More On Aperture Plug-ins

No sooner had I published the article on Apple Aperture and the plug-ins (see below) that I got a post saying that the excellent Noise Ninja was now available too.

Being a long time user of the software I’m delighted that its available for Aperture. Admittedly, with some of the newest pro DSLRs the high ASA noise levels aren’t too much of an issue, but once in a while you’re forced to get rid of some noise and in my experience, Noise Ninja is the best and most subtle looking out there. They have a trial version, so give it a go!

Looking into the plug-ins scene, there appear to be more than 70 now available. Whilst some are a bit gimmicky, there are certainly a good number that are very useful.

Microsoft Say Sorry To Photographers

Thankfully it seems that Microsoft have realised that they had totally screwed up with the Iconic Britain competition and in an interview with ePHOTOzine have said that they never meant to disrespect photographers’ copyright.

Aperture 2.1 & The Plug-ins

I’ve been a big fan of Apple’s Aperture software for around two years now. I started using it (and switched over to the Mac platform because of it) when the software was on version 1.5.

A lot has changed since then with version 2 and now 2.1. The program runs a lot faster and has made big advances in editing speed. Even on my tightest deadline I use Aperture without hesitation. Its elegance, speed, robustness, full control over RAW and jpeg editing and its digital asset management have me completely hooked.
One of the biggest things is that the program now has a plug-in structure which allows Aperture to use third party plug-ins. Apple provide their own plug-in for dodging and burning.
I’ve been using two of Nik Software’s plug-ins; Viveza and Silver EfexPro. I’ve been using these for a couple of weeks now and I’m very impressed. They have now become part of my workflow.
Viveza’s user interface.
Viveza is absolute genius. In Aperture you click edit with Viveza which creates a copy of your original (it keeps your original file as it was and is non destructive, exactly like Aperture) and opens it in its own window. In a nut shell, you click on control points and select the area of the image you need to change.
Viveza can show you a before and after of your image. The control points are shown by the little dots on the image.
The control point then gives you a set of sliders which choose circle size, brightness, contrast and saturation. By clicking on the colour you want to change, it only makes these changes to that particular hue and the surrounding area of the same value, within the circle diameter you choose. Very easy, fast and accurate. Its much faster and more elegant than exporting into Photoshop.
Silver Efex Pro is equally amazing and is by far the best monochrome converting software I’ve come across. You export to it in the same way as above. It has a series of pre-defined B/W styles on the left side and the control point system on the right hand side of the user interface. It also allows full control over brightness, contrast and structure. On top of this, it also has a set of commonly used B/W filters which you can click. It gets even better though as it lets you vignette and burn in the edges of your image (addressing each edge separately).

You can get trials on all the software and I definitely recommend giving these a go.

Red Bull Air Race, London. Part 1

I spent Friday through to Sunday covering the Red Bull Air Race in London. Its an amazing site to see. These tiny little planes fly at around 220-230 mph around a course of air gates set along the River Thames just by the O2 (formerly known as the Millennium Dome).

I decided to go to the practice day on Friday to get a feel for the course and the way the planes flew. It was also a chance for me to practice and figure out the best settings to use. The way to photograph any aircraft with props is to make sure that there is blur on the rotating props so as to make it look like they are actually flying; otherwise you get a very fake looking image which looks like you’ve just stuck on the aircraft to the background.
Easier said than done though! These tiny planes are so small and so quick that my initial thought of using a 250th of a second shutter speed proved wrong. After a lot of experimenting I decided to settle for between 640th and 800th which was slow enough for prop blur, but fast enough to let me pan and get a sharp picture of the planes.
The other problem was the very quickly changing light levels and this turned out to be one of the rare occasions that I didn’t shoot on manual exposure. I set my Canon 1D MkIII bodies to TV (shutter priority), and dialled in around a plus stop on the exposure compensation.
My lens choices were the 16-35mm f2.8L MkII, 24-70mm f2.8L, 70-200mm f2.8L IS and a 300mm f2.8L IS, usually with a x1.4 converter attached.
A lot has been said about the 1D MkIII and its focusing issues. When the camera first came out, I did a review for the BJP and I wasn’t impressed by its focusing ability. However, since the hardware fix and the new firmware, the camera behaves like a totally new tool and at most I must have had a 5% out of focus rate (actually probably even less than that). I was very impressed by its performance and standing in almost constant rain on Sunday did nothing to hamper performance.
This was the first proper outing for my new Think Tank Photo “Skins” pouches and I must say I was very impressed with the way they worked.
The days were long, editing even longer (so many pictures!) and captioning longer still; it was a nightmare matching up the pictures to the pilots! A big thanks to Red Bull for having really useful press packs though, fast ethernet connections and most importantly an espresso machine in the press tent!

Red Bull Air Race, London. Part 2





"Iconic Britain" Competition By Microsoft=Copyright Theft

Microsoft has launched an interesting competition called “Iconic Britain“; a nice idea which alas is wrongly executed. In a nutshell its allowed entrants to enter any work considered iconic; the entrant doesn’t have to be the copyright holder. These images will be published on their web site and voted for. According to Microsoft, if an image makes it into the top 100, they will then find the copyright holder and ask for a license.

Pro-Imaging” has an interesting write up on this competition and is campaigning for copyright infringements to be brought to Microsoft’s attention.
Nikon who are a supporter of the competition have thankfully pulled out of supporting the competition following concerns by photographers.
I strongly urge photographers to look through the results when they are published and follow the suggestion made on Pro-Imaging.