Saving pictures with sharpening.

Enhanced with Photoshop Smart Sharpen.

I like to say that sharpening doesn't really work, and it doesn't. It is actually an edge effect that increases contrast along the edges in an image, giving the illusion of sharpness. The truth is the sharper the image, the cleaner the edges and the better sharpening works. All that said, if you are using an image small on the Web or simply making snapshot sized photos, sharpening can save a picture that is just a little too soft when it comes to focus.

Unsharp mask, despite its name, is usually the best choice for sharpening. There are three controls to be set when using unsharp mask (USM): Radius, threshold, amount. I usually use a radius of about .8 pixels, a threshold level of about 3 and for amount I like to vary the percent but 100% is a good starting point. The radius controls the size of the edges affected (too much and you will not sharpen small details); The threshold controls the brightness level at which sharpening starts (too low a setting and you sharpen grain); and the amount is the overall strength of the sharpening effect (too much and you will produce the infamous halo effect known as over sharpening.)

A couple of caveats: Sharpening is irreversible. Always save an unsharpened original. (I always save my original, unenhanced images. I save my enhanced images under a modified name and thus do not overwrite my original image.) And always apply USM last. Sharpening is the very last thing you do to an image before saving it. Remember, digital images are inherently a wee bit soft; A wee bit of USM before saving is always a good idea.

If you have Photoshop, I have CS5, you might play with the Smart Sharpen setting. I have been quite impressed with it thus far. Click on the Smart Sharpen link to see the Adobe instructions. USM emulates an method used in the good old days of film to give the illusion of a sharper image. Smart Sharpen takes sharpening control to another level.

For more details on USM sharpening, click on this link to the Guide to Image Sharpening. Read the info in the guide and you will know more than the average pro photographer about USM.

It gives me nuts!

My little Fuji FinePix HS10, and it is rather little compared to a full-fledged DSLR, is fun. Yet, I have to agree with the little boy who said about something that bothered him, "It gives me nuts!"

For years I shot with a high-end Canon EOS DSLR. The quality was superb. Now, shooting with what is essentially a sophisticated but dated point-and-shoot, I have to make some trade offs. I say dated because there is now an HS20 and it reportedly fixes some of the problems that I have encountered with my first generation camera.

But what the HS10 lacks in absolute quality, it makes up in fun. I shoot for the Web or to make small snapshots. The quality is more than adequate for my needs.

This shot of a young bride dancing with her father was shot at ISO 800. I popped some straight on strobe into the scene, punching up the highlights and to opening up the shadows a smidgen. I set the zoom to its widest setting, 24mm, laid down on my stomach and with the screen on the camera back pulled out and rotated, I composed my picture.

I may not have ultimate quality but I have a picture with visual impact. It is a different shot from the one being captured by the photographer standing off to the side with a high end Canon camera equipped with a pro telephoto 'L' lens. It is a judgement call but I prefer my angle. Now, if I just didn't have the shutter lag I must contend with. (Reportedly, the new HS20 is not bothered by shutter lag to the same extent as my older model.)

Fuji FinePix HS10, lens cranked out to telephoto. Auto.

With ultimate quality well out of my reach when shooting indoor stuff like the above, I must cover myself by shooting other images outside using lots of available light. Unfortunately, it was heavily overcast on the day of the wedding. Shooting inside a covered gazebo, I was still up against some low light level issues.

Note: When shooting the bride, groom and groom's parents, I was well off to the side to stay out of the way of the photographer hired to shoot the wedding. This angle has the benefit of making for a tighter grouping with almost no dead space between the subjects' heads.

I got the images I needed with a camera I can easily carry and I'm happy --- even though the little devil can really "give me nuts."

Rules are made for breaking

Wide angle setting on a Canon S90 on fully automatic. No room to get back.

 Never shoot a portrait with a wide angle lens. It's a rule. Use something between 85mm and 135mm. I like 105mm, myself.

Yet, if the space is tight and the portrait is begging to be shot, forget the wide angle rule.

My granddaughter loved the blue Jelly Dog the moment she saw it in the store. Her dad made the mistake of letting her hold the stuffed animal "temporarily." Giving up that blue doggie was tough but Fiona did it. But her dad couldn't give up the stuffed dog as easily. He carried the memory of his daughter's delight and subsequent disappointment for days --- until he returned to the store and bought Blue.

I saw Fiona clutching Blue tightly to her cheek while sitting in her backward facing car seat. The 85mm was out; No room. The 28mm was in and so was the picture. So she's a little distorted, I can live with that.

The lesson: always take the picture. Always. If it doesn't work out, so what. But if it does . . . Eureka!

Fuji FinePix HS20: good for newspaper reporters

The HS10 captured both the speaker and the screen image.

For more than three decades I was a staff photographer for a daily newspaper. First, I worked in Sault Ste. Marie and then, after earning my BAA in filmmaking from Ryserson, I went to work for the Blackburn Group in London, Ontario, owner of The London Free Press.

During my time at the papers, reporters rarely took pictures. Double-threat folk were rare. Today all that has changed. Reporters shoot both still pictures and video and photographers carry video cameras, do online reports and write the occasional story.

I humbly suggest that the new Fuji HS20 may be the camera that today's reporters should be carrying. It is an even better camera than its predecessor, the HS10, and I use the HS10 for shooting news and posting to the web.

Colour excellent but Photoshop needed for sharpness.

The other night I covered an indoor event at the Covent Garden Market downtown. I set the camera to capture indoor scenes, triggered the Best Frame Capture (BFC) and easily grabbed some shots to illustrate my story. Using BFC is important as it is hard to time picture-taking perfectly with a point-and-shoot. There is less shutter lag with the new camera.

I was very happy with the exposures, although the images did benefit from a brief visit to Photoshop. This was mostly to sharpen the shots before posting to the web. Using the lens zoomed to telephoto indoors meant that I was shooting at a wide-open aperture setting with a very long lens. Absolute sharpness was, I hate to admit, poor. Thanks to  Photoshop the images were fine for the web and would be equally good for publication in a newspaper.

I would not like to make a huge enlargement from the two images shot with at telephoto.

Newspaper reporters cannot devote a lot of time to their pictures. Remember, they are covering a news story. They need to follow what's happening and grab some good quotes as well. This means they must learn to think pictures. They must know what they want and then get it and be done with it. Reporters can't waste time taking too many pictures.

I staked out a position where I hoped I would be able to line up a monitor in the background with a speaker in the foreground. When a slide appeared on screen announcing the name of the event behind councillor Judy Bryant, I wasn't lucky, I was ready. Likewise with the mayor, Joe Fontana. With publishable pictures of both Fontana and Bryant captured, I grabbed one last shot showing the density of the audience and showing some of the well-known Londoners in attendance.

(Below) The fellow in the lower right is sketching out his vision for downtown London. This is perfect. This image captures both the reason for the event while, at the same time, illustrating its success.

At wide angle the images were sharp as expected.

My story, complete with art, ran here and here. I'm still not a great reporter but I am proving that both jobs can be done successfully by one double-threat reporter/photographer.

Pixels and quality

Shot with a Canon SD10 set to macro photography. Camera was hand held.

There is a belief when it comes to pixels, the little light gathering units making up the film-replacing chip in your digital camera, that more is better. As many are now learning, this is not  necessarily so.

I noticed this when I moved up from my little Canon SD10. The images I captured with that simple, little camera with its 4MB sensor were quite phenomenal.

I went to the library to research this topic but I have been slowed by some health issues. Please, come back in a week and maybe I'll have a post and some answers.

This was also shot with my Canon SD10. This time a tripod was used.

Cheers,
Rockinon

Shooting a simple portrait

Shot with a Fuji FinePix HS10.

 The definition of portrait photography has broadened quite a bit over the past decades but staying tight on the subject's face is always a winning approach. Capturing good catch-lights in the eyes is usually a plus, especially if the picture is a positive treatment of the subject. If the subject is brooding, all bets on the value of catch-lights are off.

Recently, I entered a portrait competition and submitted a loosely cropped picture of Fiona asleep. It was cute but was it a portrait, even an environmental portrait? When I saw some of the other entries I decided I had interpreted the contest assignment far too broadly.

The winning photo was a beautifully lit cat. The image was sharp, it was full of detail and it was cropped nice and tight. There were catch-lights in the eyes. It shouted portrait about as loudly as it shouted cat. It deserved to win.

The shot today of Fiona is better. It's tight but there is a little bit of camera movement. This image isn't sharp enough to be a winner. And, if you look at Fiona's chin and upper lip on the right, there is a gray shadow that should have been removed in a photo enhancement program like Photoshop. The gray tint would be much better rendered in warm, pink flesh tones.

Getting this image presented some hurdles. One, it had to be shot with the lens zoomed in a little to a mild telephoto setting. Wide angles are poor for shooting portraits, especially if you are in close. This made handholding the camera a bit harder. In situations like this it's best to brace the camera if possible, although the stabilizers in today's cameras help a lot.

You must also watch the focus. In a small room, it is easy too be too close to the subject for the lens to focus accurately. You must be careful; The small image on the back of the camera may look sharp at a fast glance. It can fool you. When you download the image, you will find the image is only acceptable when viewed very, very small.

One answer to the focus problem is to shoot just a little looser than you'd like and crop the resulting image to the portrait you were aiming to shoot right from the beginning.

Think: subject, environment, composition

I shoot so many pix of Fiona, she brought me my Fuji.

When shooting pictures don't just think subject; Although, a fine subject can often carry a weak picture. Try to think subject, pictorial environment (background/foreground) and composition.

The subject should be almost stand-alone good. Fiona is back-lit and captured in the middle of an action. She's not looking at the camera. All in all, there is nice feel to this image of a small child.

Adding, or maybe I should say not taking away, from the importance of my subject is the great expanse of gray pavement. There is little in either the foreground or the background to distract us from Fiona. The only colour in the picture is the little girl; This is a bonus.

The composition helps to strengthen Fiona's importance in the picture. She is dramatically placed high in the top right corner with a strong, dramatic diagonal shadow guaranteeing our eyes go straight to the her.

With today's digital cameras there is no excuse not to experiment. Shoot lots and stay alert. This isn't the only good photo from this shoot but it was my favourite.