Photography for potters

Camera Review sites I use and trust

Sun, 9 Aug 2009 17:29:21 -0400

I have been reading camera reviews diligently for perhaps 8 years now. Like everyone who haunts these sites....one develops favorites. My reasons are based on the background qualifications of the reviewers and my sense of their non-biased attitudes and their style of handling the subject matter in a clear and concise way.

CAMERAS, CAMERAS ...everywhere I look I see cameras!
How to sort it all out!!

WELL.... try these excellent review sites.....

DIGITAL PHOTOGRAPHY REVIEW

DPR has a long history of excellent resourcing for all aspects of digital cameras and related subjects, forums and such. Great side by side comparison feature to help evaluate various cameras under consideration. Excellent site design and large data base of cameras dating back many years to provide research options. Many earlier reviews are archived allowing comparisons between cameras of differing lineages.

http://dpreview.com/

CAMERA LABS

This excellent site is situated in New Zealand.
One of my favorite parts of moderator Gordon Laings’ handling of the review process is to include a Video Tour of cameras he reviews. I find his dialogue to be concise and inclusive of all the specifics needed to aid in decision making. And, more importantly the comparative side comments about cameras from other makers which may rival or fall short on important camera features that may matter to you are carefully discussed in an open minded way.
I have found this site to be extremely useful.

Camera Labs is based in Queenstown, New Zealand, and edited by Gordon Laing, a British technology writer and former Editor of Personal Computer World – the first, and longest-running PC magazine in the UK. Over a 17 year career in journalism, Gordon has also reviewed products for magazines including Digital SLR User, Professional Photographer, MacUser, PC Pro, Computeractive, T3, The Times Educational Supplement, The London Evening Standard and The Register website.   He holds a degree in Physics from the University of Kent, has been a photographer for over 25 years and professionally reviewed digital cameras since their birth starting with the 0.3 Megapixel Apple QuickTake 100 back in 1995. His first book, Digital Retro, an illustrated history of home computers in the 80s, was published in October 2004 by Ilex Press and Sybex Books.

http://www.cameralabs.com/

TRUSTED REVIEWS

This is another gem of a review site !
Cliff Smith is the man we see on this site and, again, the style and content of his reviews is exactly what we want to be listening to ...namely, straight talk, common sense and no techno-babble to confuse the new comer’s ears.
I like this reviewer and his comments a great deal !
Don’t be put off because I didn’t write a lot about this site...go have a look!

Find him at:
http://www.trustedreviews.com/

NEW CAMERAS DEFINING THE FIELD

Sun, 26 Aug 2007 11:40:56 -0400

A brief ground rule or stage setting is called for. I am discussing cameras of many types but I do not stray into the upper range of available, very high end equipment. Why? Most of us are not going to use $3500.00 to $7,000 cameras because our needs can be met with surprisingly inexpensive cameras . Witness the camera( Panasonic Lumix DMC FZ8) discussed on the Super Zoom camera page. Priced in the mid $300.00’s to perhaps $550.00 these cameras are really agile and economical!

Sooooooooo!

What is with the discussions of a $1800 (body only) camera like the D300?
Because they define where camera design is heading and the features that appear in this class of camera do rather quickly begin showing up in lower echelon cameras.

The recent announcement from Nikon regarding the new D300 camera brings a range of images to mind ( pun and no pun intended)

Being a Nikon D200 owner( and a very satisfied one) I was still amazed to see what this new D300 camera offered.
Step back 1 1/2 years with me.

Spring 2006
I am recalling my particular feelings a week after taking delivery on the D200 when suddenly the digital world shifted a bit with the announcement by Olympus of it’s first “live view”DSLR camera, the Evolt 330 with a first in the field...a camera that allowed the photographer to see the subject being shot ... “live” on the LCD screen -here to fore something that only smaller (none DSLR cameras) had offered. I was so used to that opportunity to view the image as I was composing ....that when I took delivery on the D200, I naively thought that it too had “ live” view like all my previous “point and shoot” digital cameras had. Silly me. I was forgetting the basic inherent design principles the two different cameras types were based on.

One week later, when the Olympus camera company announced their Evolt 330 DSLR camera with LIVE VIEW , I almost wanted to turn in my D200 and get the Olympus camera . I didn’t do it and I am not a bit sorry. Still, the old desire to see the image to be taken on the LCD screen during the composing phase of shooting persisted for me.

I recall that I spoke to the camera store owner about the issue of missing live view. His comment, “ Nikon will never go in that direction...it is just a novelty” Hmmmm.
Me thinks that further developments by Olympus of the feature in the now nearly two years since that moment (witness the beautifully evolved Olympus Evolt 510 camera now available) have prodded Nikon to not only introduce the same concept on the D300 , but they also are offering a sensor cleaning feature ...exactly the concept that the Olympus Evolt 330 introduced in 2006 ! My, My. Logic and competition have their effects!

So.....
The Nikon D300 is a mighty appealing package!
Essentially, it is a near duplicate in size and appearance with my D200.
However, functionally and in many key areas , enormous changes have come to be.
Look at the rear of the camera and find a huge 3” LCD with an astonishing 922,000 pixels ! This compares to the 230,000 pixel 2 1/2” LCD on my D200!

KEY POINTS :
12.3 CMOS SENSOR VS. 10.2 CCD SENSOR ON D200
51 POINT AUTO FOCUS VS. 11 POINT ON D200
LIVE VIEW AND SENSOR CLEANING DEVICE
The list goes on and on .
See a pre-test review and specifications comparison on the Digital Photography Review Site at: http://www.dpreview.com/previews/nikond300/
Watch for the full review soon.

Amazing camera !
Can Canon be far behind ?
Wanna put a bet on it?

I sent off word of this news release to my dear friend and colleague, Bill Hunt. Like me, Bill has watched all these “miracles” since the beginnings of the digital revolution. For Bill it began early on first from the viewpoint of his involvement with the world of film during his long tenure as editor of Ceramics Monthly. And, now as potter and teacher at Columbus College of Art And Design in Ohio....clearly in the time of the digital revolution.
We trade ideas and drool over goodies in the digital and computer worlds.
He always has great observations and this is his reaction to the unveiling of the new (bigger, badder and better )D300.

Bill Hunt:

Glickie,

“Woooooo! Woooo hooo! I just went to your recommended website and now, thanks to you, I have wants and needs I didn't think I could ever have again! You know they will keep doing this to us until our last dying breath, don't you? There are never enough megapixels, inches of display screen, gazillions of ISO, etc., etc. It's electronic aesthetic heroin being pushed by those clever camera designers. And we're hooked!

And now, when I'm compelled to rush out to buy one, I can't even tell my friend, Glickie? Why that's akin to stashing the bottle of scotch so nobody knows you have it. What fun is that? And me with only a D70...way back in prehistory. It's barely good enough for a doorstop now that the D300 is on its way. No, come to think of it, it would be embarrassing to use it as a door stop, to advertise just how far behind the times the Huntly family is. I should just wrap that D70 in some old newspapers and put it in a trash bag inside our trash can so nobody will know that we still harbor such archaic tech. How will we continue to be relevant? How long can our aging brains keep up with the power of technological innovation crushing the marketplace with more and more, faster and faster? These are the challenges of our times, Glickie. Somehow pots pale in comparison to these major cultural issues. I'm going to have to find a digital therapy men's group around here to help me come to terms with all this. I hope you can find the same somewhere in Farmington.

Stay tuned.

Yours in digital madness and desire.”

Huntly

Whew!
Well, there is another perspective. Lots of wisdom there.

The D70 is a fine camera! Still takes great pictures. Still depends on the hands and brain of the user. Do check his trash can, tho!

So, why would anyone need (oops, the need word) or want the bigger, faster, more amazing gadget from the research folks at Nikon or Canon etc?

I can answer for me.

I am an artist driven by a love of tools ....tools I make for my studio needs( extruders dies, ribs etc, and tools that make it possible to make things come to life(drill press, sanders, saws and a myriad of hand tools) and Mac computers and ....digital cameras.

I have this reward myself for being pleased with my relationship with my tools ...syndrome. I admit it freely.

I use cameras extensively ...during long years of film/35-mm use I had 3 (used but excellent ) Nikormat cameras for shooting simultaneously B&W, Color print and slide film on each pot being shot. Why 3 cameras? Because it saved time once the set up was done to get all three films done while the pot was in place. That meant 3 tripods as well. Systematic and efficient . Oh, and I forgot to mention my used 4x4 camera which still gets use producing amazing HUGE color transparencies for publication from time to time.
With digital, that earlier camera(s) system no longer applies. Does that mean I have (need , want ?) for three digital cameras , NO!

I laugh here if you were in person with me! You can laugh or sneer now!

I actually have 4 digitals ....the very first , second, third and fourth ( Nikon D200) that I have purchased over the last approximately 7 years. Each has a task and all get used frequently. They follow the development path of the digital camera field as traced by Megapixel count. 2.2 MP, 3.4MP, 5MP and 10MP.

All are capable of many tasks and all have their niche. Realize that I did not buy them for the same reasons that the Nikormat cameras were acquired, but came as the digital camera field matured to acquire more capacity and functionality. And, I quickly realized that all had a place in the scheme of things. Thus, no selling of the “oldies.”

Will “Glickie” need to get the D300?

Stay tuned or we shall see !
Jury still out.
Time will tell.
Ran out of euphemisms

What is your story?
Add a comment if you wish.
Peace

Oh, wait, did you see the new Canon....................

Passage of mere minutes ....
HA!
Told me so and told you so.....
Hot off the presses...
Canon announces the CanonD40d !!!
“d” must stand for dah!

Guess what?
Amazingly enough it has Live View and ta da- a Self Cleaning feature for the sensor ! Now where have we heard about this before? Hmmmmmm

The bottom line: Tons of new features, etc etc ....remarkable that they are almost identical to the Nikon
1o.1 MP CMOS sensor
3” LCD But “only” 230,000 Pixels ! (Nikon 300d has 3 times that !)
Cost: About $1299.00 (Body only)
Mud flaps extra.

So, the game goes on!

BREAKABLE NEWS!!!!!!!!!!!

SO....THE GAME NOT ONLY GOES ON BUT GETS MORE AND MORE INTERESTING!
Apparently the “big guys” have take note of humble our little Fresh Plums Blog!
I received an unexpected package in the UPS recently and was rather shocked to discover what appeared to be a pre-production D300 inside!
Gulp!
This is what this little beauty looks like for openers:
Since there were no instructions, I just jumped in and ....

Some early reactions here:
Feel: Somewhat wooden, perhaps even kiln dried.
Heft: Not sure since I got a splinter the first time I picked it up! @#$%@
Lens: Hard to say ...difficult to focus until ...
L.C.D. : Well, actually the image seen here came with the camera and I had no success in obtaining further images. The people shown on the L.C.D. seemed nice and I could have sworn I recognized some of them! Hmmm...Lodge picnic? NCECA 1981? Wait...the A.A.R.P. magazine!

Conclusions: Well, Mr. Hunt and Mr. Lehman, here is my judgement on this gem.
1.Needs more sanding .
1. Could use some metal and plastic parts.
2. Better glue for exterior parts that were looking like they wanted to fall off.
3. More substantial strap.

Beyond that- I adored everything about it.
My order is waiting on the doorstep of those clever geniuses who came up with the prototype of what I can only hope is a real buoyant seller for the king of camera makers.

Billy Bob Blogg

P.S.
Keep those cards and letters coming!

O.K. all kidding aside ( really hard for me)
Gulp.
I did it ...honest, I did it!
Santa or someone nice (OK ....me) bought the D300 like I thought might happen. It spun out of my control as a matter of fact!
Sigh
My D200 is going to a good home .
The D300 will take it’s place as my Queen camera ...ie, major shooter for all things that matter ( books, magazine and other important needs)
Don’t you fret you older digital starter cameras-you guys are still my down and dirty, daily cameras for quick needs and such! Not to worry!

SUPERZOOMS

Mon, 20 Aug 2007 07:19:39 -0400

THIS IS A WHOLE NEW SUBCLASS OF CAMERAS TO CONSIDER.

Simply put, a Superzoom is a fixed lens camera with a much more versatile(read...long) lens range ( Typically 12x range or, perhaps 10x ...meaning it is a telephoto lens )
The camera shown above was recently purchased by my friend and fellow potter, Charity Davis-Woodward for her studio use camera.

Here are some images from the Panasonic Lumix DMC FZ8 (please tell me where these companies come up with these jaw breaker names for their cameras !)

My reactions to the images? Excellent work by Charity!
Both pots and photo results.
Good lighting, classic arrangement of graded back drop sweep , upper area in shadow or perhaps Veritone material.
The camera has done a great job of rendering good color. I suspect no Photoshop work done on these....but, Charity may correct me on this.

What does this DMC-FZ8 camera offer?

Short take: 7.2 mp sensor, 12x zoom (fixed lens) customizable white balance(a critical feature!) and....a low price ! About low to mid $300.00’s
What is missing :Very little .

It does shoot in RAW which some may find a great asset. And why is that useful? BECAUSE if a magazine or book publisher wants a digital file from you, the strong likelihood will be that a RAW file will be wanted ( or a TIFF) which can be achieved as well.

Read a good review on my fav site- Digital Photography Review
Remember, all cameras have pros and cons...this one has some of both.

HERE IS ANOTHER GOOD CANDIDATE IN THE FIXED LENS SERIES OF CAMERAS

THIS IS A MID RANGE “SUPERZOOM” Recently out and hot to go!

THIS IS THE CANON G10
BRAND NEW AND GREAT* !

Read the reviews. Solid camera

SHORT TAKE:

Zoom(35 mm equivalent of 28-140 x 1.5 lens factor gives 38-210 zoom ) lens (fixed)Not a BIG superzoom ....let’s call it a middle weight,rather.
3” LCD (yea!)
14.1 MP sensor (gulp!)_
Customizable WB (yea!)
DOES SHOOT IN RAW! (great!)The G7 didn’t do that ...silly Canon!

Price: not clear just yet- if past G series cameras offer a clue, it will be about $460.00 or so.
My former artist-in-residence Melissa Vaughn has the Canon G6 and it is a star performer, so this G10 should be another star for Canon.

This is one of Canon’s star “Big Kid” point and shoot cameras that has been blessed with fine goodies....lens, RAW capacity, compact(chunky ) personality meaning it has substance! The “G”series cameras seem to get plenty of good stokes from reviewers*...but! It really acts like a DSLR in many respects ...but..
For those considering this camera ...read the reviews carefully. There are aspects of this camera that have some of my trusted reviewers giving a passing grade ..but not a rousing cheer kind of reaction. Read well

Main drawback: For many ...none, for some ...not a removable lens.

PANASONIC:
There are some fine cameras out there by Panasonic and one that gets loads of good comments in the Zoom class in the Panasonic Lumix LX3 This is a much more modest Zoom of 35mm equivalent of 24-60 mm.

My favorite review sites give this compact little gem quite high praise. Visit the sites and compare this with the Canon G series cameras (G9, G10)
Possibly priced a bit higher than the Canons but clearly a strong performer!

There are perhaps about 12 Super Zooms out there from a range of makers. Do a Goggle search on the term. Check out this inexpensive option for very competent performance at reasonable prices.

IMAGE SENSOR CLEANING WITH DSLR’S

Thu, 5 Jul 2007 20:33:39 -0400

THE first piece of critical thinking to get out in the open is ....why we should be having this discussion at all.

DUST !! DUST !!! DUST !!!
Thought it was gone with film no longer in use? No more problems! All digital ! Whoops!

THE REALLY BIG MESSAGE HERE IS THAT WE DO NOT EVER, EVER GO FIDDLING AROUND OUR CAMERA’S SENSOR WITH COTTON SWABS , HOME MADE CLEANING BREWS PUBLISHED ON THE INTERNET BY “EXPERTS”, SPIT OR ANY THING OTHER THING THAN A DEDICATED CLEANING SYSTEM. ALL THE PRODUCTS I MENTION BELOW ARE SEEN ON THE CALUMET PHOTOGRAPHIC WEBSITE.
http://www.calumetphoto.com/
THERE ARE MANY OPTIONS THERE SO BE PREPARED TO DO SOME PERSONAL RESEARCH IF IT COMFORTS YOU.

GOOGLE CAMERA SENSOR CLEANING AND YOU WILL DISCOVER SEVERAL GOOD SUMMARY ARTICLES PUBLISHED IN EXCELLENT CAMERA MAGAZINES OF RECENT VINTAGE.

NOTE: CAMERA MANUFACTURERS DO NOT RECOMMEND THE USE OF NON-PROFESSIONAL CLEANING OPTIONS...MEANING THAT THEY WOULD WANT YOU TO ONLY SEND THE CAMERA TO A FACTORY AUTHORIZED CLEANING RESOURCE!

IF THAT CONFUSES YOU...IT IS WITH GOOD REASON AS THIS IS NEW TERRITORY IN THE CAMERA WORLD. MANY I TALK TO DO THEIR OWN CLEANING AND I PERSONALLY OPT FOR THE MORE GENTLE APPROACHES LISTED BELOW( BULB STYLE AIR BLOWERS OR VACUUM SYSTEMS ...NEITHER OF WHICH ACTUALLY HAVE YOU TOUCHING THE SENSOR SURFACE.

FIXED LENS CAMERAS ! MUCH LESS AN ISSUE

For those using fixed lens digital cameras...point and shoot , super zooms ...all of the cameras where you cannot remove the lens ...basically you have no dust issues other than what may get on the lens surface itself. These dust particles can be carefully removed with some of the traditional methods we all used with film cameras such as proper wipes and lens cleaning fluids recommended my manufacturers.

BUT, this is where we depart from the bliss of surface dust on lenses and enter the much more problematic area of dust on the sensor inside the camera body itself.
You may ask how does dust get into your camera.

SIMPLE : if remove the lens to change lenses ...your chances of getting dust into the inner chamber and possibly on the sensor go way, way up!
Remove and swap lenses 3-5 times a day and you can see the possibilities are going to increase. Even a “clean room” has dust galore to float into the camera unseen by you. Fact of life.

HOW do you know what the dust on a sensor looks like ? Answer: you see it as a somewhat blurry , shadowy “guest” on your computer screen as you view your images ...or in a print as a blurry entity. The sample below shows a recent “guest” on my Nikon D200’s sensor. How do we know the blurry thing isn’t on the lens surface or, on the background paper itself?
Answer...the ones on the sensor tend to always appear as blurry...being out of focus and they appear on EXACTLY the same place on each image shot.

Sure the same would be true of a dust particle on the lens...but, I am told by several pros that the likelihood is that lens dust may show up as more defined in appearance...so seeing a more shaped, non-blurry mark is the key to telling which you are dealing with. Blurry-usually means on the sensor surface. AND, yes, of course you would clean your lens to double check that issue at the same time.

I am sorry the “blurry visitor” is so tiny as this image is itself tiny....but, look at the small mark just above the lower right edge about 1/4” in from the corner ....it’s a blurry line. Seen full screen...it is quite the unwanted blemish.

Can we Photoshop it out? Yes.
Should you ignore it ? Could do. What to do? A choice on each person’s part.

Reasons to not Photoshop: Some book, magazine publishers state in their submission guidelines-” Do not Photoshop your images”

Here is another piece shot the same afternoon before I had taken a close look at the days shooting. Object lession...look on the computer screen fairly frequently for such issues! I opted to re-shoot all of the set ups that day ...some 30 shots!
Spot the fuzzy blemish in the lower right corner ! Don’t forget ...this only looks minor here because it is a tiny image. Sure it could be cropped out here...but what if it had been in a mid-sensor location ?

Moral ...get it off!

SO...what did I do? Simply didn’t just re-shoot since that would not have fixed the cause ...a dust particle on the sensor.

I used my Giottos Small Rocket Air Blaster. This is one option ...a rather benign and non-risky approach. Cheap at about $12.00 !
Why do I mention risk?

Remember what you read in the Shooting Gallery when my friend potter Gary Hatcher used a compressed air can in an attempt to chase away some dust on his sensor...the propellant accidently squirted out and since it is a freezing liquid, when it landed on the sensor, it ruined a very expensive camera!! He claims it was an accident ....I know for a fact he wanted a new camera and so he had this “accident” ...and the rest is his word against mine!

So, one of the first levels of cleaning we have are simple bulb-style blowers that have not been used for other purposes( like glaze trailing !!!)

Hold the camera with lens removed and upside down (opening to inner chamber aimed at floor to minimize the re-entry of more dust) and puff air at the sensor to dislodge dust. Be sure the mirror is not in front of the sensor or it will shield the sensor from the air bath! Learn how to do a “mirror lock-up” in your owners manual to do this.

Six or ten hearty “puffs” .....be gone ye dastardly digital dust motes !

DO NOT TOUCH THE TIP OF THE BLOWER TO THE SENSOR!

How do you know it worked? Working at this basic level, remount the lens and re-shoot a few images to evaluate your success. I had to do the process twice to have success.
By the way , I use new, large heavy duty zip-loc bags to store my camera when not in use. Helps keep dust away from the camera.

Fancy, eh? Reminds me of my kid-hood when I was rocket fixated ! I would want one even if only to look at !

OVERVIEW OF SOME OPTIONS I LIKE

Here is a super brief overview of some other options for sensor cleaning.
I am listing them in order of simplicity ...the bulb blowers being the first low-tech variety of tools easily available.

I like this next approach...here air compressed / cleaner bottle is used to create a vacuum ...no jets of air or any accidents with frozen sensors!

The Green Clean system:

The compressed air activates a vacuum within a collection pick up which hovers over the sensor and deposits the debris into a collection chamber. Approximate price $ 43.99 and up.

I may very well opt to get this one myself.

THE VISIBLE DUST: ARTIC BUTTERFLY SYSTEM

This system has you swabbing the sensor with their proprietary swab tipped implement with a cleaning solution. I have not done this myself yet but one can do this and it may be necessary with stubborn particles not reacting to vacuum or blowing actions. Prices are about $60.00 and up. Legend has it that once you touch your sensor and live to tell the tale...nothing can ever harm you or your camera again! Wow!

I love this great gadget! SENSOR SCOPE !! Designed for Nikon and Canon cameras ...it works with most DSLR’s . It is a magnifying , lighted scope that shows you in a large format view ...your sensor surface ! This really tells you what you are up against so can be informed about the scope of your job of cleaning. Did I almost make a pun?
Four bright LED lights for illumination. Price 79.99 ( why not $80.01!!)

THE FINAL DEAL !

“Askeert” to do any of the above ? Don’t want to touch your sensor with a the proverbial ten foot sensor cleaning tool?
Fear not !!!
Calument Photographic will do it at six of their stores for you.!
Check it out online.

Price is $ 59.00 (naw, I lied ....it is $ 59.99 !!) for a complete camera cleaning by in-house pros.
For modest users they suggest 3 times a year . Heavy users ...once a month.

Seems like a lot...but, most likely one could get by with self done stuff for most of the needs we could expect on a “normal “ use cycle. If you were not having any success ....then send it off to Calumet!

WHAT .... $ 59.99 ! NEVER!!
Then there was the day when your dog Bowser snuck into your darkened shooting set up after rolling in the dust and he came in just as you were changing lenses ...and dag-nab it...shook his dusty self with great joy .....!!!!
Gee whiz!

Book mark this page for easy return ...Fresh Plums

Site URl is web.mac.com/johnglick

Professional Photography Links

Sun, 20 May 2007 05:56:23 -0400

It is with profound sadness that I learned today that Tom Mills had passed away last month, Feb 2009, from a heart attack.
He will be greatly missed for his great humanity, love of the arts and his deep commitment to quality in all he attempted.

Introducing Tom Mills, Photographer

For nearly 10 years during the late 60’s and early 70’s I worked with two excellent professional photographers to document my work. I began to learn the needed skills to do photography on my own with their help, by reading, attending photography workshops and much trial and error learning.

Fast forward to the present time when I was working with potter Gay Smith to put together the first version of the”In My Eye” portfolio page.
That is when I became aware that she was using the services of a professional photographer to document her work. This is how I became aware of the work of Tom Mills .

So....it is with considerable respect and pleasure that I want to offer this link to the very excellent website of TOM MILLS.

One reading of “How it works”on his website and I knew that he was a man of honesty and empathy honed from long experience photographing his own works as an artist and his present evolution to working as professional photographer for others. He is clear in his way of managing his relationships with other artists and it seems to me very fair in his pricing.
Also, he designs websites for artists as can be seen when you visit his site.
Most of all, and this is always the test isn’t it ...the images he takes of many different kinds of art media are uniformly excellent!

His basic site can be seen below. Please visit:

www.tommillsphotography.com

Em
After one long and pleasurable visit to this site and a review of the portfolio of artists he has worked with I became convinced of his abilities.

You can see more of his recent images on the “In My Eye” page on Fresh Plums where I showcase the work of Gay Smith.
Tom also has a new web venture presently under development. See his artist showcase concept at:

www.theartistsshowcase.com.

Tell me what you think in the comments section below!

Bookmark my blog at: web.mac.com/johnglick

Book and Show Entry Requirements Reviewed

Wed, 25 Apr 2007 10:30:54 -0400

ENTRY REQUIREMENTS FOR FOUR RECENT EXHIBITIONS COMPARED
What did they have in common?
Answer:All asked for digital images and/or slides. Several were digital only and more and more show sponsors are moving towards digital only.
Outfitting oneself with serviceable tools (e.g. camera, lighting, software) to make excellent photographs is essential and achievable in our ceramics field. Digital images are already effectively the de facto medium for professional communications. Having acknowledged this, we need to be prepared for the rapidly changing show entry procedures required of potters who until recently knew only that “entry via slides” was the only needed skill.
Here are the requirements seen on the four recent exhibition entry forms. These are exact quotes from the pertinent image requirements from each show.
Strap on your digital flying gear! Note the seeming lack of similarity in stated needs! Yet all are digital! OOPS!
A. Digital images must be “ 355 PPI 8” x 12” “
B. Must be ...”high resolution comparable to 300 dpi at 4” x 5” and be either a .jpeg or .tif document saved on a CD ...be sure the CD is PC compatible.”
C. “... must be a minimum of 355 ppi. RGB (Adobe 98) , JPEG, 10 meg files.”
D. “...should be formatted as follows:72 dpi JPEG files , Minimum dimensions 500x500 pixels (7”x7”); Maximum Dimensions-900x 900 pixels ( 12.5” x 12.5”)”

Meanwhile, back on earth, we recover our composure and take a closer look at the stated needs for each.
1. Let’s see ...all I have listed are digital descriptions for the requirements!
2. All would require you to have the ability to use Photoshop or Photoshop Elements to make the adjustments to formatting after shooting the image.
3. We can recognize that the actual differences asked for are all about post shooting aspects - image size requirements ,quality parameters (i.e., 300 dpi, 355 ppi, 72 dpi) and file size “10 meg files” Thus our need to become proficient enough in Photoshop or PS Elements.
Note: All of these manipulations can easily be done in Photoshop Elements ( a cheaper software by far than the main Photoshop program is and one that is highly respected by photographers writing in the field)
Anyway,bless you my child if you are already a whiz in Photoshop ...come and help me sometime! Well, at least help your newcomer colleagues ...to get past the scary places !
STILL: I also think it is valuable to step back here and consider some other options for those who chose not to acquire software and learn the necessary parts of Photoshop.
Option One: You can hire a professional to shoot digitally and prepare your images to CD for entry needs. No shame here, just that for some this may be the only sane approach.
Option Two: If you can shoot decent slides, at least some of the shows still accept slides. Part two of the slide-based approach is that even when the entry guidelines finally do totally shift to all-digital format, the slide approach is not dead at all. The slides can be scanned at the needed resolutions and someone  (you with Photoshop Elements) or a professional, can then make the needed size and format adjustments for specified entry particulars.  Yes, there are more steps here than a direct approach at the personal level, but it gets the job done.
Neither of the above ways is my chosen method as I do prefer to use Photoshop and learn the processes with software which are quite learnable.
Whew!
Moving on:
For a great review of Photoshop Elements, Read: David B.Brooks
Adobe’s Photoshop Elements 4.0 (Windows & Mac); Is This Latest Version Worth An Upgrade?
David B. Brooks, July, 2006
This appears in Shutterbug online ...an excellent website resource that I use and trust as well as being a subscriber to Shutterbug magazine itself. Luv em!
 http://shutterbug.com/equipmentreviews/software_computers/0706elements/
This is David Brooks summarizing: “As both applications, CS2 and Elements, have evolved, they have become more distinct and different from each other. Part of the impetus for differentiated development is due, in large part, to the wildly increasing popularity of point-and-shoot digital cameras, a market Adobe would of course like to include as part of the Elements family of users. So in Version 4.0 there are more features for the snapshooter. Fortunately, the tools that a serious enthusiast needs and wants in Elements have not been slighted or ignored. “
So, I could leave the novice right here ( wait, I am nearly one myself in Photoshop so don’t worry, I won’t do that !)
By the way....The latest Windows PS Elements is at 5.0 and we in the Mac world are still at 4.0
Still, for most needs generated by show entry requirements, we are fine with 4.0 which has all the image adjustment capacities one would likely need. Price is typically $80.00 new and maybe about 60.00 for upgraders.Most photographers who I read state clearly that outside the clearly more advanced needs one can imagine needing for major image editing work, that Elements is more than sufficient to deal with file size adjustments, cropping etc. So, please don’t be panic stricken and jump to the conclusion that only full blown PS2 at some $500.00-$600.00 would be a must! Not!
THERE ARE IMPORTANT POINTS TO BE MADE:
Let’s focus in on just one of the stated entry requirements for a moment. Remember the show that asked for “ JPEG, 10 meg files.”?
An alarm bell should have sounded when that was read! Why?
Because to get a file that large is not something every digital camera is capable of doing! Naturally, that is the real message of importance if you are considering a camera purchase presently! Should you only buy a camera that can perform this admittedly singular requirement? Probably not because if implies that all potters have some $2000.00 to spend. It is rather sobering,however, to realize that the unevenly applied digital RULES of THE ROAD are not consistent for the time being.
BUT:Some sanity lurks in the dark forest of....
It also bears mentioning here that I contacted the person in charge of this particular show and had a very pleasant and informative discussion about their thinking and choices in asking for these files. Their end goal was to have potentially publishable files so they simply made the entry/screening parameters and their PR end result needs mesh into one image format...JPEG 10 MB ! But, the community of artists who saw this digital file requirement were not uniformly enabled to comply! (many went crazy and reached for the phones!)
Result? Many phone calls from frantic potters to the sponsor and inevitably the sympathetic response which literally had to emerge ... “Please, just do the best that you can” This would effectively end the potential for using the now inconsistent images which are likely much smaller images, for their publication needs.
This same result is happening in gallery settings and for the same reasons. Charlie Cummings tells me that the results of asking for digital-only submissions for shows at his gallery have proven to him that he is better off getting in the actual works well ahead of deadlines. This gives him time to do all the imaging himself! Just so there is a consistency! View his images on his gallery website at http://claylink.com/ Recall...they are shot in the lighting set up seen on my blog page on Lighting Options for Potters.
Certainly, this is a textbook example of the learning curve issues gallery directors, exhibit sponsors and all artists are presently navigating. Where are the good old days when we just used (poorly exposed) slides ! Ah, gone!
From my own array of cameras (old and brand new) only my Nikon D200 camera can produce a JPEG file that large! That is an expensive camera. Just be aware.
(Be sure to recall, there are more than just “pure digital camera” avenues to use to get that relatively large file needed....the use of scanned slides to get the high res digital files!) (Assuming you can shoot good slides)
All the other cameras I own which represent my entire history of use of digital cameras ( Chronologically almost 7 years back : Olympus 2020 2.2 MP, Epson 3100 zoom 3.5 MP, and Olympus E20n 5 MP) cannot manage to produce a JPEG file of that size !
And, these cameras are in regular use to do a range of tasks in my studio. Remember, I didn’t acquire them all at once ....this is my legacy collection that results when one upgrades every several years to “THE” next camera as the field changes. I find getting rid of the earlier ones to be not wise.
Just for the sake of clarity, several of these “outdated” cameras would be capable of meeting the requirements of some of the other listed show entry needs we have been discussing! It is just because of the one “glaring” example of a 10MB JPEG file that we have made it to this point.

THE STATE OF THINGS IN A DIGITAL BASED POTTERY FIELD

HOW WILL WE ENTER SHOWS WHEN ENTRY BY SLIDE IS GONE?
Yet another or.....
Or, what I think of as the state of Digital Awareness in the pottery field, presently.

Oddly enough, “nothing” has changed, really. People and their photography skills are still quite varied. Some still struggle with lighting and depth of field and proper backgrounds etc.
What has changed? The cameras are now digital. End of summary.

Sure there are more demands on potters for tweaking images but the tools are within our grasp to accomplish these needed adjustments.

For exhibition sponsors this is one persons view of things digital!

I do not envision a foolproof yet practical way to insure that setting digital based entry standards in your show announcement will do anything more than saying entry is by 35MM slides ever did. Were the slides consistent ? NEVER! Usable ? Some!

It seems certain to me that you will get what people can give ...ie, images varying in quality from a wide range of entry level digital cameras and certainly some better quality images from better cameras in the hands of better photographers in a few cases. No one will likely rush out and get a good quality camera just to enter your show! Most people are still learning this seemingly confusing media. Moreover, most of us are still struggling with the same general photographic challenges as before.

Truth to tell,I am totally, head over heals in love with digital cameras and their amazing flexibility coupled with post-capture image adjustments in, for example, Photoshop Elements! But,where all these dialogues about digital VS slide entry methods finally converge is really in the same familiar photographic skill set phases of capture ...lighting, backgrounds, composing, exposure etc. Same old, same old!

So, I would give up any hope of getting some magically upgraded and improved entry response no matter what you state in your literature . I think you will get the same or worse than the slides-only version! The people didn't change ...only the camera technology is changing.
And,from the potters viewpoint, everything seems so much more confusing now!
And,from the show sponsors vantage point ...the same is true! Ouch.

AND, SO...
Also, if you as sponsors of exhibitions had any hopes of being able to use the images for a catalogue, I honestly believe that this may be wishful thinking. Poor images ..even if captured in a great camera and which have the “correct” file sizes, are still far more work for some poor volunteer or hired pro to attempt to do open heart pixel surgery in Photoshop just to make the image almost good enough to use. Who has that much time or money?

My strong instinct about this is ...to publish modest entry standards -JPEG’s would be fine with modest file sizes and use them to screen the work only.
THEN:
Shoot the entries in-house once they are in hand. Building in lead time is tougher...but, the uniformity achieved by having someone shoot all the entries in one set up is clearly the needed control factor for a good catalogue.
If you have not read the comments of Charlie Cummings in the mid-part of this page, you may wish to read them.... he gave up asking for images from entrants with any expectation of getting good images for his gallery uses. It just wasn’t giving uniform results!

WHAT ABOUT CD’S MAC VS PC?
NO, all CD's are not necessarily viewable on every computer. For the purposes of general discussion, I burn in Toast, a common file burning software. I can specify either Mac & PC or Mac only. I leave it set to Mac & PC so any disc I send out is ready for either viewing platform.
The bigger issue -can people read? Can they follow instructions ? Some do not. And, I am as guilty as anyone as I discover when I re-read entry requirements for the third time only to finally notice that I have mis-read some particular. Sigh.

March on digital explorers!

ANYWAY, GETTING TO TOUCH THE HARDWARE (CAMERA)
I am going to set up my camera for shooting now ! Please join me and you will see where we are heading . This would apply generally to all digital cameras.
In fact, this is really how I do set up my Nikon D200 for a shooting session!
1. Set camera to it’s lowest ISO setting (film equivalent would be ASA) In the case of a D200 this is ISO 100. Why? This yields the lowest possible digital artifacts. We are on a good, solid tripod so any resulting long exposures are not a problem.
2. Set camera for highest possible capture quality consistent with the desired outcome for file size. If a JPEG is the goal, then Fine setting, large file size. If RAW then it is a given that it is already a maximum file size. For some needs, I can shoot any size JPEG I choose plus RAW together. Nice ! The highest settings are what gives you or a person working with your image files, the most possible working latitude for needed manipulations.
3. Set up with and shoot in Aperture priority! This is so that your F-stop settings are in your mind right from the start! Why? For potters, we are most likely wanting good depth of field and to get it we want to be shooting in the F-16 or smaller range. F-22? Not a problem if you are on a tripod...who cares if it makes for a 2-3 second exposure! If you have not seen the illustrations in the aperture tutorial, please take a moment to review the differences seen when shooting with F-2.8 VS F-22! It will cure what ails your images with DOF issues!
If you have not internalized the aperture and number relationship, go and re-read the key facts in the aperture tutorial,please. I know it took me a loooong time to get it in my head!
4. Use a good, solid tripod! Don’t even think about skimping !
5. Shoot with either a cable release or a Mirror Up option which allows a delay between depressing shutter release button and shutter firing to allow any vibration from your hand to stop ! Cable release is more sure and less time consuming than the mirror up option. I frankly would prefer a camera with the capacity to have one fitted rather than one which does not and when I compare cameras on a website with the side by side comparison options ...this is where you can spot and choose your desired features !

POPULAR MYTHS AND BROADSIDES:
When technology is changing as the photography fields is doing presently, one hears much ranting and debating going on. It is understandable since people are being shaken up and asked to change from familiar things (35 mm slides) to digital based imaging.
Recently, I chatted with another show sponsor who said the classic thing we all hear or have said ourselves, “ Nothing you say or write about (referring to my blog) will stay good for very long, anyway, since the digital field is changing so fast”
This is only partially true! And, in fact, sometimes we all say these things in an attempt to try to hold back the tidal wave of incoming information with a mindset that wants to deny that this kind of revolution in photography is actually going on and that it can make us feel a bit helpless. People do not like being pushed around by pixels, but it is happening.
Yes, cameras and software are changing all the time . But, there are core issues that are not going to change which involve making good images regardless of how they are produced.
But, the revolution is at least “over” in the main part. O.K., O.K., I know, because I do read far too much in the digital media !! What I mean is, we are not likely to see a gigantic series of technology changes so mind bending that we are going to lose all our connections to camera use anytime soon. And, what we are seeing are a range of consolidating actions where cameras and makers of them are settling their turf issues and getting very competitive.
If you have read my Researching Camera Choices for Potters section, recall me discussing the explosive growth of the entry level DSLR which is providing a big array of choices! It seems bewildering at first glance.
Most good writer /photographers that I have researched say the same thing:
Get in and get your feet wet and learn where the field is heading to the best of your ability, financially! Otherwise you are destined to be marginalized while you imagine you are waiting out this period of change. Guess what? When you do finally enter the world of digital, things will only seem more bewildering if you have waited and waited and .....!
This means that for the perpetually hesitant, we might all agree that, sure the field seems bewildering ...especially from the outside looking in (and firing understandable broadsides at the disruption of the familiar). I have lost track of how many potters I have chatted with who are hold-outs ...who refuse to face digital camera issues and even computers. NO,NO, NEVER!
Well, the train is leaving anyway and I hope for the sake of those left out, that there are gentle landings ahead.
As my gallery owner/potter colleague Charlie Cummings says, “ This is a survival skill.” He was referring to shooting digitally and lighting pots well.
I couldn’t agree more.
So, how did we get here? This began with a survey of four recent shows and their digital based entry specifics.
Well, I wanted to get our feet wet all at once on the exhibition scene and touch on some of the implications for potters entering shows at this exciting phase of change in the world of cameras and imaging.
Now you have to make choices. Find places to learn. Network with those who have such skills. Read. Do Google searches for tutorials on specifics. Answers are waiting in these resources ...much has been written. For example, books by Ben Long on digital imaging are wonderful resources! I own several. Very readable and he is great with explanations.
Two that matter a lot are on their way from Amazon.com to me to update earlier books of his.
Here are some resource locations pertinent to this page subject matter:
Resources list of sites:
Ben Long: his guide to help in choosing a camera that is right for you. Good, simple common sense.Read it to supplement your own deciding on a camera for your needs.
http://www.photoshopsupport.com/photoshop-blog/06/07/digital-camera-buying-guide.html

His updated book Complete Digital Photography, 3rd Edition by Ben Long
http://www.completedigitalphotography.com/aboutcdp2e.php

Getting Started with Camera Raw : How to make better pictures using Photoshop and Photoshop Elements, by Ben Long Amazon or Peachpit Press has the book
http://www.peachpit.com/authors/bio.asp?a=c83c28b4-8e3f-44c2-845f-a0f65eeb027d&rl=1

On the concept of Aperture- great to actually see the results of changes to aperture settings!

http://www.mir.com.my/rb/photography/fototech/apershutter/aperture.htm

This is a page entitled The Resource Page and it deals with an excellent explanation of Aperture in your camera . Wonderful images of how an actual aperture looks from large to small openings. It is a basis for understanding what you are doing when you adjust your F-Stop ! If you have never seen this kind of thing, I highly recommend looking and absorbing the essential message about the apparent “incorrect” numbering system universally used in the photography field that has a Wide Open (large) aperture which might have the number of F2.0 VS. the Closed down(small) aperture with the Big number of F22 ...being the small opening.
Look also at this next page to see the results of shooting wide open VS. shooting with a very small F-Stop! Dramatic to see the enormous impact on the images for each setting! On the left of the page see the image shot at F22 with almost perfect depth of field VS. the image on the right of the page with the results shown using F1.4 aperture? Depth of field is almost nonexistent !

http://www.mir.com.my/rb/photography/hardwares/manuals/canonnewf1manual/htm/aperture.html

BOOK AND MAGAZINE SUBMISSIONS DISCUSSED

BOOK SUBMISSIONS EXCERPTED FROM LARK BOOKS

This is a submission guideline from LARK BOOKS which carefully directs submissions into their required formatting. Lark gave me permission to excerpt this material to help artists better prepare for submitting images to theirs and presumably other publications. Naturally, each publisher may add or alter the parameters but I felt that this outline of how and what to submit was clear and well documented in that they give not only what they want but why doing other things ( photoshop alterations, for example) is not desirable!
Photo Tips
• Submit only the highest-quality images. Originals are always preferable, but duplicates are acceptable. Do not send digital images unless you carefully follow the parameters in the special note below.
• Do not send snapshots, instant prints, over- or under-exposed visuals, or color print negatives. They will not be accepted.
• Do not crop visuals with tape or scissors.
• All visuals must be clean, sharp images with good contrast. Avoid sending visuals shot at awkward angles, with loud backgrounds, or harsh shadows. A detail is a close-up or alternate view. Please don't send alternate views as separate entries.
Digital Submission Guidelines - READ CAREFULLY
GENERAL
• We strongly prefer slides and transparencies. To this date, scanning film and adjusting color through conventional processes still yields the most reliable print quality.
• Digital photographs should be taken at the camera's highest resolution, at its best quality setting. DO NOT COMPRESS FILES. Important information may be lost.
• Digital images must have an effective resolution of 300 dpi or higher at the size they will be printed.
• We inspect all digital submissions to be sure that resolution has not been altered or enhanced in programs such as PhotoShop.
• Do not scan and submit printed images. Do not submit images scanned from film.
DATA FORMAT REQUIREMENTS
TIFF, RAW, or JPEG Format TIFF files are preferred. RAW files (the camera's native format), are also a high quality option. JPEG files are sometimes acceptable. JPEGs are less desirable because data is lost each time a JPEG file is saved or resaved. To reduce the amount of data that is lost, select the highest quality setting when saving for the first time, then refrain from resaving file as a JPEG. Saving files in TIFF format is the only way to completely prevent data loss.
RGB vs. CMYK Submit digital files in the camera's original RGB format. Do not convert to CMYK: key data will be lost. However, if all you have are CMYK images, do not reconvert them to RGB. Simply note on your submission form that files are CMYK.
RAW Conversion by Professional Photographers While unaltered images are preferable, if it is necessary to develop digital negatives (RAW files), use Adobe RGB 1998 color space. Save files in TIFF format.
ALTERING IMAGES
• Adjusting images (color, levels, curves, etc) causes data loss. Adjustments should only be made by professional photographers that specialize in digital images.
• Do not manipulate or "correct" the images: DO NOT "PHOTOSHOP."
• DO NOT SILHOUETTE. Do not remove backgrounds or create backgrounds. Do not create shadows.
• DO NOT RUBBERSTAMP or ERASE any part of the image.
• If image needs alteration, write instructions on print-out and we will determine whether alterations should be made by our pre-press technicians.
• DO NOT CONVERT FILES TO CMYK. Digital files should be RGB format. (Digital cameras create RGB files.)
NAMING AND SUBMITTING IMAGES
• Include a B&W or color printout of each image you submit, labeled with the file name, title of piece, and entry number. A printout must accompany each entry. Photographers hired by Lark to do extensive digital photo shoots are not required to provide printouts.
• Name files using the first three letters of your last name, followed by the image number and extension. example: Tho1.TIF; Tho1a.TIF; Tho2.TIF.
• Do not open files on a computer to rename using the "save" or "save as" commands. Rename files from your desktop.
• Submit files on DVD or CD readable by Macintosh computers. No other storage media will be accepted. Write your name, and the book title if you know it, in permanent marker directly on the disk.
• When submitting work to be juried for inclusion in a Lark book, a completed entry form must accompany each CD.
Please understand that digital images must meet these specifications to be considered for submission. If you have any questions about digital submissions, please e-mail shannon@larkbooks.com.

Please bookmark for your convenience:
The link to this Fresh Plums site is web.mac.com/johnglick

TO REFLECT ON: THINGS -IN MY EYE

Sun, 31 Dec 2006 20:38:47 -0500

This space is devoted to one premise- strong positive reactions I have as I look at well made clay works which have been well photographed. That has lead to wanting to feature and get closer to these pieces.
They are then ... “in my eye” (and belly and soul.)

On some kind of rotating schedule as yet to be refined, I will invite submissions for the “In My Eye” space and perhaps ask the artist being featured to discuss their work, their approach to image taking (whether they shoot there own works or have others do it) and whatever else seems pertinent to the nature of this space. We will probably not become overly technical here as that is the intent on the Shooting Gallery page. We’ll see!
I may join in the dialogue or...let the pieces speak for themselves.
Novel idea!

MY FIRST INVITED GUEST ARTIST: GERTRUDE GRAHAM SMITH

Simply put, Gay Smith’s work has always captured my eye. Her pieces have a unity of line and softness of material combined with rich surfaces and colors that leave me very satisfied. I return to her work time and again to re-examine the quiet, soft relationships with restrained color...always leaving me rewarded and at peace. Thanks Gay!

All pieces included are porcelain,wet altered at the wheel, soda fired to cone 10. Making dates: 2006

Crossed Jar Ht. 7”

Dancing Baskets Ht. 7.5” by 6” W.

Ruffled Jar Ht. 9”x 4” D

Small oval baker Ht 4.5” x 9.5W x 6.5 D

Petticoat vase 7” H x 7” W x 5.5 D

Photo Credit: Tom Mills
His great website is good to visit:
tommillsphotography.com

He would be a great resource for anyone needing images or at the very least, inspiration and encouragement regarding good image taking!

Please bookmark for your convenience:
The link to this Fresh Plums site is web.mac.com/johnglick

PORTFOLIOS

Fri, 22 Dec 2006 16:02:38 -0500

Started Dec. 22/06...Updated 8/09
Since 1964 I have offered opportunities to aspiring artists to work here at the Plum Tree Pottery. Part of the experience involves having the chance to make their own work. In recent years and most especially in the era of digital imaging, we have spent much time building awareness about the potentials inherent in the use of digital cameras. Within the framework of the key professional interactions successful artists must learn are essential skills such as selling, showing, documenting of works and much more.

Integral is the critical need to be able to show your work in a successful way through images we take to further professional interactions.

I have selected these images from recent Artist-residence colleagues here at the pottery. They are images captured digitally and used for a range of needs from graduate school applications to show entry needs and basic work progress documentations done through the software we have in the Mac computer format, iPhoto and Book.

These are being shown to offer encouragement to others-especially those who may be just beginning to make and document their own works. These images have not been manipulated in Photoshop,or been tweaked in any way beyond perhaps cropping. By this, I mean that out of the desire to keep things simple, we have just shown them “as were taken” ...not that one couldn’t go further and make suitable adjustments.

One point of interest, many of the images were taken using the early series 1999, Olympus 2020 2.5 MP point and shoot camera mentioned in Researching Camera Choices for Potters. Each artist in residence “owns” that camera for their year spent here ...theirs to use in any way they may wish to document their activities and works. Some have their own cameras as did Trya as seen below.

TYRA FORKER, ARTIST IN RESIDENCE 2008-09

The images in Tyra’s portfolio were taken with a Panasonic Lumix DMC-FZ7 camera ...one of the ongoing series by Panasonic referred to as the Super Zoom category. This model is about 3 steps back in the lineage of the Super Zoom series and clearly still has the great resolution needed to produce excellent images as you can see. Recall that the images seen in the Super Zoom camera page of Charity Davis Woodward’s work were shot with the Panasonic Lumix DMC-FC8 ...the next generation camera with equally good results. This camera type interests me a great deal owing to the modest mid $300.00’s price range and fine image results.
I am looking at the newest version of this camera series (as a take- with, smaller form factor camera) , now named DMC-FZ35.( I believe)

Images shot under soft-box with quartz diffused light and quartz side light with diffusion through vellum paper ...color balanced using in-camera white balance option.
Notice the nice use of the full frame of the image space ....Tyra allows the pieces to extend beyond the typical, central area and draws your eye comfortably across the entire space.

Tumblers, soda fired 4” high

Plates , altered Reduction fired 9” diameter

Mugs , reduction fired

Tumbler details , soda fired

Jars, soda fired 10” high.

Jar details

Images from Elenor Wilson, Artist in residence 2006

Detail of image at head of page, Planter. Notice how a richly detailed close-up can supplement and enhance your awareness of a pot’s character.

Pitcher and detail of similar vessel. Each image benefits from the other’s proximity. Take note of bounced light into the space between the handle and wall of the pitcher to more fully describe what the detailing is about.

We focus on the main attraction- the front cup and saucer even thought the cups in the rear are in soft focus, The result is still very useful to convey a good impression of the single object and it’s mates.

This basket form image relies on a simple approach using a basic frontal view. Close-ups could be used to amplify some details of texture or joint of handle and body,perhaps.

Here, a close-up reveals great detail relationships of the parts of a cup.

Sometimes, an extreme close-up conveys the perfect kind of detail. This closely cropped image says a good deal about the piece.

Images from Laura Korch, Artist in Residence 2005

Cups and saucers with an unusual, domed foot treatment.

Supplemental close-ups help explain this dome/foot recess relationship well.

An unusual group arrangement of mugs is not only refreshing to the eye, but does well to describe the nature of the whole group. Notice that the rows are not parallel to one another.....meaning that the left row comes into our view a bit more for added interest.

Two similar forms that become more dynamic in relationship.

Complex relationships of texture and shape require some added detail images to convey all that is needed for a juror or prospective client.

Details of above vase

Some ways to deal with vertical orientation to present fresh viewpoints

Images from Melissa Vaughn, Artist in Residence 2004

Simple, symmetrical placement of two closely related forms can work well owing to tension between the colors

Straight forward composition with enough elevation for the lenses view to describe the asymmetrical nature of the lip.

At times, merely changing the “normal” expected placement of things can refresh the viewers eye.

Close ups that orient you to their relationship with the pot edges (in this example) are helpful .

Straightforward image of this shape conveys a great deal .

More to come! Visit often to check!

Please bookmark for your convenience:
The link to this Fresh Plums site is web.mac.com/johnglick

Acme Lites-A-Lot our fun “company” for making things! posted here about Oct 2006, Yep!

Sun, 29 Oct 2006 22:21:27 -0500

THE ADVENTURE BEGINS! ( and the humor if you can call it that)

This is a not fictional account of an adventure in making ones own soft box for studio lighting set ups . Three of my assistants ( Paul Young 1989 , Melissa Vaughn 2004 and Elenor Wilson 2006 ) and I made soft boxes one fun weekend in October 2006.
But, I am getting ahead of my story a bit.
FACT:
Pro lighting equipment is not cheap. Good...yes! Cheap-never!

I use a fair amount of pro lighting stuff myself and love it. BUT.... this is not easy to jump in and get when so much is needed like kilns and potters wheels and such...especially when you are getting set up and running. But, getting a decent photo set up together is not the “ I cannot possibly do it” financial nut it used to be. Digital photography has made this part much easier than it used to be. Trust me.This about YOU, the newcomer! Short on cash. You will be required to endure some puns and such along the way. Forewarned !!

So, what do we do when we have a little money and tons of ideas? Ha! Make stuff !! In this case ...the tools to allow you to shoot in your own photo set up with good results! Makes you want to cheer ! When you are feeling so good ...send me some brownies or whatever....just to show me you are pleased at getting all these ideas for free! (*) More later on “Free”
Onward:
So, thinking along those lines I decided to have a go at putting a prototype together using common “stuff” you can all find easily(*) ...art stores , hardware stores and the like. As they say in the documentaries done on other innovators like me (such as the Wright Brothers), the rest is history!
Prototype was done, corrections done, improvements made and the final (maybe) MARK ll Acme Lites-A-Lot emerged. This is the one seen at the top of the page. ( the first prototype is now in the Smithsonian ....right next to the original Wright biplane ...honest)
Thus ...Acme Lites-A-Lot company was born! Well- born is a word....

O.K. ...I fibbed at bit. Did you notice that little (*) tucked in above after the word “easily” ...well, it means you do have to buy one medium pricey item. But is is the key ingredient that makes this whole project work and moreover, what makes it SAFE to do in the first place!!!
Why?
Because the light fixture this soft box is based on uses a cool running, existing, out of the box fixture ideal for use in such a self-made device.

NOW...at this point you will have to make a commitment. That is that you will not bypass this advice and go down to Home Depot and buy a HOT quartz work light and substitute it for the cool fluorescent fixture I am telling you to use!! DO NOT do that!
You are at great risk for creating a fire hazard if you do. Those quartz lights and other hot lights such as Photoflood bulbs are simply too hot to use in a small, enclosed space with a structure made of foam core such as the Acme is !! Get it? Don’t even be tempted!
In fact if you ignore all my safety advice ...the rest of the planning advice and images will disappear from the blog ! So there!

GETTING STARTED !!
Buy one of these fixtures from the company listed here.
Photography -Lighting.com at:
http://www.photography-lighting.com/coollightslites.html

When you go to their site you will discover that the costs are these:
One PLC TS360 kit is : $189.95 shipping included. This is basically all you need . Well- and an extra bulb as well. You will need this for later on.

These cost $19.95 each or three for 39.95 shipping included . These bulbs last for 5000 hours ! Tons of time !
P.S. I know you see similar bulbs at the hardware/lighting store ....but, they are not 5000K (daylight color temp bulbs ...but are a warm white 3200K bulb)
We are basing the approach to these 5000K photo set up oriented bulbs. Want to try the 3200 bulbs? ...go ahead ...report back to me what you learn and if it is great..we’ll share that with everyone.

SO, what else is involved here is that you get a good light stand in the bargain!
This will be used to mount a second light to use as a side light with your soft box set up. Trust me, you will be very happy with a secondary light source in your set up.
What the heck is Glick talking about ...if the actual light fixture part is used in the soft box setup ...then what is the light on the stand made from? Ah, grasshopper, it is a combination of things to be revealed as this story unfolds.

But fist, a word from the folks at Reality Check.com (me ...in my wisdom) who is telling you that this blog page would run all the way to the moon if I were to document ALL the steps of making this simple set up here on the blog.
I have thought it over and this is my solution.
I am going to sort of hi-light some key visuals ...the techie and the fun parts to show you how some of the steps were done . This should de-mystify the process for you ...showing real people getting real things done....( like getting silicon caulk on their noses, hands etc)
THEN- gulp ...I am going to sell you ( Recall the second dreaded (*) mark back a ways near the word FREE! ) a genuine, hand-drawn set of plans with tons of comments and advice about the making of the dang soft box we lovingly call the Acme Lites-A-Lot in you very own living room, kitchen, bathroom or wherever.
I know that you thought that anyone who goes to the time and trouble to post the worlds largest non-blog-blog about photo stuff, had to be such an altruistic nut that money would NEVER get involved....but, alas ...one must plan for those expensive trips and the some day, not so far off- retirement.

COST of PLANS : $ 15.99 ( in America ..everything is .99 ...really stupid!)
So, first the free stuff ....images of our fun weekend of making the things and eating a lot! Special notice- if you order the plans before 2007, the price goes down to $15.98!!
Cast of four: Glick, Young, Wilson, Vaughn
Date: Oct 2006
Location: Plum Tree Pottery (AKA Acme Lighting International )
Menu: Well, you had to be there!

Making the top plates of 1/2” luan veneer plywood Top plate 20” x 20” in size with a 5 3/4” diameter hole in it for the fixture to mount in.

Laying out the two sides ( different for a reason of proportion
Razor knife cutting the panels ....super carefully ...fingers !!!

This line drawing shows the actual dimensions of each side of the soft box. You can see that the plans show that each of the parts have different sizes owing to the fact that this is a rectangular soft box. Keen observers will also see that the heights of the two parts are different ( 19” and 18”) which has to do with how angles influence the coming together of the panels. In making the prototype, I first made cardboard templates to proof how the parts related -then, adjusted a few dimensions to make all edges line up with their mates on the adjacent panel.
Yes, I made the first set of templates wrong...I am only super human and clearly not divine. I did learn from this formative and humbling event and went on to the huge triumph of getting the parts to meet correctly !
Make two of each side !! Amazingly helpful to do that. And, yes, the templates are used to lay out the cutting lines on the foam core and you will quickly see that one can share common lines on many adjacent panels to save extra cutting . I was the only one who nicked a finger on a razor knife . Sigh.

This shows the relationship of the top plate and the added 3/4” x 3/4” wood piece and the foam core.

The “crack” team of builders gets “familiar” with parts before assembly starts

Using GE Silicon ll caulk to adhere the foam core to the wooden mounting points along the outer edges. The foam core is 1/2” thick.

An inside corner with an extra bead of caulk for strength .

Laying out the inner light diffuser panel with a one inch border

Spreading caulk to adhere a length of twist tie wire inside the folded edges to allow the diffuser panel to be suspended inside the lower end of soft box.

Bad working conditions and unruly work-mates bring tension into this non-union company .

The assembled core units for the teams’ first production models. Amazing !

An unsuccessful attempt at cost cutting ...trying to avoid buying those pricey fluorescent lights ....but, like Thomas Edison and his experiments with carbon elements for light bulbs ...it eventually led to the correct solution....but not until every color of candle had been tried and rejected as unworkable!

Unlike most people , we used real Duck tape not Duct tape. Made of feathers ! O.K. just teasing.

Checking parts, planning and brain storming ...well, sort of.
Notice that the fixture is a three light set up! Looks crazy, eh?

Here are some important, random shots to fill in with some answers to questions that are bound to come up. That is why getting the (cheap)plans is such a good idea! Sell, sell! These are not really in a coherent sequence , but they will show the needed details to you.

The super cheap table covering from a party store ....semi-opaque or frosted white material for the inner and bottom diffusion panels. $ 11.00 per 100 foot roll!

This shows the inner baffle in place...held by the twist tie wires.Buy a roll of it at the garden supply or a good hardware store. Cheap.

Here are the wires being put through holes in edges of box

Oops, here is the look of the core of the light fixture mounted on the top of the plywood panel using simple, off the self hardware. Those little clamps are called conduit clamps ( used to mount electrical conduit to a wall)

Here is the inside view of the fixture seen above ...cool, eh? Tee hee

The bottom view of the diffusion material taped in place . Two panels- one inside and the one outside do a good job of fully moderating (diffusing ) the light so it lands on your pots with no harsh spots ( hot spots) ! Cool!

For the lower part of the simple suspension system we use 3/8” nylon rope which is sufficient to do the job. Note the metal ring that the ropes pass through ....allowing the box to be easily tilted while suspended above the shooting table. We passed the suspension rope through a pulley to allow for height changes and tied off the loose end on a simple cleat on a nearby wall .

The quality goes in before the name goes on! Well, something like that !

Now,what about that second light mentioned so long ago? This is the birthing moment of your secondary fill - light that you will please thank me for when you stop resisting the truth and get set up properly !! Smile !

Remember ....we still have the stand and now empty 16” reflector that we so heartlessly gutted to get the three bulb fixture for the soft box!
Read on
So , we are going to spend a bit more of your money here. Not much. Maybe like $40.00 or so.
A Smith-Victor incandescent lighting fixture from a photo store . 10” diameter is good to get. Note: you are to buy the fixture they offer that allows the unit to be mounted on a light stand by screwing in a set screw to hold the light on the upright pin or post of a light stand ....not a clamp style , please !!

This is going to be mounted inside the existing 16” fixture to enable you to use that extra bulb we had you buy...see, it is all coming together now!!!!

Here we are attaching the Smith-Victor 10” fixture inside the 16” reflector with 4 sheet metal screws run through pilot holes slightly smaller than the screws themselves . The inner S-V fixture is being held up -in place with some bricks you cannot see in this shot. Now we have a unified one piece fixture ready for mounting on the slightly overlooked but not forgotten light stand from the original lighting kit we had you buy way back when you were kicking and screaming about all the money I was spending from YOUR wallet. Ha!

Here is a view of a mounted fixture (not a SV one, but one I had on hand for my prototype Mark ll It looks different owing to the wood handle, but don’t let that confuse you. Same,same in all the rest of the functional aspects.

By the way, notice I have made a little adaptor of misc. hardware to mount the fixture . Why? Because the stud on top of the light stand is THREADED and rather than trying to attach the fixture to the post directly and ruin the threads on the stud, I bolted a little mending plate there ....then, put a bolt at the other end of the mending plate to act a vertical post for the light fixture to sit on and clamp to. Get it? Hope so.

Here is the newly outfitted fixture with the ORIGINAL diffusion screen that comes with the cold lite unit you purchased ! Now..the circle of light is completed and Mother Nature is happy.
We like to call this screen the “shower cap “ because we did wear it while being silly! Well.

HELP,MY BULB DOES NOT FIT !
Now ...a final word of a gadget and hardware nature. You may encounter a little incompatibility issue with the curly fluorescent bulb as you attempt to screw it in the S-V reflector you mounted inside the bigger 16” reflector . The problem- the bulbs base size is larger than the throat the SV fixture and may not allow the bulb to seat properly and it won’t light up !!
What to do? There is nothing wrong with the bulb ! Just buy a socket extender and screw it into the S-V socket ...this lifts the bulb higher ...eliminating the problem entirely! Yippee!!

SO:
What you now are ready to do is to mount the soft box over the shooting table and to use the secondary light as a fill-light as needed.
Quite a little adventure , eh?
OH, YES
By the way, spray paint the S.B. matt black! Notice in the top-most image that it was black! Two coats. Why? The 1/2” foam core is not light-fast ....you get a glowing soft box ...kind of spooky. I also figured that why would we want to let some light escape and possibly put light on the background as well!
REALITY CHECK!
For the less experienced makers of things...and if you really, really want to do this project....get the plans from me. They will fully answer most of the remaining questions you may have . For the self assured ( is he kidding , I could build this with one hand closed and my eyes tied behind my back) kind of person, maybe get the plans anyway because you won’t have to invent everything I already did to make the thing come out all right. Time is money ...so, if you like wasting it ...make mistakes and have a ball! The $15.99 plans tell for ex. say why to paint the S.B....it leaks light, otherwise!

ALMOST FINALLY:
If you are going crazy with questions or confusion, you can try calling Click and Clack, the Tappet brothers on NPR . If you have to, reach me at my email at : johnglick@johnglick.com

Let’s face it ...this is a do -it- yourself kind of project. If you are not one such character ...don’t attempt it thinking you can get me to hold your hand every step of the way because I am a nice and silly guy. Not a sound plan !
For that individual , commercial lighting equipment is likely the good choice.

WAIT!! Don’t go away yet!!
I forgot to remind you about something some of you already knew about . Probably you were being polite by not bringing it up to me in an urgent email. “ John, my image colors are “off”using the new soft box!!!”
Ah..........!
REALLY FINAL THOUGHTS:

WHITE BALANCE! We(well, you) will very likely have to do a custom white balance to tune your particular camera to the color temperature of the cool fluorescent light source !! Remember it is 5000K color temperature.

Some cameras may do well with the built in Daylight setting which is in theory similar or close enough to the output of these fluorescent bulbs. If the colors on the resultant shots made while you are testing do not look right to you, follow your owner’s manual for the making of a custom white balance setting for the camera. This should render the desired outcome.
Further note:
This ends up being a poignant testimonial for buying a camera that has the capacity to do a custom white balance. So, when you are poring over the camera reviews , read the parts about white balance options very carefully! Rather crucial!
Fortunately, all entry level DSLR’s have this feature as do some of the better upper middle range non-DSLR cameras such as the Canon G6, one of the better cameras for the mid $500.00 range.

AND , FINALLY ...THE FAMED BOTTOM LINE ....MONEY! or the place where we sometimes crash and burn metaphorically when we start to compare the cost and convenience factors in do-it-yourself VS. buying commercial lighting gear. This is a $’s reality check moment!

What did this end up costing ? Does it make sense to simply go out and after doing some research, just get a simple commercial soft box and light set up?
Let’s see !

Let’s do a little check up on costs. I am going to show you what we spent on all the parts and hardware bits . Realize that this list is a generalized summary of costs -not an itemized listing.( but, these were the costs incurred overall)
Main items :
Fluorescent light kit, extra bulb ........$205.00
Extra Smith/Victor 10” reflector head $45.00
All the hardware and foam core..........$100.00
So...the raw material cost was about $350.00
Like to ignore your own time input? Go ahead, since we usually don’t get too exact when it comes to justifying time spent “saving money.”
What can you get for $350.00 in the commercial lighting market ?
Well, it is almost too nebulous to start a discussion. It depends on the approach you might take. Truth to tell, our homemade unit is designed to be simply hung from a floor joist while most commercial units are meant to be boom mounted or on a light stand etc., etc. There are few direct “comparables” to our set up but if you were to put simplicity over home made-ness in your personal choosing moments ....then , I am guessing that money will end up helping your decision process. Like putzing around with tools and have a smallish pile of $’s ?...then make the Acme ! Want to “cut to the chase” as the saying goes...spend maybe two to three times * that amount and you can get a basic soft box , light and stand....so, one lighting unit, but not a secondary light in the bargain like we ended up with in this Acme project.

Now, have I confused you or ...made it all clear??

Go forth and make light (diffused, cool and calm light!)
Peace
John Glick

* It would be very difficult to accurately predict how much you would actually have to spend on rudimentary commercial lighting gear without researching present day products.
I have too much on my schedule to attempt such a comparative project for the time being. Based on what I spent about 7 years ago, I would hazard a guess that it would be in the 750.00 and up range for soft box, light , stand and/or boom, secondary light etc. $1000.00 would not surprise me.
Be assured someone wants to sell it all to you and they have all the reasons why it is superi0r to my little bitty, home made Acme baby. You have to decide.

By the way, I did not make this entire project happen to fill a blog page , but to help three of my assistants gain a sense of satisfaction in a job well done for their own use shooting their work. Cool, indeed.

The resultant,refined soft box I have from this great exercise is used as a working sample during the occasional photography workshops I teach here at the studio for potters who want to get started on the path to self reliance while converting from the 35 mm world to the digital realm. We have fun and learn a great deal.

When you read the entire contents of the Fresh Plums Blog site, you have in some reasonable measure, had a similar feeling experience to having taken the workshop. O.K., not quite ....
Being there is better.

JPG
Fascinating that my initials are a file format name in the digital realm.Could I sue for some kind of infringement ? Nah....

John Parker Glick

Thanks mom and dad.

THIS JUST IN ... NOT HOT ANY MORE!!

I think this a great place to put a recent bit of input from Jennifer Everett whose set up and images were seen on the Shooting Gallery page .Recall ...the one with a “HOT” quartz light used in her (flammable ) wood and cloth soft box?
Jennifer. being the great innovator and problem solver that she is, took the Acme Lites A Lot concept(USING COOL LIGHTS) and put it through her own mind’s version which she says is about loving to make things cheaper and simpler !
Well, she has made it happen ! I include her sequence shots showing how she has re-thought the concept. Cool!

JENNIFER SPEAKS :

“Well this weekend I finally built my cheapo version of a "cool" light
fixture. I can be incredibly cheap sometimes but I also think I just like
the challenge of making things for less money. I built it onto a 20"x20"
piece of plywood to fit your soft box design(which I plan on building at
some point), but for now it's working pretty well just placed in the top of
my old box. It cost me about $25 in hardware plus some scrap wood I had in
the basement(you'll have to excuse the non-luan plywood) and then another
$27 for bulbs. I ended up getting the "bright white" ones they offered at
Lowe's, which didn't list their K value but seem to work pretty well with a
custom white balance. I figured for $8.97/each it would save me a little
money especially on that 4th bulb for the extra spot light. I've attached
some images of the construction, which I think are pretty self-explanatory.
I haven't had time yet to do much shooting, but I included images of the
same plate under the old light and then under the new one and I don't see
much difference. Needless to say, after having used it for even just a few
photos, I LOVE THE COOL LIGHTS! Not having to be constantly turning lights
on and off is such a luxury and I know it will speed up my photo-taking
process tremendously.
Thanks so much for all of the great info, I've been sending links to the
blog to all of my potter friends and fellow co-op members and I am hoping it
will inspire some of them to start taking photos of their work.”

Jen

These are her bulb choices ...don’t be spooked by the $90.00 printed on the packaging ....it doubtless refers to power savings over the life of the bulb!

The 20” x 20” top plate with threaded corner fasteners

Switch plate mounted She has reworked the end of an extension cord by removing the socket an direct wiring to her light sockets.

This shows what went on inside the box.

Three porcelain sockets in place

Bottom view of sockets in place

Completed top plate

View of switch and sockets w/o bulbs in place

Hardware needed to make the fixture . Off the shelf items!

This is what Jen calls here old/new (COOL) soft box! No more worries about leaving on the former, very hot quartz light she used to use in this soft box.

Plate shot in new light environment with a custom white balance tweak.

Great job Jennifer !!

Pun alert: Really cool!

Only advice to folks trying something like this : Get your wiring checked out by someone who has electrical skills ...no short circuits, please . Cool lights are ...cool, fire is not!

Please bookmark for your convenience:
The link to this Fresh Plums site is web.mac.com/johnglick

THE SHOOTING GALLERY amended 4/22/08

Thu, 21 Sep 2006 04:02:41 -0400

READ HERE TO LEARN HOW OTHERS GET THEIR RESULTS!

THERE IS A WONDERFUL DIVERSITY OF APPROACHES WITHIN THE GROUP OF POTTER/PHOTOGRAPHERS I HAVE THE PLEASURE OF INTERACTING WITH! THE POTTER IN THE IMAGE ABOVE IS GARY HATCHER FROM TEXAS.
So, how do we approach the diversity I mention and, moreover, how can we make sense of the ways that can work to get this important job of taking images to take place with relative ease and common sense?
To my way of thinking it can and must be learned!
Being a dyed in the wool do-it-your self kind of person, I am inclined to learn best by starting with role models and building my approach incrementally with what I see and what I learn along the way to the eventual arrival of my goal...good images!
SO........
   THE SHOOTING GALLERY
Join me by visiting the “work flow” of potter friends who are kind enough to share their particular approach to getting images that they feel are effective and therefore useful for them.

WORK FLOW DEFINED:
The combination of lighting, camera techniques, post capture treatment of images and most importantly, the final result of the combination of these steps- the images themselves.

AND...
Realize, please, that I am offering these potter’s work flow descriptions in the spirit of learning and for purposes of comparison. You will take what you feel makes sense and experiment, contrast and evaluate in your own context. I present them in their full content, unaltered by me ...just as submitted by the potter.

The question might arise....do I agree with and approve of all that is said and shown ? That is not the point of the Shooting Gallery at all. This is what you get by “visiting” these potters at their studios and seeing what they do. Taste and learn!

IN THEIR OWN WORDS:

GARY HATCHER

John,

Allow me to share a few methods, ideas and practices that I use in photographing my work. There are many techniques that improve the quality of the photographic image. The methods I use were arrived at through trial and error starting first with film, then moving to film and digital and finally (over the last year) digital only. I really never have approached photographing my work with much enthusiasm…..only out of necessity. I spent many years paying others to photograph my work and rarely was happy with the results. So in about 1996 I started purchasing my own equipment and learning how to shoot my work myself. To date I have spent well over $15,000 I am sure. I think today one could get a really good kit with lights and camera for less that $5,000 and then add to that over time. I know that potters’ reading this will think even $5,000 is too much but I have always been one to find the best tools and figure out how to buy them rather than buy the cheep stuff and figure out how to make do with it. Doing good art whether making pots, painting, sculpting or taking photographs is hard work. One must have the best tools and materials to do the best work.

I tried tungsten lights but found them hot, variable and unsuitable. Ambient light works very well if you can get Mother Nature to cooperate with you; also too many variables.
I use an electronic flash, in total dark so that I can control all of the light. I also tried to use some of the Varitone back drop and although it provided a nice gradation of light, it was limiting due to the small size available.

I use photo back drop paper which comes in very wide lengths. I have a large space (20’x30’) where I have a table set up which consists of a 4’ x 8’ sheet of plywood on saw horses. On the wall I have a special device that the paper hangs on and is draped down in a sweep over about 12’ under the object on the table. This allows me to point most of the flash down and get a gradated background.

My flash unit is a Novatron unit with two light heads. One head is in a soft box (2’X4’)on a boom overhead, the other is bounced into a reflective umbrella at a right angle to the work. The nice thing about digital is the immediate feedback you get. Every time I do a shoot I take a few shots to get the lighting right, then load them on the computer to have a look. Also every time that I finish a shoot I take the paper down and put the table away. The reason this must be done is that if you leave the paper hanging horizontally, it will bend and get ripples in it that show up in the images.

All my equipment is Canon. The current camera that I am using is a Canon EOS D-30 although it is my third digital camera used to photograph my work. The first digital camera was a Nikon 990 (which might be a good camera to start with, or one like it)
I primarily use two lenses. One a 28-70mm F, the other an 80mm portrait lens. I shelled out the big bucks for the 28-70 and it was worth it. I also use a flash meter at times but have found it much less necessary in the more or less consistent settings in which I shoot my work.

Also a word of caution concerning a lesson I learned the hard way. NEVER EVER try to clean the mirror or even get close to the CMOS sensor. I had a Canon D-60 which had a little speck of dust on the mirror. I used some canned compressed air to blow the speck off the mirror. That one split second of air caused the CMOS sensor to become burned (according to Canon factory repair) and the camera was never the same.

Digital makes it much easier but (for me anyway), it is still not very easy. I have found that I have begun to look at my work differently through the eyes of a viewer rather than a maker. I think it is hard for any artist to be objective about his/her work. Taking photographs objectifies the work. Through photography dimensions about my work has been revealed that I would not have seen otherwise.

“Art is a birth, and you can't go to a teacher and find out how to be born....you have to struggle...until that image, the one that comes out of your need to create, emerges.” Malcah Zeldis 1978

Hope this helps someone.

Gary C. Hatcher, September, 24, 2006
Gary in his photo room with mentioned set up at work

The following are pot images of Gary Hatcher and his wife, potter Daphne Hatcher

Jennifer Everett work flow

My home-made version of a soft box consists of two wooden frames held
together with a band of dark fabric and was designed to be collapsed and
locked flat when not in use in my studio which lacks a designated
photo-taking area. Mounted in the top frame is a single halogen work light
with a 500 watt type T bulb and two layers of thin white fabric stretched on
the bottom frame act as the diffuser. Hanging on chains from the ceiling,
the height is adjustable, but I tend to use it hung 22" to 28" from the
surface of the table.

The main problem with this setup is that the light produces a lot of heat
and isn't safe to leave on for long periods of time. This requires it to be
shut off between shots, making the photo-taking process slower and a little
more complicated. In general I do as much prep work with the room lights on
and the box off as I can and then turn the box on and the room lights off
just before shooting.

First I set my camera to 100 ISO,JPG large + RAW files, F22, manual focus,
self-timer mode. Then I use a gray card to create a custom white balance
setting and set the camera to custom white balance. With the room lights on
and box off and the camera on a tripod, I place the pot on the table and
frame the shot. I then turn the box on and the room lights off, fine tune
the focus, and shoot. Then I turn the box off and the room lights back on
to prepare for the next shot.

I am currently using Macromedia Fireworks to adjust levels and modify image
sizes but I am in the process of learning Photoshop since it offers a lot
more options with the use of raw files.

JOHN’S NOTES:

My comment here is to draw your attention to the portability of Jennifer’s set up- which means it can be stored and then put back up for use when needed.
Is is self-made and not expensive to do. Note that her own comments reveal the irksome and potentially hazardous aspect of this set up owing to it’s use of a very hot quartz work light ...cheap and hot!!
So, fire risk is a factor here!

Would be soft box makers take note!
This safety comment is not a casual comment meant to be read and ignored ...these risks are very real and I will be showing you my own soft box design which employes a cool fluorescent light concept which is totally safe because it runs ...cool!

JENNIFER EVERETT set up

This view reveals the hot quartz light in place

The output of light is great ...note the even spread of light There are two light baffles in place.
NOTE: Be sure and go the the Acme Lites a Lot page and see the re-made softbox by Jennifer which adds new options and offers lower costs for the handy-person types out there.

Her work from this set up ...revealing smooth light effects and good results.

FRANK MARTIN Work flow

Basic steps using the digital camera, and working with RAW Images:

Before you begin you should set your monitors color calibration. When using CS2, you can use the Adobe PhotoShop gamma calibration application. This does a couple of things; it allows you to match what you see on your monitor display to your prints, to set your displays brightness, as well as to contrast and create your color profile.
 Now you’re ready to reformat your new or old memory cards. This action will create a folder inside your memory card where your images will be stored. This also will erase old images that may have been left from your last shooting. Do this step now. Next, adjust your camera settings to raw or raw+jpg. Set the work to be photographed on the table with your desired back drop, turn the soft box light source on, and use only (one) ECA   250W 120V 3200K photo light. I use only one light source because I feel that fewer light sources create less shadow confusion and it’s easier to control the darks and highlights. After setting the work and turning on the light source, check the shadows in the cameras viewer for anything distracting. Adjust the work and photo light if needed.  After prepping the work for the photo space and attaching the camera to the tripod, I begin with a white sheet of paper and use that to set my custom WB. I connect my remote cord to reduce any camera shake and turn off the AF on the lens and use manual focus only. Next, I place a little post-it with typed text onto the work in the zone that I want to be in focus and adjust the focus. The last step is to frame the work in the viewer and capture the image.   Processing Steps In CS2:
Begin by importing your file from the memory card either by camera to PC or card reader to PC.
Then create a new folder on the desktop that can be moved later. Open and drag or copy files from your memory card to this folder and name or date this folder for ease of locating it later. Rename your images to something that makes sense to you without altering the files extension.
Next, using Adobe Bridge open one or more raw files into Photo Shop, then adjust the color tint, contrast, and brightness. If you feel it necessary, adjust or tweak the shadows and saturation in the detail settings and adjust the sharpness up to 100%. A good setting for luminousness is 11-45, and color noise reduction between 3-5.

Sharpening:
Early on I found out how to use the Unsharp Mask. For me it was very useful, as it works the best for sharpening with minimal amount of typical artifacts. I have found the best results if you keep the sharpness amount between 20-40%, the radius between 1.5 - 5 pixels, and the threshold around 12 levels. Applying this filter a couple of times and using these noted settings you will increase the sharpness of edges while maintaining a smooth texture.

What you should end up with is an original RAW file, an eps or tiff, and a jpg file. Each of these should measure at least 8x10 300 dpi or 4x5 600 dpi. For publication purposes, print correctly at a larger size and save one or two smaller Jpg’s for PowerPoint. Also, this application can be used for web pages and/or to email set around 72 dpi. You can always make black and whites from the original RAW file. 
It’s important and sensible to always save your original work in more than one place on a good quality CD and external hard drive. You can also save a copy on an online server.

Additionally, listed below is some good reading if you can find it. The Sanders book is pre-digital but extremely helpful if you use its concepts and apply it to the digital world.

Photographing for Publication
by Norman Sanders (Author)
Hardcover (December 1983)
Rr Bowker ISBN: 0835217337

Frank Martin self made foam core soft box

Note: Frank is using a Veritone (printed gradation from grey to black ) back ground for his set up. For references and sources, see the page on lighting ideas elsewhere on this blog.

Shots taken in Frank’s set up.

WARREN FREDERICK Work Flow

I have been waiting for this contribution to the Shooting Gallery (patiently, because I knew it would be more than worth the wait!) until my colleague Warren had the time to assemble this comprehensive tutorial. I am grateful to Warren for this multifaceted, very thorough treatment of his use of natural light for photographing his own and the pots of his wife, Catherine White at their pottery.

I think this image says it all! Well, not “all” by a long shot. Of course, I mean that we get to see some of the essential building blocks for the approach that Warren has made based on this deceptively simple appearing set up. One light source, back ground sweep and camera position.
Owing to the sizable amount of useful information Warren has documented in presenting his workflow, Warren and I have taken the approach of using my Fresh Plums blog space as a link-point to the full tutorial which you will find at this address :

Warren’s full tutorial: http‭://‬www.artistpotters.com/artist_potters/private/photo/photo-workflow.htm

But, Wait! Before you go off on this fully fascinating adventure, have a peek at some of the resultant images using Warren’s approach to natural light in photography!

White Fall Grass plates by Catherine White

White flange vase by Warren Frederick

Have a great adventure !

For the relative new comer to photography, realize you are about to see a great deal and read viewpoints honed from long experience. Don’t be overwhelmed and think that there is somehow too much to take in!
Like all comprehensive treatments, Warrens tutorial is meant to be digested over time. The wisdom found in another’s experience is to be evaluated against the results you can see in the photographs he offers. Nuanced, thoughtfully presented and fully explained....what a gift, Warren!

We thank you.

If you missed Warren’s link above ....here it is once again:

http‭://‬www.artistpotters.com/artist_potters/private/photo/photo-workflow.htm

This entry will be a project called ..”Working on it!”
It is a submission by my colleague Simon Levin
My apologies as I work through some technical potholes on this !
What is missing are the good photos and the font will be adjusted shortly!

Good Images:

This is me, John speaking here to make an editorial comment. Simon has used the word “slide” often ...which may well be his intent. I have inserted the word “image” here and there to make it quite clear that the intent is not to mince words....but, to make good images!
Images-slides ? Take your choice as you read. Digital cameras make images, 35mm cameras make slides. I think he means to say -images!

The first slides I took of my own work were terrible. The work was awful as well, but no one had taught me what to look for in a good slide, much less a good pot. So I placed my pots on a nice stone-wall and took some pictures. I was too far back, the background was distracting, the pots cast strong attention demanding shadows, and had glaring hot spots. I needed someone to take me under wing and say, “This is not the way you present yourself professionally.”

An industry standard exists for slides of ceramic work. A good slide will present the work well and all other information such as background and lighting will support the piece without drawing away attention.
I have now reached a point in my career where I can see the damage a poor slide can do.
I have juried shows where I have been forced to choose between pieces. Imagine two slides of pots that are equally well made, innovative and interesting. Slide A is well lit, in focus, presented nicely. Slide B has some strong shadows that hide part of the foot and the back of the rim is out of focus. How am I as a juror to know that slide B’s work is equal or better than Slide A’s? I can’t know, in fact I am left guessing at what is out of focus and what is hidden in shadow.
Slide A wins every time!

My Method:
After many, many attempts at taking slides indoors with a grey backdrop, using tungsten sunlight balanced lights with sunlight-balanced film and bracketing my exposures I have gradually eased away from what felt an intricate daunting, expensive process. Digital photography has helped, reducing the complexity and cost tremendously. Skipping over the failures, the lessons learned and years of mediocre slides this is my method today.

I take my images (Glick speaking here!!) outside on an overcast day. A day when you can just make out where the sun is in the sky, but 10 am looks like 3 pm. A day where there are no shadows. To the right is a photo I took of the sky on just such a day.
I find four pieces of equipment necessary to take slides: a backdrop, a tripod, a digital camera and a computer with good photo editing software.

I use a graduated vinyl backdrop hung on a wall and draped over a table. names like Adorama, or Flotone, for around $70 at

http://www.adorama.com/BMG609.html, or http://www.bhphotovideo.com/c/product/17747-REG/Flotone_GFT409_Graduated_Background_31x43_.html.

The one I use is a Varilux.
Over 10 years it only is the second one I have purchased, the first finally becoming too scratched.The backdrop is 4’ x 6’ vinyl and fades from white to black.

Camera Thoughts:
The camera I prefer to use is a great little Sony Cybershot DSC-W50 6.0 megapixel camera with a Zeiss lens. Despite the impressive number of megapixels some cameras boast, a good lens makes a huge difference. We bought this camera in 2006 for a trip to Scotland and it served us admirably for family shots, landscapes and small movies. Most of my published slides since then have been taken with this camera.
Sony now offers essentially the same camera Sony Cybershot DSC-W2200 with 12.1 megapixels and the same Zeiss lens for about $180 and it comes in pink. I have recently started lusting after an SLR camera, but to date this has not been necessary.
You can find such a backdrop under
I used Adobe Photoshop to edit and process my images. Good photo editing software will allow you to not only process your slides but design postcards, business cards, etc. There are some shareware options out there as well as less expensive versions. Search for “Image Editing Software” rather than photo software. You want to edit images more that manage them.
Below are a couple images of slides being taken by my apprentice, Tom Jaszczak. You can see the graduated backdrop hung against the side of my studio building, draped over the table and the pots grouped in a pleasing arrangement.
The resulting slide looks like this
I asked a professional photographer whom I respect to critique my slides. This was a valuable exercise. Basically he told me that my forms looked flat. Because I take my slides in such an even diffuse light the forms lose the depth suggested by some shadowing or highlighting. Since then I sometimes add a light or mirror outside the
frame of the photo to generate a little more of an anchor shadow and lighter side to the pot. Because I don’t use a very powerful light and I am already outside in daylight the effect is subtle. All slide photos are taken without the flash. But despite the awesome sensitivity of digital cameras I still find it important to bracket my photos, and this is where the tripod becomes essential. Most digital cameras allow you to set the exposure time. When I have the slide composed I take several images in succession changing the exposure time, I usually take one slide in auto, but then I vary the time plus or minus .5 seconds, 1 second, 1.5 seconds and 2 seconds. A longer exposure allows for more light to come in, so areas that might be out of focus have a longer time to burn clearly. This technique allows you to keep the front rim and back rim of a pot in focus. From all these images I can select the most successful one, and delete the rest. The tripod keeps the camera from wiggling over the long exposures. I often set the camera on a two second countdown so I am not touching the camera during the exposure.
Post production
With digital photography post-production can be seductively easy. So much so that a hard line must be drawn to not alter the image of the piece in any way that would mislead the viewer as to the original piece. That being said Photoshop is great for cropping the image so it dominates the frame, tilting the image to account for tripod or camera being off level, and editing out blemishes in the backdrop. Editing the pot itself (changing color, removing scars or chips) is dishonest and calls into question the veracity of all your slides.
Composition
An attractive slide should showcase the piece without any distractions. The format for slides has been standardized so we can look past it at the work itself. The basic rules are: The backdrop should move from grey to darker grey bottom to top. The piece should dominate the frame without crowding it. There should be about 10% margin below and along side of the piece and about 15% to 20% margin above.
Of course some work will not fit into the 3x4 ratio of slide format, and the margins I listed above are a simple guideline. You will need to decide between a vertical or horizontal format. For most standard pottery forms the horizontal format works best, round plates for example look best on a horizontal slide. Horizontal slides also work best on the internet as computer screens are wider than they are tall, allowing your work to dominate the screen.
When shooting vessels from the side, make sure to show the back rim in focus as well as the front of the pot. This means you have to have the camera higher than the piece and take your picture at slightly downward angle. A longer exposure time will compensate for the depth of focus. Compositionally this keeps your work from looking flat and explains to the viewer what they are seeing. I have found that if I am too close to the pot when I photograph it from above the slide can give the feeling of vertigo, I can compensate for this by moving back several feet, photographing the pot and then cropping the image in Photoshop later.
Tips
Subtlety wins over directness, don’t place your favorite or most showy part of the pot dead center in the slide. I have seen way too many ash drips on wood fired pots highlighted front and center. They are beautiful markings, but less of the whole piece is seen because of the heavy-handed emphasis on one element.
Use your backdrop to its best advantage. If your work has a dark upper half adjust the backdrop so the top is a mid-range grey so the contrast brings your piece to the forefront. Similarly lowering a graduated backdrop so the top is black will make a light piece stand out.
Learn what you want out of your slides. It is not enough to take your work to a professional photographer. Many professional photographers don’t know what the industry standard is among the ceramic or even broader community. And even if the photographer is skilled in shooting three-dimensional artwork, even specifically
pottery, they will not know which side or arrangements best suit your own work. You will need to be present for the taking of the slides. A good photographer can even help you learn what you want out of your slides.
Summation
It takes time to learn to present your self professionally. It takes guidance and editing. Editing means that you are going to have to do things more than once. Editing means you will also need to have someone else look at your results and help you see them as other’s do. Just as this article has been edited, so should your slides. Hopefully through resources such as this one you can shorten the learning curve and not make as many mistakes or false tangents as those before you (I mean me).

Please bookmark for your convenience:
The link to this Fresh Plums site is web.mac.com/johnglick

USING OUR IMAGES AS EFFECTIVE TOOLS

Wed, 5 Jul 2006 06:59:30 -0400

DIGITAL IMAGING
Developing your eye • Looking at resources • Extending your viewpoint

It seems to me that the internet provides us with unlimited opportunities to expand our knowledge base. I have benefited greatly from countless forays into specific subject matter relating to digital imaging in all it’s manifestations.
This page deals with:
a. Online magazine websites where excellent articles are published for reference.
b. Websites where one can see ceramics published for comparison and awareness.
c. Unique sites devoted to specific tools , tutorials and research that have impact on our skill sets as potter/photographers
d. Software programs that greatly extend our opportunities to communicate with the field. My prime example being iPhoto, the Mac image management portion of the iLife package that Apple supplies with every Mac computer.

Online Magazine Websites
http://shutterbug.com/
In particular, this magazine consistently offers excellent articles on a wide range of topics. If you are curious and want to begin getting a great resource magazine, do consider getting SHUTTERBUG. One article that caught my attention recently is by the highly regarded author/photographer, David Brooks.
Raw Converter Software from Adobe, LaserSoft, Bibble Labs, & DxO Labs SHUTTERBUG MARCH 2006 If you don’t see a listing, simply do a site search by title and voila!
Brooks deftly surveys these four RAW converters using images from 3 entry level DSLR’s
He comments on his own surprise at the overall similarities he finds in results from using the surveyed software products. He is a very readable author who clearly brings a wealth of skill, experience and common sense to the reader. I read with enthusiasm the articles he writes whenever they appear.

http://digaphotomag.com
Digital Photographer
This magazine is another favorite of mine for ongoing developments in software, cameras and related topics.
In the June 2006 issue look for a review of a cross-platform photo file management program called Photo Mechanic 4 . This program offers comprehensive management control over single and multiple images allowing one to do batch re-naming and adjustments and much more. This software appears to be a useful tool for the potter seeking to organize and use image files that keep on growing in number( as is common with digital files.)
Look for a summary of the program on this url : http://www.camerabits.com/pages/PM4.html
From time to time, I will make mention of other informative articles.

SITES RELATING TO SOFTWARE AND TECHNIQUES

If you read my comments in the page Researching Camera Options for Potter/Photographers concerned with software for storing images ( an album function) you will perhaps recall me mentioning picasa. One of my former studio assistants has used that free software for some months with good success as her PC based image file and her place to adjust images for various uses.
I doubt it would exceed the versatility of a program like Photoshop Elements but for a straightforward, uncomplicated program you might want to check it out . It is a free download form google ! http://picasa.google.com/
Since I am a Mac user, I have the software that comes with every new Mac. The iLife series of packaged software includes what I and many believe to be a very useful bit of image organizing software - iPhoto, the Mac album and photo manipulation software mated with so many other neat, fully integrated soft ware programs such as Mail, iWeb (which did this blog) iDVD, iTunes, Book and more. For example, when working on this Blog, all my image files are opened automatically to access needed images to support various sections of text. Seamless!
You will find abundant information on the Apple site at: http://www.apple.com/
Easy for me to say...but, I do say it. Get a Mac .
More on iPhoto
I could happily rant endlessly about iPhoto and the great contribution this amazing software has made to my studio life and the business of being a potter. I use both the familiar tools of a potter...the wheel, extruder and kilns as well as the digital tools becoming increasingly available and to me, essential in making for good communications with clients,colleagues, galleries and others possible.
The rant:
Here is what the Book part of iPhoto has done for me and for my studio assistants these past several years.
I began using the Book option of iPhoto several years ago to document the making of a new soda/salt kiln . I wanted to show the “Story” of the event and included the” brick and steel steps”and the humor and fun we experienced . The process was documented over the some 6 months of part time kiln building ..recorded on digital and stored in iPhoto comprising some 350 images. Using the Book function, I selected a pleasing layout format from the style choices and having already selected a core of some 70 images as my visual content along with suitable captions that I added, chose the hardcover 8 1/2” x 11” book option. It was printed on good stock, hard bound and delivered to me some 5 days after uploading it to the Apple Book site , beautifully packaged by Apple. Smooth, easy and hugely empowering!
Facts: total time using the excellent prepackaged software solutions Apple provides in the Book section, even with first timers slowness...maybe 2 1/2 hours of time to complete the book! The single operational word to use here is “intuitive” to describe the ease of use for the Book process!
Text where no text has gone before, or, how my Mac friend Phyllis Evans taught me to......
A further comment about the use of the Book software. It is not super sophisticated or a designers dream...it is created for you and me and offers enough options to allow anyone to do nicely composed books which are at once dignified yet quite impressive in core design attributes. For those (me, as well) who want added text , i.e., pages of text where the “frames” aspect of the Book software does not allow for text, one creates a Word doc for a wanted text page and then using pdf options, end up saving the text page as a JPEG file and then this file is imported into iPhoto which recognizes it as what it is...a JPEG file . You simply drag and drop the text file/JPEG into your book as you would any other image file and thus, a page of text appears where none was formerly allowed by the software. Do experiment with Word page attributes to see how it will fit in the page layouts in Book.
So, back to the reasons the first books came in to being, one copy for the studio archive and one copy each to Melissa Vaughn my 2004 studio assistant and one to intrepid former assistant Kirke Martin who joined us for an amazing week of welding and mortar slinging towards the end of the building process. Cost for each book at that time was about $55.00 . The books are very well made. Good value! P.S., prices are lower now as well!

Here is another very important use that these books now serve in the studio for me. Each year my studio assistant makes his/her own Books documenting their year here. Work made, interesting visitors to the studio, trips taken to workshops, open-house events and to be sure, their emerging work from the year are included in the two books produced. To facilitate this process, the use of my valiant Olympus 2020 camera (“antique”) is theirs for the year as their documentary tool. One book remains in the studio archive and one for their own records. Laura Korch, my 2005 assistant, got a tech job at an art center partly because her Book was so well done that it played a role in her hiring. The accumulation of books becomes a great resource for subsequent assistants through the years.
Additionally, I use these books to showcase portfolios of my work for arts consultants who use them to enhance client interactions, to mark special events , gifts and on and on.
One out of state dinnerware client received a soft-bound Book documenting the making, glazing and firing of their dinnerware as a token of my appreciation for their loyal support of my work and me.
I have done books for other artists to help them jump-start their own awareness of the usefulness of these amazing tools for extending our communications within the field.
Here are some images of several Books

The small, softcover book above cost about $13.00

Some options allow for whimsical layouts of images

Only cover photos are glued down, the rest direct print

2006 Elenor Wilson’s book on her ribbon theme pieces.

DEVELOPING YOUR EYE
What do you see when you look on the web sites we potters might visit? Are you impressed with the photography you see? Most often, I think it is true that we might be because very often the images we see are quite good or at least very respectable in overall quality.
There are times when this is not true and it may be that some of the issues have to do with the multiple reasons that images don’t all translate to various browsers and various computer screens of varying ages, brands and so forth.
Then there are examples that stand out for other reasons perhaps more to do with some deficiency in the taking of images or preparing them for use on websites. It is good for each of us to develop a discerning eye when it comes to seeing “professional” sites that have let some images come into the public eye that simply are not good . The next time you are visiting pottery gallery websites, see if you can spot any images where the necessary refinements are missing.
Among the most useful goals for a good image presentation:
a. A simple background , neutral or very subtle in color (in contrast to, for example, richly textured woven goods that call out for attention themselves)
b. Show the pot as the main element in the image , not sharing the space with a “huge” background
c. Lighting from above, primarily, or if side lighted, the effect must still depict the nature of the vessel so we can understand it visually. Moderate lighting that doesn’t “kill” a portion of the piece being shot so that the detail of texture or color or form is lost in overexposed glare.
d. Avoid extraneous “distractions ” in the background like seeing the outer edges of the background or scuffs on the surface of the background that show in the image. These all detract from the image. These flaws can eliminate your image from use when a designer or editor views it for possible inclusion in a publication even if the pot is good ! True, Photoshop can take care of these flaws ...if someone wants to do the work.

I have shot this example to make a point. Notice that the edge of the background paper is showing behind the pot. This is not what you should have visible in your own work as you submit to exhibitions and other professional situations. And, yes you could crop this image, but the close crop required would make the image difficult for editing for size.

The use of colorful background paper can be acceptable if the correct color is used. This particular choice would only distract from the already warm color of the bowl.

Having the object too small is not a good choice since the viewer cannot really see what the information is ...glaze detail , color and shape. Way too much background showing.

While in this image, the pots is over-scale and it would not allow a designer any room to crop if needed for a publication.

This would be much closer to ideal in terms of a balanced relationship between object and background.

This image is so under lighted that it is hard to understand what is presented.

The same pot with harsh side lighting that has not been diffused and which almost destroys the detail of the glaze. Notice the harsh shadow to the right of the pot.

The use of textured fabrics usually does nothing good for your pot. Usually, the fabric distracts and adds visual confusion to the image. Simple, neutral paper backgrounds are best.

This image presents a neutral support for showing off the pot and lets the colors of the glaze come forward.

Please bookmark for your convenience:
The link to this Fresh Plums site is web.mac.com/johnglick

PHOTO TAKING TIPS

Sat, 1 Jul 2006 08:12:10 -0400

HERE ARE SOME GENERALLY USEFUL TIPS THAT WILL HELP YOU SUCCEED IN PHOTOGRAPHING YOUR POTS

LIGHTING:
1. To understand lighting options …look at photos in magazines and books. Work on your ability to decide which have good lighting and which do not.
Study the shadows! One light? Two?More?
Where were the light(s) placed?
Remember how the Charlie Cummings gallery website pot images appeared with one overhead light? See where the shadow is, predictably below the pots.
You can make choices for your own lighting decisions once you have developed an eye for how others have done lighting.

A USEFUL TECHNIQUE FOR STUDYING LIGHTING:

2. Form a sort of loop with your cupped hand (rather like a tube or mock “lens”) holding your hand close to your eye to see the pot and observe the lighting on it. This technique isolates the pot and allows you to concentrate on it alone without the many distractions that normally compete for attention. Using this approach also means that you are not dependent on viewing through the viewfinder or in the LCD screen of the camera for every lighting adjustment.

Learn to study the impact of lighting choices with this quick, simple technique.

3. Diffuse your light sources! Harsh light destroys detail. You can read much more about this subject on my Lighting page.
4. Mixed light sources? (i.e., different color temperatures (K)? Try it and see what happens. It may be fine. It may introduce unwanted color imbalance to the appearance of the image.
In a digital camera, the sensor can only do what it can …there is no way to predict what it will do except by trying and accessing the results.

Here is just one method of diffusing a light source ...aiming it at a piece of vellum paper. Note: For ease in shooting this image, the light is not on. The simple wire support system for the paper includes a “Stop” that prevents the paper from being allowed to slip too close to this particular “hot” quartz lamp. Lamp could ignite paper, otherwise!

WHITE BALANCE

This seems like the time to visit the critically important concept of white balance in your digital camera.

White balance is achieved by letting a camera “read” a piece of white paper placed in front of the lens and then, following the owners manual regarding the custom white balance function.
One simply( following a short set of directions in the owners manual ) allows the camera to record the light falling on the white paper and this reading becomes the “custom white balance” setting for that particular light source that you are presently using!

This is saved in the camera memory and is there to be called into use the next time you shoot in that same lighting environment! This assumes your camera can store custom white balance settings! Reason enough to select a camera that, in fact, does allow that critical function. Note: Not all entry level cameras can do that.

What is happening in this custom white balance operation is that the camera is being told that under these conditions of lighting, that white should be rendered in this particular way…thereby, setting the standard for all other colors in the process to be rendered correctly.

Most digital cameras have a “default white balance” in their auto setting and interestingly enough, some times it is actually the “correct”white balance setting for your lighting set up! Notice, I did say “sometimes”-not always.

I have four digital cameras and one (my “antique” 1998 Olympus 2020 ) does a great job of rendering colors accurately on the “auto” or default setting in my 3200K quartz lamp lighting set up!

The other three require a custom white balance reading to be correctly attuned and to provide accurate color results. Consider using the auto focus function on your camera with the use of a focus “aid”. Be aware that in some instances that the color or value of the “aid” itself can influence the reading of the camera’s metering system and throw off the exposure! Experiment with various materials and you may end up with a medium value surface to serve your needs best.

This are “FOCUS AIDS” I make them with snippets of typography from magazines and little sticks. Easy!

You will notice that the auto focus has locked onto the middle or rear aid, leaving the one in the foreground out of focus.

Using a “focus aid” is especially useful if you are shooting pots whose glazes have dull, monochromatic surfaces with no observable details that the lenses auto focus can lock onto!

Try white, grey and darker “aids” and observe the images you get.
Some cameras won’t need this help and do fine on auto-focus alone.

The camera may interpret the “AID” as the tone of the scene to be shot and exposure can be affected! Thus, the need to play with different values for the aid and learn how your own camera might do.

You should place the aid about 1/3 of the way into the object’s space …i.e., about 1/3 of the distance from the leading edge of the piece into the depth of the piece. Shooting face-on to a plate, that is meaningless. (no depth of field issue to speak of)
Focus on the aid and partly depress the shutter release to get “focus lock.” This means the camera has acquired the aid and is now ready to take the picture.
Remove the aid (unless you want to leave it there for checking out the result and comparing things with and without it in place as an exercise ) and finish depressing the shutter release button to take the picture.

This is important! Remember that this is a two step process!

Partially depress the shutter button (camera acquires the object and measures exposure and distance and signals with a beep (usually)
Then, finish depressing the shutter button and the camera actually takes the image.

6. Keep a notebook of trials and results. Don’t rely on memory! Jot down everything you try and don’t be afraid to play with things-just take the time to record what you do. You can always put little signs right in the image with an A,B, C (or actual exposure notations ) to say to yourself what the image had done to it to make it a trial run on some change. Then, when viewing your trials, there is the indication of which one did what –right there to see. This makes notes and results more coherent.

a.This is the beauty of digital …immediate results and easily changed and re-done if the results are not right!

b.Results are best viewed on a computer screen ..don’t trust to the camera’s tiny LCD screen for critical decisions of the image results.

Please bookmark for your convenience:
The link to this Fresh Plums site is web.mac.com/johnglick

RESEARCHING CAMERA CHOICES FOR POTTERS

Fri, 30 Jun 2006 05:13:40 -0400

CAMERA CHOICES FOR POTTER/PHOTOGRAPHERS

The following comments are meant to guide your considerations of suitable digital cameras for use as a “table top” photography capable camera with broad general use potentials as well.

The cameras I am suggesting for consideration have been consistently highly recommended by many professionals writing reviews in the digital camera field. Additionally, they have been rated at or near the top of their respective niches in the spectrum of cameras on the market.

I want to set a tone for the following comments.

I suppose I am a gleaner of sorts. I like reading about these fascinating tools available to help us in our work. I read many reviews and test results concerned with the ongoing digital camera field. Where I have no personal experience with a mentioned camera, I am doubtless summarizing from a variety of professional magazine and web based review sources.

Cameras are listed as Basic, Advanced* and High Performance models. Be aware that all are DIGITAL models!

A WORD OF CAUTION! AND A WORD OF ENCOURAGEMENT:
If your eyes glaze over easily and you HATE technical discussions, the following summaries may at first glance appear to be more than you think you should have to handle!

STILL…Please allow me to say this: if you refuse to learn then you are a great potential discontented potter/photographer (dare I say “victim”), then! It is a choice that we all make. Evolve or stay put.

Without some basis for choosing a camera, you are like the quintessential folded paper boat of childhood days…. being blown around the digital camera pond by every random comment by a friend (who is sure to sound convincing since he/she already has a digital camera etc), a recent “rave” review on yet another new camera and the camera salesman at Best Buy. Honestly, I wouldn’t wish this state of confusion on anyone! It need not be that way!
So, please don’t just give up and adopt the “put me out of my misery” attitude and beg some corner store “expert” or some voice on the phone to sell you a camera! Ouch!

Feeling a bit braver now? Take a deep breath and read on!
Honestly, you won’t suffer because I am gentle and have gone into this process with a number of potters who begin by being somewhat aghast at the choices facing the newcomer to digital and ended up being quite happy. Honestly!

THE CAMERAS
Basic: Approximately $400.00 to $600.00 range

This sets a standard that I feel represents a base line of useful features that will serve the needs of someone who wants to invest moderately and not accept any serious compromises in performance.
Has a customizable white balance feature.

Allows for JPEG and RAW image files. Wait! What is RAW ?
This is what is commonly called the “digital negative” i,e., the entire amount of unaltered data that your cameras images sensor is capable of gathering. Why do we care to have this Raw data? If you want to have the capability to alter, tweak the image for later processes ...this is the needed file format you must have. Be aware that very few lower tier cameras offer this feature. Of interest ...the Canon G6 camera does, while the G7 does not! Darn.

Has good quality lens with suitable zoom range
(Minimum 4x is good) This will typically not be a detachable lens in this price/performance range, but, even as we speak. …that is changing rapidly as many entry level DSLR’S are now offering this at about $600.00!
Has good macro capability for close-up shots.
Has sufficient MegaPixels (5 -7) for prints of normal size (up to 8” x 10”)
Has at least a 2” LCD screen for convenient viewing of your images. A 2.5” or 3” LCD screen is even more preferable and these are becoming a more prevalent feature on cameras.
Can take a cable release!!! You will never regret having this feature available on your camera!

Here is the Canon G6

Canon G6, 7MP Two of my former assistants have this camera.(on my advice)This camera meets and exceeds all the minimum guidelines listed. It has very good reviews and is a wonderful performer : If I needed another mid - level camera for my own needs....I wouldn’t hesitate for a minute to get this camera.

This is worth a second mention: OUCHIE!!!
I note with sadness here that the newest upgrade to the G series camera line, Canon’s G7 is offered WITHOUT the RAW file format as an option !! This seems to fly in the face of everything that makes sense in the way of usefulness. Big boo boo, Canon!! As long as the G6 (which does offer RAW file options )is still available, it remains my choice for this type of non-DSLR camera models.

THE CANNON G10!
But then, time moves along and Cannon moves ahead with the G10 which can be researched online easily. Amazingly, the G10 receives quite good reviews and has....RAW ! And, yes there was a G9, and a G7 if you want to read up on them ....but, that was a long time ago already. Hey, we are in 2009 now and a 14.7 mp G10 is about in the mid $450.00’s online!

However, depending on your mindset, inclinations and prejudices, a word of advice, caution or potential confusion is wise here. The next category is breaking on the digital scene with such a wave of interesting and versatile cameras that I would be sorely tempted to move even newcomers into the “Advanced” category to look seriously. Why? Versatility and price!

Advanced: Approximately $ 600.00 to $1200.00

Question? Why did an “*” appear above after the word advanced in the category listings above?
It is because for most potter/camera users this is THE area to explore!

This class of cameras is undergoing explosive growth presently. Nearly every maker is offering or planning to soon offer very competitively priced models with plenty of useful features for we potters and all with interchangeable lenses! Best of all, they are priced about at the same level as the better of the excellent cameras like the Canon G6 in what I called the Basic level camera class. Remember the G6 is not an interchangeable lens camera! It is, however, an award winning and very excellent camera for the non-changeable lens camera user!

Words to take comfort from: If you are made nervous by all this talk about facts and features, rest assured that you can do just fine with a camera such as the CanonG6 …and never go beyond that level of camera!
Proceed with a smile and a watchful eye and ear as we enter the land of too many choices and technological fun!

Put your digital seat belt, on please!

These advanced models allow the user to have different lens options thereby making such cameras much more versatile.
For those with “ legacy” lenses such as Nikon, Canon or Pentax, many of which can work on digital cameras, the clear choice would seem to be to select a digital camera compatible with these lenses.

Additionally, most (not all )of these entry level DSLR’s are sold as camera body only or with “kit” lenses. The kit lenses are base level zoom lenses (typically 18-55 mm or 18-70mm) that are arguably not the Superior lenses from the companies lens group but, in the opinion of many reviewers, are generally very suitable for most needs including yours as a potter/photographer. For example, I am totally content with the “kit” zoom that came with my D200 Nikon ( an 18-70mm Zoom )
WHY ADVANCED?
Beyond lens issues, these entry-level DSLR cameras are more feature rich than their fixed lens cousins (like the Canon G6 for ex.). Certainly they have all the basics features listed above (and much more) that set the standard for a serviceable camera for our needs.

Here are cameras that are highly recommended by many sources:
Prices shown are to be considered a guideline and will vary.

Canon Digital Rebel 8MP EOS 350 D XT with a 18-55mm zoom lens $700.00 This has been an immensely popular camera for Canon.
Canon’s upgrade of this classic and important camera is the EOS 400D Digital Rebel XTi a 10MP camera with a 2.5” LCD screen. $799.00 body only. The standard kit lens(18-55mm) is about $100.00 more but numbers of reviewers rate this lens as not one of Canons better lenses. Expect to spend perhaps 300.00 for a better lens. Or, try the kit lens ...you may find it just fine for your needs!

Be aware, if you buy a camera with a kit lens , you cannot return just the lens after you buy the kit. Sort of induces you to buy at a real camera store so these dialogues can happen with help from knowledgeable staff right in front of you with your hands on the camera and eye on the viewfinder.

Here is the EOS 400D

Photographer Ben Long points out in his newly released book, Getting Started with Camera Raw That one feature of this camera is that it “wraps” the JPEG and RAW captures it makes it so you have to acquire an additional piece of software to process the images. Most other cameras do not employ this “odd” feature. Not a fatal flaw or a big problem , however

Here is the Canon EOS 1000D

AND, here we are in the product “churn”circa early 2009- that keeps on happening and we have a new upgrade/variation on the much praised Canon line of entry level cameras in their DSLR series. The Canon EOS1000D . Amazingly, this camera debuts at about the mid $450.00’s for a very appealing camera. As always, read reviews and as my favorite site is Digital Photography Review, I would send you there to bone up on the attributes of this newest rendition of the “Rebel” series.
My personal take on this camera after reading the reviews is that if it were me in a deciding place and wanting not to spend big dollars on my first camera in the DSLR realm.... that I would be sorely tempted to jump for this unit! Really, a close toss-up between a Nikon D40 series camera or the Canon EOS 1000D.

This being said by a Nikon 300 owner !
What?

Nikon D50 6MP with a 18-55 mm zoom lens $700.00 An older, less enabled entry level camera that could be entirely suitable for many users. Most of these cameras will be gone when you read this ...replaced by the D40 ...see below. Used? Sure.

Nikon D70s 6MP with 18-70 mm zoom lens $ 899.00 an even earlier , highly successful model still being offered . Again, why not get the D40 or D40 x Older model but a great camera none the less.

Nikon’s newest “hot” entry in this range of entry level digital Single lens reflex (DSLR)cameras is the D80. Very well priced at $999.00 Body only, $1299.00 with a well praised 18-135mm lens, 10.2MP sensor, 2.5 LCD screen and an amazing array of features borrowed from the upper level cameras in the Nikon line of cameras. If you read a lot of camera reviews as I do, here is a sort of “heads up” comment about the D80 and by inference about the new and highly praised D40 and D40x cameras that are making waves in the Nikon lineup.
To be more accurate ...look for comments and reviews relating to the Nikon D90 while you are at it.

If you have bag of Nikon lenses and hope to use them with one of these newer cameras .....be informed! YES, most if not all the great Nikon lenses will work with the D80 (it has a AF drive pin in the lens mount) BUT, the D40 and D40x do not have this drive pin and these two cameras are dependent on the supplied kit lens which has an internal auto focus motor. It is noted in recent reviews of these cameras that Nikon will be soon be offering more lenses for these models needing such lens configurations.
So, for the short run, all those great lenses are still usable on the D40 series cameras ...but, only as manually focused lenses!

For the the first time, Nikon has gone to the use of the SD (secure digital) card to save weight and keep the camera size more compact. I am a great fan of Compact Flash cards because I like their robust build and easily gripped shape. Ah, well- life moves on!
A very excellent review of this camera by George Schaub appears in the December 2006 Shutterbug magazine. It is a must read if this camera is in your dream bag. Find it at http://shutterbug.com/

Here is the Nikon D80

And....Breaking news flash!!!!
Check into this!
Nikon D40 !!
Superior, low end of the entry level DSLR’s This 6.1 MP camera comes with a superior 18-55MM kit lens that gets very high marks in reviews, 2.5” LCD screen and customizable White Balance...a vital consideration. $600.00 with lens! Get this if you want a beautiful, easy to use entry level camera. If I was having to get a back up camera , this would get my attention. Comes in two body finishes...silver and black ( doubtless a nod to the two choices Canon offers with the Digital Rebel!) Ah, competition!

Do be aware of one thing...only lenses with an internal drive motor will be “auto focus” lenses on this camera. All other Nikon Auto Focus lenses will be manually focusable only owing to the fact that this camera lacks a drive pin on the camera body to mate with the wider range of Nikon lenses.
* Small inconvenience issue for those with a bag of Nikon lenses. Not a biggie,however for new buyers of this camera since the kit lens that comes with the camera is internally driven for auto focus!

FOR THOSE OF YOU WHO ARE REVIEW DRIVEN WHEN IT COMES TO MAKING CHOICES ABOUT CAMERA PURCHASES!!
DON’T FAIL TO READ THE REVIEW(S) ON THIS CAMERA
I SUGGEST THIS FOR OPENERS: http://dpreview.com/ which has a great, comprehensive review just posted this month. Note: if you have read reviews before, you will not be surprised to notice that no review says ...”this camera is without flaws or any shortcomings , so, buy it !!” Read the review with the attitude that takes into account that in the D40 you are considering a camera that is a phenomenal package of features with a lens that has received very favorable comments ....all for under $600.00!

For anyone sitting on the fence about the D40:
Read the “Sterling” (highly complimentary) review on the D40 in the Imaging Review site at : http://www.imaging-resource.com/PRODS/ND40/ND40A.HTM WOW! See you at the camera store!

Having said this-does it have limitations? Yes, all cameras do. But, read the reviews and get informed. For the first time adopter, such a camera takes you a very long way into the digital world without making you suffer much at all. Honest.

ALERT ALERT ALERT ALERT ALERT ALERT
DETOUR FOR THE AVID RESEARCHER ON DIGITAL STUFF

This is the real deal:

PROFILE FOLLOWS: Rendered in sympathetic humor.

Quick profile of a nervous, first time DSLR camera buyer.
(Been there, know many potters similar to this profile)(have helped quite a number get past this feedback loop of negative thinking)

1. Frustrated about having to consider moving from 35mm to digital.WHO NEEDS THIS !! @#%#@~
2. Scared about too many choices !!!(frozen in feedback loop)
3. Convinced it would be better if someone else chose for you! Many choices available ...other potters, camera store salesman, people who write blogs about it ....oops, that might be me ! Difference ...I “know” what is best for you ! ( see me grin)
4. Convinced that you DON’T need a DSLR! Point& Shoot is OK
5. If convinced that you do need a DSLR, convinced that you cannot afford one.
6. Want it all to go away (which it will do ...just simply do nothing ...(until the next show entry form arrives or perhaps an image request from a publication)!
Stop whining! Suck it up...take a breath, Say NIKON, Say Canon!

Whew, back to other things .....
Of Interest:
The January 2006 issue of Popular Photography and Imaging features the Nikon D40 on it’s cover! There is a summary overview of the D40, but, watch for many online sites to give full reports soon!
Also, so you can get a double dose of comparison info ...this issue also has a good full review of the great Canon Digital Rebel XTi and it is online as well at http://www.popphoto.com/inpopularphotography/3477/current-issue-january-2007.html!
And ...
To make things even more interesting, the February issue of Popular Photography has a “Shootout” (corny way saying a comparison test/review) of 5 of the hottest DSLR’s in the market place presently. If you are intrigued you can possibly find the article online at the address seen above or get the issue at the magazine section of your favorite book store.The cameras compared are :
Nikon D80, Pentax K10D, Samsung GX10,Canon EOS Rebel XTi,
Sony Alpha 100
Interesting to learn that while the reviewers found all the cameras highly usable and worthy , the Nikon D80 scored the best overall in the view of the staff who used and tested all cameras.

And...
In case things needed more spice...the latest July/Aug 2007 issue of American Photo- Special Issue has their views on the latest crop of entry level DSLR’s which arrives at a different conclusion than the folks at Popular Photography. Surprised? Nah!
Here is where to read on line: http://www.popphoto.com/americanphoto/ Look for Camera of the year. These editors pick the Sony Alpha 100 as camera of the year in the entry level DSLR group. The other cameras in the group were the Canon EOS XT1i , the Nikon D40 (dubbed “Best Buy”) the PentaxK10D, the Nikon D80, the Olympus Evolt E-510 (also, Best Buy) Nice group!

This is the Sony Alpha 100
10.2 mp at $700.00 with 18-70mm kit lens

GUESS WHAT?
Any one of these cameras would be super for all your digital needs !

D40x !! Oh Swell !!
Just when we thought it was safe to go outside after the last wave of new and amazing DSLR’s that are super to use!! Darn!

Blame Nikon ! Blame the market system .. “ So, you are doing this....here, take that!!” The ongoing battle between Canon and Nikon and Sony and Olympus etc has produced some rapid-fire developments in the upgrade paths all companies are traveling. Whew!

We have been lauding the 6 MP Nikon D40 in this blog and now the D40x emerges ! Without going crazy with all the details, here is the short and quick on it.
Read the reviews on the sites such as http://dpreview.com/

The Popular Photography Magazine , May 2007 issue has a great review of the D40x and also note that online they have posted a competitive feature set review of the D40x, Canon Digital Rebel XTi and the Sony Alpha 100 DSLR camera. http://popphoto.com

Ten point two megapixel sensor, faster shooting rates for bursts, longer battery life, wider ISO range etc. Oh, and the price is about $799.00 with lens. So, recalling that the D40 is a 6 mp camera in the 580.00 range, this is were things have gone to in the highly competitive, entry level DSLR market.
You can expect camera retailers to start offering different package pricing for this great camera with different lens options over the coming months. For now you will see it most often offered with the 18-55 mm kit lens that reviewers have found to be quite a good general use lens, and yes, recall my earlier comments above ...this is a genuine AF lens due to it’s internal AF motor! Oh, goodie!

BUYER ALERT!!!
For those of you drooling and wanting to rush out and buy this camera before doing your homework ....read the reviewers (especially Dan Richards in PopPhotography May 2007) where he discusses the complexities of some of the features of the D40x by noting that one can spend a lot of time navigating menus to get to needed feature.
He points out that this excessive navigation stems from camera designers efforts to make these entry level cameras not too “button rich” ( read - not too complicated in appearance) but that in doing so, the user must dig into menus to make needed adjustments which he found problematic in some instances. Read his comments!

Have fun reading the reviews ...my insider hit pick is the D40 or D40 X or is it the Canon EOS 400D or EOS 1000D? Darn! Got a coin? Cannot fail with any of the bunch!

Nikon’s new kid on the block....the 10.2 MP D40x

*
PLEASE PAY ATTENTION TO THIS PART!!! Minor detour of thought process here...but, for the best of reasons ...your sanity!!!

CABLE RELEASE- GET ONE-YEP!

This camera, the D40x ( as well as the Nikon D50. D70, D80 , my Sweetie D200) ALL allow the use of a CABLE RELEASE !!In fact, most cameras of this class allow for the use of a cable release! Check out specifications first before buying .

If I were considering cameras and had multiple choices ... I would opt for one WITH the cable release option.

Trust me on this ...you DO want the convenience of a cable release for allowing you NOT to touch the camera directly to release the shutter! No vibrations , no blurry images! ( Naturally, I am referring here to tripod shooting in ones studio situation....not hand held where using a cable release would be ...shall we say, unlikely?)

Sure, you can accomplish shooting with the camera’s timer ...but the irritation of using the timer and the waiting are very frustrating and time consuming !
P.S., Yes the Canon DSLR’s also have cable release options as well.
Get em....use them!

Here is what a cable release looks like for the Nikon lower end cameras . This is the MC DC-1 unit and it costs about $20.00! What a great tool for such an important function! The button acts just like the shutter release on the camera itself....i.e., allows a partial detent ( depress) to achieve focus lock ...then continue pressure to complete the exposure. Among other reasons ...it allows you to see if the auto focus is able to lock on and actually get focus!

Just be sure that the cable release that you get will mate to your camera correctly.

The too cute, blond and brunette Nikon sisters D40’s

Samsung GX-1L- 6.1MP with a variety of lens options $600.00

Here is the Olympus Evolt E-510 ( what a name!)

WHOOPIE! The fun goes on!

Check back soon for an update on this new Olympus contender !
The neat Olympus E-510 with image stabilization (see the IS on the right side?) and LIVE VIEW on the LCD screen ! Yummy. Price for this 10 MP goodie ....$899.00 (est street price )comes with a Zuiko Digital 14-42 mm lens ( 28-84 mm equivalent) Gee whiz, guess who that competes with ? Nikon D80 and Canon EOS 400D XTi !! No surprise there...all the DSLR entry level 10MP models are in the same general price range ...confused?
Good general preview in the May 2007 Popular Photography& Imaging Magazine ! Looks like a great camera . Makes deciding which even harder.

And, PENTAX !

Another serious contender, the Pentax K10D 10MP sensor, Anti- Shake feature, dust reduction for sensor, 2.5 LCD screen, 18-55mm kit lens $999.00 Given the long history of Pentax camera company, the early comments about this camera are quite positive. Got Pentax lenses ? Possible that they will work. See below.

ABOUT LENSES 35MM Cameras VS. Digital
One of the significant issues about the move to digital cameras (DSLR’s that accept a variety of lenses) involves whether you have existing lenses when you begin to research cameras. Usually, if you did have a number of, for example, Nikon lenses, it would seem only logical for you to be favoring a move to a Nikon digital DSLR!

Be aware that many lenses from the 35 mm world are totally compatible with DSLR’s. In some instances, with some manufacturers older lens series, certain features on specific lenses may be disabled with some possible lens/camera matings.

This comment in a generalization and not intended to be necessarily a perfectly stated technical description. While some older lenses may mount correctly and work partially, they may not interface with the DSLR’s auto focus system properly. Advice: check with your knowledgeable dealer to carefully determine whether your existing lenses are fully compatible with your prospective camera choice. Do that before getting too revved on a camera choice. No older lenses? Much easier to choose....well, sort of.
NOTE:
Other camera manufacturers are aggressively entering the DSLR market. Sony and Samsung and others are all offering entry level DSL’s. Some of these manufacturers are re-branding and sharing technology with one another making the game even more fun/confusing. For example, Pentax and Samsung are doing just that. Curious? What this means it that this mid-range camera genre is one of the most interesting to watch from a product viewpoint.
I have not attempted to include all of the very newest entries in this “exploding” class of DSLR’s since there are so many that have emerged in the last few months. As time allows I will attempt to add more comments.
Excellent choices are in abundance. Read the reviews!

An interesting survey appears in the July/August 2006 issue of American Photo in the Editor’s Choice section. This issue reviews and recommends many excellent cameras. This is viewable online, and has loads of reassuring information.

http://www.popphoto.com/americanphoto/

High Performance DSLR Cameras: $ 1500.00 and up

These cameras have more features that may not really impact on most tabletop camera user needs. Still, the added features may appeal to some people as the overall performance of the camera and pride of ownership of superior equipment has a powerful influence! Oops, did I just describe myself? Clearly, some advanced cameras are meant for professionals and are priced accordingly.

Cameras in this range:

Nikon D200 10MP with various lenses that would affect the price a great deal. $ 2000.00 and up. (I own this camera-seen at the top of the page)

Canon 20D 8MP with 18-55 mm zoom kit lens $ 1200.00 approx. Only 1.8” LCD screen! Now upgraded to 30D

Canon 30D 8MP with 18-55 mm zoom kit lens $ 1500.00 approx. Has improved features and 2.5” LCD screen!

Canon 5D 12MP with full frame sensor. $2899.00 ( body only) with lens bringing it up to easily $500.00 more.
Arguably the go-to, digital drool producer for camera lovers who don’t really need it for shooting pots but would almost “kill” for it! Not me! Honest. (Want the perfect, surprise gift for John Glick…look no further! )

Many retailers are bundling one or two lenses along with the camera body and other accessories. Look around when comparing offerings and see if some are appealing for your needs. Buying the components as separates is often more costly than these bundled offerings. And, you can always buy the camera body alone if you own appropriate lenses. Doing a Google search on your camera choices will yield a large selection of reviews, price and other data to amaze and confuse you!

WHAT ABOUT THE OFTEN SEEN WORD “RAW”?
Without getting too drawn into a huge technical dialogue at this point, we need to at least mention Raw files and their impact on the emerging digital field and, of course, you.
In brief, the cameras mentioned in the Advanced and High performance classes are all capable of producing Raw files.

These files are commonly referred to as the “digital negative” of your image. They contain all the data that your camera’s image sensor is capable of recording and it is captured in an unaltered (uncompressed) form and is available for post-capture processing.

This is where most would-be potter/photographers begin to nod off or leave the room.

Please hang in a moment longer. Without attention to this issue, you are rather doomed to stay caught at the basic level of digital image taking. Most who already are involved have had to become aware of the added technology aspect of using Photoshop and employing what is called a “plug-in”(extra, added bit of software) that works within Photoshop to handle Raw files.
Here is a small case in point to make this clearer. One recent show entry form called for a large ( 10 MP) file in JPEG format. Some awareness of the usefulness of Photoshop and the need to do post capture manipulation emerges as a driving force in our photography endeavors.
Even I, John Glick, evolving digital photographer/potter can now do Raw files in Photoshop!
If I can …believe me –others can!
Researching Cameras:
The cameras mentioned in this overview are not meant to be considered as a definitive listing. However, the ones I do mention are among the most consistently well-reviewed cameras presently being offered.
To compare models and features, use a digital camera website with “side by side” comparison capabilities and study the features you wish to learn about on competing cameras.
Below are a few trusted sites that offer good commentary and all the needed comparisons. These sites do actual, in-depth testing with rigorous testing standards to give trustworthy results. Realize that the people who run these sites are accomplished photographers who use sophisticated and accepted standardized tests to measure performance. Their opinions are not based on commercial pressures from sponsors.

Note: no camera review site will tell you which camera to buy!
One gets the feeling that possibly the reviewer would like to ...but, they do not for good reason. Such choices are bound to be influenced by a mixture of factual findings, brand loyalty and a range of random factors we are all subject to on any decision that matters. One persons “great camera”-another persons “merely O.K.” camera!

In my experience, when one reads 3-4 different reviews of the same camera, the cumulative result ends up giving one a more fully informed final impression because the various reviewers really do see subtle and at times major differences in a given model. When I am pondering a choice, I read all magazine reviewers opinions and all website test results and look at the company behind the camera. If it is Canon, Nikon, Olympus or Pentax, you can rest assured that a base level of competence and attention to quality is inherent in the product.
Having said that, there are always nuances and small “oddities” of performance or amenities on cameras that end up pushing one to a specific decision. Ah, choices!

I do feel that having all the facts does enable one to make sound judgments, however. Most of these sites do link to sales venues.
Don’t be overly concerned that this implies some suspicious commercial ties, however as there are none. They usually list dozens of digital camera retailers for your convenience. Note the grading system assigned to camera retailers!
For better of worse, these retailers earn the grades they are given! I would never consider buying from any outlet given a poor review! Look for the “ smiling face” icons or similar indications of customer feedback that is favorable.

These ratings are there to help you avoid the low-ball price come-ons that lure one in and often these apparently “bargain” places are not where the newcomer should go! You can get “taken” if not confused by efforts to sell you more than you need in these places! Stick to the “good guys”!

The gold standard I apply when considering retailers of photographic gear applies to Calumet Photographic and B& H Photo, both of which advertise consistently and have great web sites. These retailers will not the cheapest on prices, however.

They are highly regarded as among the most trusted sources for all manner of photo equipment. Why does this matter? If you ever have a problem with your purchases it is imperative that your retailer be totally committed to customer satisfaction and these trusted sources are just great then.

Trusted local sources in the Detroit area and beyond are Adray Appliance with locations in Dearborn and Ann Arbor, Camera Mart in Pontiac and Norman Camera in Grand Rapids. I have done business with all the aforementioned dealers and can recommend their integrity and service.

Here are my favorite camera review sites:
http://dpreview.com/
http://www.imaging-resource.com/
http://www.megapixel.net/
http://www.steves-digicams.com/
http://shutterbug.com/ ( this is one of the best camera review sites as far as a magazine source is concerned...excellent staff of photographers with great credentials in the field)
Further:

COMPACT CAMERAS :(pocket cameras)
I have not discussed the compact, “point and shoot” digital cameras for several reasons. As a family, we do own an excellent Casio model for trips etc.
I have no doubt that there are literally dozens of such cameras that might serve some useful purpose for artists who need simple mages of their work. I am not personally using one of these cameras presently for my main imaging needs* and do little research or reading about them. Consequently, I am not conversant enough about them to offer in-depth comments on their potentials.
From comments by others, from some reviews I have read, I suspect that for the most part, artists would be better off looking at more advanced cameras...Canon G6, G7, G9, G10 or a true DSLR with lens options.
SOME revealing details about me: (addictions etc)
Finally, I think it is noteworthy to tell you that while I had a very advanced DSLR Nikon D200 that is almost mind numbingly versatile, I still routinely use my first digital . This in an *Olympus 2020 -2.2MP camera( a 1999 purchase) that takes great pictures of my work and which works perfectly when set on AUTO in my 3200K lighting setup without any white balance adjustments so that glaze colors are rendered accurately!
Did you notice I said “had” in regards to the Nikon D200 ? I must say I am such a techno freak that I now use ( and adore) a Nikon D300 which has “Live View” and is gem to use!
The D200? Went to a very good home.

This camera’s use is primarily for obtaining images quickly to send in emails to distant clients. The small, color accurate digital files captured by the Olympus 2020 are easily converted by my Mac email program for easy emailing. This explains the (*) I put up above when I said I was not using a simple, compact camera ...I am, for the purposes of emailing. So, there!
Needless to say this camera is discontinued and “obsolete” by today’s standards! Ha! Not so in the day-to-day reality of my studio life! I use 3 digital cameras consistently. The 3rd is an Epson 3000z. 3.2MP which hangs about the studio and captures goings on that end up being needed. Scenes, silly fun, amazing one -of -a kind things !

SO…..Remember what I said about review sites not being inclined to advise on which camera to buy? Well, I don’t have that problem of wanting to remain neutral or unbiased . Yippee ...I am biased ....well, sort of. At the very end of the page I do make my modest, humble opinions known ....and, they are free!

Why would I need the Nikon D300, then? I also need huge image files for book and magazine use or for other situations where a 15mb file in RAW is needed for manipulation in Photoshop. Then, the advanced DSLR with various lens options does excel. So, I am not the “digital freak” that you suspected I was. (well, almost not) Stop picking on me! Also, there is always the famed “ I work so hard at all this digital photography stuff that I deserve a good quality camera, right!”

I knew you would agree!

SOME CRITICAL ISSUES I WOULD NOT OVERLOOK WHEN SHOPPING CAMERAS AND GETTING PREPARED TO PHOTOGRAPH YOUR WORK

1. That it uses Compact Flash as the card…this card is more robust and ultra available. Get 2-3 cards to have on hand! Minimum 512mb and better -1 gig in size or larger. NEVER buy one huge capacity card and then put all your eggs in one basket by loading up that card with your “trip to Mexico” images and discover that is was corrupted! Far, far better to use 2-3 medium size ( 1-2 GB cards) to spread the risk out.
Down load and verify your most recently taken images before putting even more images on the card!
*Having ranted about the Compact Flash card with good reason, the newer,smaller scale Entry Level DSLR’s like the Nikon D40, D40x ....use the relatively tiny SD card (Secure Digital) to save space ! So much for robust, easier to hold in your hand CF cards!

2. An extra battery as reserve.

3. If the camera doesn’t come with a d.c.converter, buy it as an option if you are going to be shooting on a tripod in a photo set up. Plug the converter into the 110V wall power to convert to the camera’s required voltage!

4. Get a solidly built tripod! A must, don’t skimp!

5. While a small form factor for a camera isn’t necessarily a bad idea, some cameras are good and medium to large sized because they have abundant features and need to be larger. The Canon G10 is such an example.

6. Pocket sized cameras are not really likely to be perfect for studio shooting as the feature set is usually diminished to achieve compact size.
7. Be aware that the camera is just the basis of your investment! Then, there are the needed accessories.
A. Compact flash card (s)(or others) 2-3 $ 100.00 +/- total
B. Tripod $100.00 and up
C. Lighting system $ 125.00- 500.00 ?
D. Background paper 40.00 and up

8. Cable release !

9. Get a card reader! What is that ?…a fortune teller? Nah…
These are the USB or Firewire gadgets connected to your computer which allow you to plug in your camera’s card and a file of your images shows up on your computer’s desktop to allow access to the shots you have taken.

Yes, this implies that you have an image storage program such as iPhoto (Mac) or Picasa (PC) to place images in albums and allow you too organize, access and adjust them.Many choices for this function are available.

Cost of a card reader: cheap…like maybe $25.00 – $40.00 and they read multiple card types. Simply buy the one that takes your card type along with others.
They fit either Mac or PC. Found at any camera store, Office Max etc. Even Target!

10. ExpoDisc ! What ? Does it allow one to export images or pots to another country ? Nope! It is a super useful specialty lens accessory that fits over your lens and allows you to get highly accurate CUSTOM WHITE BALANCE readings for your camera! THIS THING REALLY DOES THE JOB!!
Read about it more fully on the Lighting Options for Potters page ...near the end of the page.

Here is a typical card reader ...USB type. Compact Flash card seen in it’s slot.This one is a SanDisk unit.

AND, AND ...AND!

I just have ADD one very, very useful if not vital consideration here. I just got off the phone with a colleague who is making her own soft box and going to learn to shoot digitally to get control of her own imaging needs. Applause!
That alone makes my heart happy for her!
But...
What came up in our dialogue was really more important.
She pointed out that she hoped to be communicating with clients directly and showing her work via the emailing of images. She presently has a dial-up modem on her Mac computer!!
You may already know what the next part of our dialogue consisted of....me pleading, convincing , begging her to get at least DSL for her uploading of images! Yep, or be doomed to some dark visions of endless waits for the phone modem to slowly begin to grind out images ...then to be interrupted by some glitch and if you were “lucky” enough to be there and catch the problem ...to start over again trying to send those images out to your client. This is not how we need to spending our time! Counterintuitive, confounding and false economy to use phone modems. I went through at least six months of this myself before biting the DSL bullet ! Never again.

Moral of the story ...get a DSL or equivalent service !

Back to the main thoughts on cameras ...
Some final considerations:
One way to move on in the decision process is to set a budget for your camera purchase. The other is to set up a list of “must have” features and go from there. Usually, both approaches end up combining to help to move one out of indecision.

When you have the camera:
Perhaps the most important rules to keep in mind with your new camera are below.
Read the camera manual!
Don’t be discouraged when the learning curve throws you a curve!

Keep notes and make lots of experiment…digital“film” is cheap! Shoot like mad and look at the results on screen!
Study your lighting options…use diffused light sources and play with variables.
Review the things I cover in the Blog page on lighting options -here is one of the good ones to recall.
Include little notes on folded 3”x 5” cards with bold lettering placed right in your shots to remind what you did as you look at your trial shots. “ Oh yes, that was with such and such a setting…or, such and such lighting”!

Shooting with a digital camera is very freeing since the feedback is immediate! Shoot a lot, keep records of your trials and learn from the improvements you achieve so that they become your normal routine.
Please refer to the other pages I offer on photographic lighting and on more shooting tips.

Oh my Gosh!!! Glick’s Advice
You have read this entire review of ideas and cameras and this Glick dude has not said “The” best camera choice for YOU!!
Well..... Let’s spend your money!!
O.K., If I had your budget and mind set ( which I don’t ) and if you just wanted to be put out of your misery- “can we get on with it!!!”And, if you had no collection of great lenses stashed away to make you choose one brand of camera over the other ...!
I would first tease you a bit and make you “pay” for putting me to the test ....
O.K. Trumpets .......!!!!
For a relatively cheap non-DSLR ...consider the Cannon G10 at about $450.00. 14.7 MP
*
Nikon D40 Superior entry level DSLR for those on an entry level budget. 6.1MP sensor, 2.5” LCD , superior kit lens that gets great reviews! $450.00 (or less) with lens! This is my Digital disc jockey Hit Pic for most people who are dipping their toes into the digital pond for the first time ! Yowza! More budget? Nikon D40x! But remember the lens compatibility issues discussed above.
Here we are in 2009 and the D40 is STILL getting great press several years after is was introduced!
Nikon D80 More budget...more features .... followed very closely by Canon EOS Digital Rebel XTi D400 Lens choices for most of these cameras are extensive.
Want some great features? Olympus Evolt E-510 with LIVE view and the sensor dust removal feature ! Great combination and good lens choices as well. Then there is the Sony Alpha100 ! Gulp!
Honestly, you almost can’t go wrong!
OR....
If you want to buy my John Glick Picksomatic DSLR astrologically based selection software ...then send me all those pennies you have left over from buying things for 499.99 etc. ...put them in a huge box and send them to me at:
SUREFIRE DSLR CAMERAPIX
99.99 COCKSURE LANE
BALDERDASH , MI 999.99

LEG FEEL WELL PULLED? HOPE SO!

AND, SURE....I know ....
Naturally, there are many other cameras that will work fine and your best friend (and, Aunt Tilly, your brother etc) get “great” results from their $129.00 camera from “Zotzipixle ” camera company from China. Ah, but they are not you ....and, they do not have me to answer to and, when, in the middle of the night, your soul yearns for a decent , nay, great camera...TAKE ONLY MY ADVICE !
I am aiming you at trusted,benchmark makers of very well respected, highly praised, mainstream cameras that are consistently given the highest review comments by the pros. Beyond that ...I am not able to say more ! (what a relief that would be!)

Go forth and spend your money in relative peace!

Enjoy the process!

John Glick

2006

Here is a big “P.S.”

All the labor of doing this blog is for the sharing of information and to help others become comfortable with better photographic skills.
My payback is my own satisfaction and the feedback you may send to me. Let me hear if you have benefited and if you have any good suggestions about ideas that might have been included here(but as of the moment, are not) and who can say-maybe I might be curious enough to take a crack at it!

Thanks !

Please bookmark for your convenience:
The link to this Fresh Plums site is web.mac.com/johnglick

LIGHTING OPTIONS FOR POTTERS

Sun, 25 Jun 2006 21:03:45 -0400

HOW TO USE THEM AND GET GOOD PHOTOS

This is a summary of some major issues often overlooked or misunderstood by potters and others trying to take good photographs.

WHY THIS COMMENTARY CAME INTO BEING
The following commentary grew out of my experience as a juror for the Strictly Functional National Pottery Show several years ago.

The slides submitted for jurying were so inconsistent in quality that I wrote all the entrants a letter of encouragement and offered ideas on how to take better slides. I heard from a number of the potters who expressed their gratitude for the advice.
So, it is with the idea of pulling together all the bits of learning and equipment associated with successful photography that I offer this survey.
The following comments are all generally applicable to both 35mm slide shooting and to the use of digital cameras ( with some notable exceptions)
Because proper lighting is so critical to good results, we will begin with lighting options typically available. I have confined the options to simple (non-strobe)* systems owing to the fact that they work well and are reasonably inexpensive for the most part.

A CAVEAT: I am not a professional photographer! The things I present here are from of my own experiences on the way to taking better images of my work. Doubtless, a photographer would offer more profound explanations and render longer lists than you will find here. Be that as it may, I offer this material in the sincere belief that is will help potters find the path to more successful experiences as they photograph their work.

LIGHTING: TYPICAL SOURCES

THE KEY TO ALL SUCCESSFUL IMAGE TAKING IS THE PROPER LIGHTING OF THE SUBJECT MATTER AT HAND! HERE ARE SOME USEFUL OPTIONS

NATURAL: APPROX. 5000K (COLOR TEMPERATURE)
O.K. , But unpredictable and it isn’t usually available at night! (really?) Constantly changes as sun and clouds interact …thereby changing the color temperature of the light. A really big issue! 
The light reading can go from less than 5000K to as high as 10,000K depending on clouds and time of day! Very iffy!

Must be diffused! Direct use on your pots might be too harsh…producing unwanted hi-lights and loss of detail!
However:
In fairness to an understanding of natural light options …visit Warren Frederick and Catherine Whites wonderful website to see their own pots which have all been photographed using natural lighting. Bravo Warren !

http://www.artistpotters.com/

And, see the Shooting Gallery page on this blog for a workflow commentary from Warren. Thanks !

TUNGSTEN BULBS:3200K(COLOR TEMPERATURE)
Cheap and commonplace. Often called photofloods. Most photo supply stores sell them.
Downsides:
Hot!! ( as in burn or hurt)
Requires diffusion (ALWAYS)
They only last at the intended color temperature (3200K) for perhaps as little as 3-5 hours of use. Some sources say that there is even less “in use” time before the color temperature begins to vary.

They do loose their rated 3200K color temperature over time and that makes the outcome on slides or digital images a “moving target”…meaning there will be odd color casts on your images as the bulbs age. Frustration!
See illustration below of Charlie Cummings gallery photo set up which uses photo flood lamps and a diffuser disc which you can observe hanging just below the two reflectors. Note that there is also a Veritone background in place. Good results!

Note: all images on his website are taken with this setup.

Http://claylink.com/

QUARTZ PHOTO LAMPS:3200K(COLOR TEMPERATURE)
More costly (see resources listings)

Hot ! (unless ones chosen are designed for specific situations and are therefore safer to use. ( ex. Photoflex system john has) see resource listings
These lamps are not going to age badly as do the photo flood lamps.
These are going to produce light at the correct color temperature as long as they last …and,they last a long, long time.

Must be diffused! That is what you see above my head....the diffusion panel on the soft box.

Here I am under the Photoflex softbox making a custom white balance reading using my then, main camera the Olympus E20n. Many of the images on my website were shot in this lighting environment.

COLD FLUORESCENT LIGHT : 5000K ( COLOR TEMPERATURE)
Typical life span: 5000 hours !!
Flicker free
Run totally cool! Very cool! Safe ...no heat to cause fires!
Inexpensive ( see resources listing)
Best to diffuse light (as with any light)
FOR EXAMPLE:

LIGHTS BY PLC CONTINUOUS COOL LITES –THE PLC 360 MODEL
SEE RESOURCES LIST

STROBE LIGHTS
I had said I wouldn’t include strobe ( electronic flash ) lighting in this survey. Then, I am really not doing that because one of the better photographers that your could ever find is Gary Hatcher. See his workflow section in the Shooting Gallery ...it documents his work with strobe light.

If I were advising anyone to get a set up based on a simple lighting concept, this would be what I would suggest using as the beginning point. Safe(no heat), easily moved, inexpensive and has a diffusion device already in place.

OR:
Here is an alternative for those who want diffused lighting that is pre-packaged:
There are a number of “photo studio-in-a box” products coming into the lighting market. Typically these are nylon fabric panels with a lightweight structure that forms an open sided box. Included parts may be background material, camera stand and lights.(or, not) Sizes begin in the 16” cube scale up to at big as 48”cube.
Convenient and portable, these units may solve the problem for some potters. Their limitations are usually associated with their finite dimensions, lack of versatility for large pieces etc. Prices begin at about $95.00-$120 for the small units.

www.americanrecorder.com

, adorama.com or see results from a google search on tabletop photography or light tents etc.

A WORD ABOUT DIFFUSION -WHY SHOULD WE CARE?

Regardless of what light source we use, without diffusion we end up with harsh highlights and loss of detail in images!

How to diffuse light? We use:
Vellum as a diffusion material
Inexpensive table covering plastic sheet ( see Acme Lites-A- Lot)
White cloth
Commercially available diffusion discs(as Charlie Cummings uses in his gallery setup as seen above)
Softbox systems ( Photoflex as John has)

CAUTIONS: HEAT !!

Photo flood and quartz lights produce high heat and pose a fire hazard unless properly used. Even then, they are a potential risk and probably not worth the chance of fire risk.
So, safe distance from lamp to diffusion material is critical! Common sense with hot lights is critical !

Experiment with those distances and set up your system so no accidents can happen…leave nothing to chance!

Recall that cold fluorescent lights are “cool” lights-making them a great candidate for a more worry free set up.

Softbox systems (by Photoflex) if designed for a quartz lamp are suitable. John’s system is that approach.These systems are quite costly, however.

RESOURCES :
CALUMET PHOTOGRAPHY

http://www.calumetphoto.com/

PHOTOFLEX KITS, BULBS , DIFFUSION DISCS, BACKGROUND PAPER Etc

Typical Photoflex kits $500.00 –600.00 with soft box, stand and light unit called a Starlite Quartz light designed to handle the heat with little risk to the provided soft box.

Diffusion discs (zip discs , lite disc) costs $40- for 32” and $50 for 42” bigger is probably better.

Seamless background paper!
The one I use is oxford gray and I buy the large 107” size width -about $40.00 for big pots I have to shoot. Most folks could get by with the smaller 53” width roll(about $25.00).

Note: this is solid color paper, not the graduated tone Veritone vinyl mentioned below!

Photography –Lighting.com

http://www.photography-lighting.com/coollightslites.html

PLC 360 continuous Cool Lites
One Light kit on stand is $189.95 plus shipping of $20.00
Two might be required! Typically, one overhead, one as supplemental side light. This Cool Lite shown slightly above this section of the page is a 16” diameter fixture.
Note: These are 5000k bulbs and would require the use of an appropriate filter on your lens if 3200k Ektachrome film is used for slides taking. Simply tell the photo store folks what light system (color temp) is being used. For digital, a white balance adjustment would be needed to set the camera to this light source. Nothing unusual there. Pricewise, these are more than the Adorama offering seen below.

SMITH VICTOR LIGHTING KIT From Adorama Camera

This is another option for cool, fluorescent lights. Smith Victor makes a three light kit and Adorama Camera sells them . This is a good set up owing to the fact that you get one boom mounted fixture and two stand mounted lights.Each fixture houses three bulbs of 5000K output. I would put diffusion material in front of these units...typically, something like vellum since there is no heat generated by these three bulb fixtures. These may come with manufacturer supplied diffusion covers. Price is $369.95 from Adorama.com for the kit. Great price for three units!!

WOW!! Here is a great source for consideration !!
Britek
The Studio Technology: www.briteklight.com

This is their kit PE9040 W/ 2 stands, 2 soft boxes, 2 1604 light holders, 8 bulbs. Watch for sales ...this was listed in March 2007 at $225.00!! They or others will offer a boom to add functionality to this set up. They offer a variety of kits worth checking into.

This is the core of the kit shown - the four light 1604 Pro Light Bank. This could be easily be used in a self-made soft box like my Acme Lights -a-Lot set up.
This costs $ 46.77 as it appears here. 6400K at 800 lumin. Naturally, without diffusion, this is far too harsh for our needs!

Want more output? Check out this:
3204 Pro Light Bank 6400 K, 4 larger bulbs with an output of 2600 Lumins! Stand back! $ 76.77

THEN THERE WAS ExpoDisc !!!

Ah, come on ! Why do we have to know all this STUFF about cameras and goofy gadgets!!
Because !
There is a really cool goodie that may very well make your photography life a lot better!
Check our the ExpoDisc on the ExpoDisc site first of all at: www.expodisc.com
Read the reviews!
George Schaub, editor of Shutterbug magazine reviews this white balance aid very favorably in the May 2007 issue of the magazine.Well worth the read !

Lots of pros are raving about the little disc that really works to improve on the auto white balance feature on most cameras. I use one with my Nikon D200 !

It sort of looks like a filter or a lens cover. Nope!
Placed over the lens and camera is aimed at the light source ( in my case, the soft box I light with) take a custom white balance reading and save it in camera. Remove disc and shoot with refined and greatly improved white balance setting you have achieved !

Never point at the sun , though, as that little mistake can ruin your sensor!! The supplied instructions tell you how to accomplish outdoor readings safely.

This is an ExpoDisc...isn’t it cute ? The mascot for the company does not come with it ! It is there in sprit though. Not cheap...expect to pay about $75.00-100.00 and up depending on lens diameter.

Over all...read the ExpoDisc site for comments by pros , side -by-side comparisons of images taken with auto white balance and then with the corrected W.B done with the ExpoDisc ...amazingly transformed!
They also offer other related items. Must read!

HERE IS A GREAT NEW CONTENDER IN THE REALM OF EASY WHITE BALANCE ASSISTS!

MEET: Lally CAP This is a one size fits all white balance aid that folds and stores readily and offers instant reads for all lighting situations.

Find Lally CAP at http://www.lallyphotography.com/store/
Priced at about $30.00 with s/h
If I didn’t already have the ExpoDisc, this would be my pick! Yep.

Misc, and etc.

MOST ANY PHOTOGRAPHY STORE

Photo flood bulbs
Inexpensive reflector lamps
Filters for lenses to correct for color temperature issues with 3200k films
GRADUATED BACKGROUND MATERIAL
Here is a unique solution that solves the problem of a graded tone behind your pieces rather well. This is a pre-printed, graduated tone vinyl sheet that will offer a great transition from gray to black on the background of your shooting set-up.
Called – Veritone (actually a vinyl - like material which is more durable than paper (which scuffs easily) Note: the Veritone material can also be damaged by rough pot bottoms! Once damaged, such mars become very visible to the lens and there is no such thing as a touch up for damaged Veritone surfaces. And, unlike seamless background paper, you can’t roll down more and cut off the scuffed area! Some folks are doing fine with Veritone...others might prefer the flexibility of paper. Flip a coin.

A 42” x 62” vertical format sheet is about $60.00
A 31” x 43” sheet ….about $32.00
The wise choice is the wider one since lenses can see the rear-most edges and you will see the edges of the background material in your images if you have a wide pot to shoot.
http://www.phototechinc.com/graduate.htm

MOST ANY ART SUPPLY STORE
Vellum ( a pad of it in large size ) for diffusion material.
Another good source for cheap and great diffusion material is what you see in use on the Acme Lites-a-Lot page ...the inexpensive table covering material shown in use for the two diffusion components on the soft box we made. It is a translucent semi matt surface and ideal as a diffusion material. Cheap and found at party supply stores.

Foam core board to make “bounce” cards for directing light.

Please bookmark for your convenience:
The link to this Fresh Plums site is web.mac.com/johnglick