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 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 tendency 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 encountered.

My reason for mentioned 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 adjustment for such 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 a quite 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. Vibrance, 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 offsite image backup like Google Drive and Dropbox. The mobile app does look interesting since it allows to capture 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 eeePC that I connected to the internet using broadband dongles and a WiFi 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 guesthouses 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 WiFi hubs and that largely is how I work with laptops and tablets away from home unless there is hotel WiFi 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.

Apple iPad Pro 12.9″

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 and 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 anything 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 eeePC 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 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.

Transcend JetDrive Go 300

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 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 AirPrint 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 the 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 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.

Olympus Pen E-PL5

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.

Pentax K5-II

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.