been happy with what I have been getting so far. The bigger files mean less images fit on a memory card as before. Thankfully, SDHC card capacities have grown even if I don’t wish to machine gun my photography altogether. While out and about, I was surprised to apertures like F/14 and F/18 when I was more accustomed to a progression like F/11, F/13, F/16, F/19, F/22, etc. Most of those older values still are there though so there hasn’t been a complete break with convention. The same comment applies to shutter speeds where ones like 1/100 and 1/160 made there appearance where I might have expected just ones like 1/90, 1/125, 1/250 and so on. The extra possibilities, and that is what they are, do allow more flexibility I suppose and may even make it easier to make correct exposures though any judgement of correctness has to be in the eye of a photographer and not what a computer algorithm in a camera determines. For much of the time until now, I have stuck with an ISO of 400 apart from a little testing in a woodland area of an evening soon after the camera arrived.

Since the K5 II came my way a few months ago, I have been meaning to collect my thoughts on here and there has been a delay while I brought mu thinking to a sensible close.At one point, it felt like there was so much to say that the piece became larger in my mind that even what you have been reading now. After all, there are other things that I can adjust to see how the resulting images look and white balance is but one of these.The K10D isn’t beyond experimentation either, especially since I discovered that shake reduction was switched off and it has me asking if that lacking in quality that I mentioned earlier has another explanation. Of course, actually making use of my tripod would be another good suggestion so it’s safe to say that yet more photographic explorations await.

Command Line Processing of EXIF Image Metadata

There is a bill making its way through the U.K. parliament at the moment that could reduce the power of copyright when it comes to images placed on the web. The current situation is that anyone who creates an image automatically holds the copyright for it. However, the new legislation will remove that if it becomes law as it stands. As it happens, the Royal Photographic Society is doing what it can to avoid any changes to what we have now. There may be the barrier of due diligence but how many of us take steps to mark our own intellectual property? For one, I have been less that attentive to this and now wonder if there is anything more that I should be doing. Others may copyleft their images but I don’t want to find myself unable to share my own photos because another party is claiming rights over them. There’s watermarking them but I also want to add something to the image metadata too.

That got me wondering about adding metadata to any images that I post online that assert my status as the copyright holder. It may not be perfect but any action is better than doing nothing at all. Given that I don’t post photos where EXIF metadata is stripped as part of the uploading process, it should be there to see for anyone who bothers to check and there may not be many who do.

Because I also wanted to batch process images, I looked for a command line tool to do the needful and found ExifTool. Being a Perl library, it is cross-platform so you can use it on Linux, Windows and even OS X. To install it on a Debian or Ubuntu based Linux distro, just use the following command:

sudo apt-get install libimage-exiftool-perl

The form of the command that I found useful for adding the actual copyright information is below:

exiftool -p “-copyright=(c) John …” -ext jpg -overwrite_original

The -p switch preserves the timestamp of the image file while the -overwrite_original one ensures that you don’t end up with unwanted backup files. The copyright message goes within the quotes along with the -copyright option. With a little shell scripting, you can traverse a directory structure and change the metadata for any image files contained in different sub-folders. If you wish to do more than this, there’s always the user documentation to be consulted.

Getting an Epson Pefection 4490 Photo scanner going with Ubuntu GNOME Remix 12.10

My Epson Perfection 4490 Photo scanner has been in my possession for a while now and its impossible to justify any replacement given that it both works well and digital photography has taken over from its film predecessor for me. Every time I go installing an operating system afresh, I need to reinstate it again and last year’s installation of Ubuntu GNOME Remix 12.04 only saw me do the deed recently. When I did so, it was brought back to me that I’d never gone and documented on here how this was done. Given that I sometimes use this place as a repository of stuff to which I need to refer again in the future, it seemed remiss of me so here it is for you all.

Though I had XSane and SimpleScan already installed on the system, Sane wasn’t on there so I went and added it and a few other extras using the following command:

sudo apt-get install sane sane-utils libsane-extras

Then, it was onto the Epson website for their Perfection 4490 Photo Linux drivers since Sane’s support for this scanner seemingly remains incomplete even though it pre-dates my move to Linux in 2007. Three files were needed and the following commands install them (depending on when you do this, the file names may be different so just change them to whatever they are for you; it can be done with a single command too but there is not enough girth for that here):

sudo dpkg -i iscan-data_1.22.0-1_all.deb
sudo dpkg -i iscan_2.29.1-5~usb0.1.ltdl7_i386.deb
sudo dpkg -i iscan-plugin-gt-x750_2.1.2-1_i386.deb

With those in place, there was one other task that needed doing so that scanning could be done without resorting to running scanning software using sudo privileges. To free up the access to a normal user account, I needed a HAL device information file. These normally are in /usr/share/hal/fdi/ but they change every time an installation so any modifications that you may make are going to be lost. Therefore, there is no point modifying either /usr/share/hal/fdi/preprobe/10osvendor/20-libsane.fdi or /usr/share/hal/fdi/preprobe/10osvendor/20-libsane-extras.fdi where scanner information usually is to be found.

The first task in creating an fdi file was to issue the lsusb command and look for a line corresponding to my scanner. This is the one that I got:

Bus 001 Device 004: ID 04b8:0119 Seiko Epson Corp. Perfection 4490 Photo

From this, I gleaned the manufacturer ID and model ID as 04b8 and 0119, respectively. These are needed later on. Next I needed to create the hal/fdi/preprobe/ folder structure under /etc since it was there. Then, I created epson4490photo.fdi in the bottom folder of the tree (/etc/hal/fdi/preprobe/epson4490photo.fdi) as follows:

cd /etc/hal/fdi/preprobe/ && sudo touch epson4490photo.fdi

Then, I edited the new file using the following command:

gksu gedit epson4490photo.fdi &

When open, I added in the following text:

<?xml version="1.0" encoding="UTF-8"?>
<deviceinfo version="0.2">
<device>
<match key="info.subsystem" string="usb">
<!-- Epson Perfection 4490 Photo -->
<match key="usb.vendor_id" int="0x04b8">
<match key="usb.product_id" int="0x0119">
<append key="info.capabilities" type="strlist">scanner</append>
<merge key="scanner.access_method" type="string">proprietary</merge>
</match>
</match>
</match>
</device>
</deviceinfo>

It’s all in XML so the place to look is immediately beneath the scanner name comment. The int attributes of the two match elements immediately following the comment line are populated using the information from the lsusb command output with 0x prefixing both the manufacturer and model identifiers. The element with a key attribute of usb.vendor_id is the former and that with a key attribute of usb.product_id is the latter. With epson4490photo.fdi saved, I rebooted the machine to restart HAL and all was as I wanted it to be apart maybe from XSane making complaints that seemed not to be of any actual consequence. With Epson’s Image Scan! and Simple Scan on the PC, there’s no need to be bothered with those messages. Choice is good when you have it, especially when you have expended some effort to get that far.

Three gone…

As of today, Jessops no longer continues to trade. It is but a third specialist purveyor of photographic equipment to go this way. Jacobs, another Leicester headquartered competitor, met the same fate as did the Wildings chain in the northwest of England. These were smaller operations than Jessops who may have overreached itself during the boom years and certainly had their share of financial troubles in recent times, the latest of which putting an end from the operation.

Many are pondering what is happening and the temptation is to blame the rise of the e-commerce and the economic situation for all of this. In addition, I have seen poor service blamed. However, where are we going to go now after this? Has photography become such a specialised market that you need a diversified business to stick with it? After all, independent retailers have been taking a hammering too and some have gone out of business like the chains that I have mentioned here.

It does raise the question as to where folk engaging in a photographic purchase are going to go for advice now; is the web sufficiently beginner friendly? There seemingly are going to be less bricks and mortar shops out there now so coming across one-to-one advice as once would have been the case is looking harder than it once was. Photographic magazines will help and the web has a big role to play too. It certainly informed some of my previous purchases but I have been that little bit more serious about my photography for a while now.

It might be that photography is becoming more specialist again after a period when the advent of digital cameras caused an explosion in interest. Cameras on mobile phones are becoming ever more capable and cannibalising the compact camera market for those only interested in point and shoot machinery. Maybe that is where things are going in that mass market photography doesn’t offer the future that it once might have done given the speed of technological advance. The future and present undoubtedly are about as interesting as they have become utterly uncertain.

Thinking over the last ten years or so, there has been a lot of change and that seems set to continue even if I am left wondering if photography has shot its bolt by now. My first SLR came from a Stockport branch of Jessops and was a film camera, a Canon EOS SLR. It certainly got me going and was exchanged for a Canon EOS 30 from Ffordes, an internet transaction during which the phone system around Manchester and Cheshire went on the blink. That outage may have exposed a frailty of our networked world but there has been no fire to melt cables in a tunnel since then. Further items from Jessops came via the same channel such as a Manfrotto 055 tripod and my Pentax K10D. A Canon-fit 28-135 mm Sigma came from Jessops’ then Manchester Deansgate store and another Canon-fit Sigma lens, a 70-300 mm telephoto affair, came from another branch of the chain, although not the Macclesfield branch since that had yet to be established and there’s no photographic store left in the town now after the Jessops and Wildings closures.

Those purchases have become history just like the photographic retail chain from which they were sourced. These days, I am more than comfortable in making dealings over the web but that concern about those starting out that I expressed earlier now remains. Seeing how that would work is set to become interesting. Might it limit the take up of photography on a more serious basis? That is a question that could get a very interesting answer as we continue into ever more uncertain times.

Dispensing with temptation

The compact system camera arena is a burgeoning one with many manufacturers having followed Olympus into the fray. In latter months of last year, Nikon finally took the plunge though Canon have yet to do the same. Seeing offers on Olympus E-PL1 kits with a 14-42 mm zoom lens had me tempted, particularly with a price tag of the order of £250. In fact, I even got to looking into the competition too and a shortlist emerged. This also featured the Samsung NX-11 and the Sony NEX-C3 as well as the big brother of the latter, the NEX-5N.

What eventually countered the allure of shiny objects was the question as to why I needed such an item. After all, I already possess a Pentax K10D DSLR and a Canon Powershot G11 and these have been satisfying my photographic needs for a while now. The DSLR may date from 2007 but it is still working well for me and, if it ever needed replacing, I’d be going for another Pentax with the K-5 being a strong contender. The Canon is doing what’s asked of it so the recent launching of the G1 X isn’t so tempting either.

The whole dalliance has me wondering about how photographic equipment changeovers come about. After all, it was around a decade ago with the DSLR revolution was in the offing if not in progress. Until then, film photography was predominant but it looks as if it got as far as it could from a technological point of view when I look back at what happened. The digital photography area was new and untapped so moving there offered new possibilities and purchases more easily justified. The end result is that very few film cameras are being made nowadays. Ironically, it’s film photography that now is untrammelled terrain for many and it is holding its own too in an era when digital photography predominates.

The same sort of newness that came with digital photography also applies to CSC‘s to a certain extent. From the heritage of half-frame 35 mm film photography, Olympus has fashioned a different type of digital camera: essentially a compact with interchangeable lenses. Was it the fact that I have no CSC that caused me to be tempted and has it happened to others too? Also, is that what got digital photography going in the first place?

It almost feels as if camera manufacturers have to keep bringing to market new models and new types of camera in order to stay in business. After all, Minolta had to sell its camera division to Sony when they failed to get going in the DSLR market quickly enough. The same thing might have happened to Pentax too with the marque passing to first to Hoya, and then to Ricoh after the firm lost its independence.

What doesn’t help is the lack of longevity of camera models. The coming of digital photography has exacerbated this situated with models being launched at a frenetic rate. In the days of film photography, a model could last on the market for a few years and there was once a time when a twenty year lifetime wouldn’t have looked so ridiculous though there were incremental improvements made over that time too. For instance, a Pentax K1000 wouldn’t be exactly the same at the end of its production run as it was at the start though the model number may be the same. That world is gone.

Camera types have done better with the SLR design lasting around 50 years so far. However, mirror-less camera technology is adding pressure like never before. Even compact cameras allow live TTL type viewing and Olympus dug into its film camera heritage to add an interchangeable lens mount to give us the first E-P1. The original PEN cameras were half-frame 35 mm affairs and, appropriately enough, their descendants have small sensors in the micro four thirds mould. Then, there’s Sony’s efforts with translucent mirrors that do not move like their SLR counterparts. Canon tried this in the 1980’s with film cameras but never pursued the genre. After that, there are mirror-less SLR-style cameras from Samsung and Panasonic that make you wonder if a full size equivalent is in the offing with live viewing and an electronic viewfinder. Olympus is doing a teaser advertising campaign at the moment and it has some wondering if an OM-D is in the offing.

In parallel with all this, Sony is making a good impression with their CSC’s, the NEX series. These have APS-C sized sensors like many DSLR’s and in compact bodies as well. However, the feel very much is that of a compact camera and some have complained of a like of buttons on them though the photographic quality is very good. Samsung have gone for the same sensor size in their NX-11 thought they have gone for SLR styling. That may be more suitable for some than having to find settings buried in menus.

In summary, we are in an exciting if unnerving time in camera technology at the moment. On one hand, we are seeing a great deal of miniaturisation and what formerly were still cameras can do movie making as well. The latter may not be an interest of mine and it looks like a time-consuming hobby too. A lot is in flux right now and a recent court case reminded us of the difficulties in doing original work these days with image processing in Photoshop forming the basis of a victorious copyright claim. Because the number of images that are getting created everywhere, it could be hard for some to avoid this one and that could be exacerbated if the government changes the law so that intellectual property claims can be processed in the small claims courts. That sort of thing makes film photography seem attractive and it does seem that it isn’t disappearing either, even if Kodak has its financial problems. Novelty seems to change photographic tastes and it seems that film photography is novel again. It’s a changing world and who knows where it take us. Maybe a new DSLR body might make a good purchase in case CSC’s usurp their place entirely. Photographic technology is interesting yet again.

Why the delay?

The time to renew my .Net magazine came around and I decided to go for the digital option this time. The main attraction is that new issues come along without their cluttering up my house afterwards. After all, I do get to wondering how much space would be taken up by photos and music if those respective fields hadn’t gone down the digital route. Some may decry the non-printing of photos that reside on hard disks or equivalent electronic storage media but they certainly take up less physical space like that. Of course, ensuring that they are backed up in case of a calamity then becomes an important concern.

As well as the cost of a weekly magazine that I didn’t read as much as I should, it was concerns about space that drove me to go the electronic route with New Scientist a few years back. They were early days for digital magazine publishing and felt like it too. Eventually, I weened myself from NS and the move to digital helped. Maybe trying to view magazine articles on a 17″ screen wasn’t as good an experience as seeing them on the 24″ one that I possess these days.

That bigger screen has come in very handy for Zinio‘s Adobe AIR application for viewing issues of .Net and any other magazine that I happen to get from them. There’s quite a selection on there and it’s not limited to periodicals from Future Media either. Other titles include The Economist, Amateur Photographer, Countryfile, What Car and the aforementioned New Scientist also. That’s just a sample of eclectic selection that is on offer.

For some reason, Future seem to wait a few days for the paper versions of their magazines to arrive in shops before the digital ones become available. To me, this seems odd given that you’d expect the magazines to exist on computer systems before they come off the presses. Not only that but subscribers to the print editions get them before they reach the shops at all anyway. This is the sort of behaviour that makes you wonder if someone somewhere is attempting to preserve print media.

In contrast, Scientific American get this right by making PDF’s of their magazines available earlier than print editions. Given that it takes time for an American magazine to reach the U.K. and Eire, this is a very good thing. There was a time when I was a subscriber to this magazine and I found it infuriating to see the latest issues on newsagent shelves and I still waiting for mine to arrive in the post. It was enough to make me vow not to become a subscriber to anything that left me in this situation every month.

Some won’t pass on any savings with their digital editions. Haymarket Publishing come to mind here for What Car but they aren’t alone. Cicerone, Cumbrian publishers of excellent guidebooks for those seeking to enjoy the outdoors, do exactly the same with their wares so you really want to save on space and gain extra convenience when going digital with either of these. In this respect, the publishers of Amateur Photographer have got it right with a great deal for a year’s digital subscription. New Scientist did the same in those early days when I dabbled in digital magazines.

Of course, there are some who dislike reading things on a screen and digital publishing will need to lure those too if it is to succeed. Nevertheless, we now have tablet computers and eBook readers such as Amazon’s Kindle are taking hold too. Reading things on these should feel more natural than on a vertical desktop monitor or even a laptop screen.

Nevertheless, there are some magazines that even I would like to enjoy in print as opposed to on a screen. These also are the ones that I like to retain for future consultation too. Examples include Outdoor Photography and TGO and it is the content that drives  my thinking here. The photographic reproduction in the former probably is best reserved for print while the latter is more interesting. TGO does do its own digital edition but the recounting of enjoyment of the outdoors surpassed presentation until a few months ago. It is the quality of the writing that makes me want to have them on a shelf as opposed to being stored on a computer disk.

The above thought makes me wonder why I’d go for digital magazines in preference to their print counterparts. Thinking about it now, I am so sure that there is a clear cut answer. Saving money and not having clutter does a have a lot to to with it but there is a sense that keeping copies .Net is less essential to me though I do enjoy seeing what is happening in the world of web design and am open to any new ideas too. Maybe the digital magazine scene is still an experiment for me.