Flange Focal Distances

The distance between the outermost surface of the lens mount and the film/sensor plane is known as the flange focal distance. SLRs typically have longer distances to acommodate the mirror, which results in larger lenses. Rangefinders and mirrorless cameras which do not require a mirror box tend to have smaller lenses and more compact dimensions.

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Halloween Nor’Easter 2011

When a tree fell on my neighbor’s deck, I reached for the iPhone. With its all-glass exterior and the “bumper” which acts like a rubber gasket to guard against the elements, it’s fairly impervious to the rigors of a snowstorm. Bottom line, it got the shot in the pinch, and the pictures are sharp. I was able to send them to my neighbor directly from the iPhone through either messaging or email.

Camera Update: Samsung NX200

Samsung NX200: Serious design, but still missing a viewfinder.

They hit the ground running with the NX100, but sadly they’ve dropped the ball with the NX200.

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Sensor Size Comparison

Confused by how sensor sizes are designated? You’re not alone.

Sensor sizes smaller than small format are expressed in a ratio that describes the diagonal measurement of the frame. For example, a 1/1.7" sensor is 1 ÷ 1.7 = .588", and a 2/3" sensor is 2 ÷ 3 = .666". This gives a rough means of comparison, but doesn’t take into consideration the aspect ratio.

It also doesn’t take into consideration pixel density (the amount of photosites per square millimeter). One sensor of a given size may have a higher pixel density than another of the same size, but that doesn’t necessarily mean that it has a higher resolution. This is because the photosites in a more densely packed sensor are smaller, and have less light gathering ability. This can lead to increased noise, which ultimately degrades resolution.

Here’s a comparison of some of the many different sensor sizes used in digital cameras of all types, along with their physical dimensions, crop factors, aspect ratios, area and some of the cameras they’re used in. Each image is created actual size, although they may appear differently depending on the screen dimensions and resolution of you computer’s display.

Medium Format

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Mamiya (48mm x 36mm)
crop factor 0.66x, aspect ratio 4:3, area 1,728mm²

Used in the Mamiya RZ33 (33MP) medium format DSLR

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Kodak KAF-37500 (Leica) (45mm x 30mm)
crop factor 0.80x, aspect ratio 3:2, area 1,350mm²

Used in the Leica S2 (37.5MP) medium format DSLR.



Small Format

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35mm Full Frame (36mm x 24mm)
crop factor 1.0x, aspect ratio 3:2, area 864mm²

Used in 135 film cameras, Canon EOS 5D Mark II (21.1MP) ; Leica M9 (18MP), Nikon D3X (24.5MP), D700 (12MP), Sony a900 (24.6MP).

Also Known as Nikon FX

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APS-H (Canon) (28.7mm x 19mm)
crop factor 1.26, aspect ratio 3:2, area 513mm²

Used in older Canon DSLRs

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Kodak KAF-10500 (Leica) (27mm x 19mm)
crop factor 1.33x, aspect ratio 3:2, area mm²

Used in Leica M8.2 (10.3MP)

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APS-C (Nikon) (23.6mm x 15.7mm)
crop factor 1.5x, aspect ratio: 3:2, area 370.5mm²

Used in APS film cameras; Fujifilm Finepix X100 (12.3MP); Nikon D300S (12MP), D7000 (16.2MP), D90 (12MP), D5100 (16.2MP), D3100 (14.2); Pentax K5 (16.3MP), Kr (12.4MP); Samsung NX200 (20.3MP); Sony a580 (16.2); NEX-7 (24.3MP)

Also known as Nikon DX

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APS-C (Canon) 22.2mm x 14.8mm)
crop factor 1.6x aspect ratio 3:2, area 328.6mm²

Used in Canon DSLRs

Premium

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Four Thirds (17.3mm x 13mm)
crop factor 2.0x, aspect ratio 4:3, area 224.9mm²

Used in Four Thirds and Micro Four Thirds cameras; Lumix DMC-G2, DMC-GF2, DMC-GH2, DMC-G3; Olympus E5 DSLR, PEN E-P3, E-P2, E-PL3, E-PM1

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Nikon CX (13.2mm x 8.8mm)
crop factor 2.7x, aspect ratio 3:2, area 116.2mm²

Used in Nikon 1 V1, J1

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1" (12.8mm x 9.6mm)
crop factor 2.5x, aspect ratio 4:3, area 122.9mm²

Used in commercial video surveillance cameras.

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2/3" (8.8mm x 6.6mm)
crop factor 3.6x, aspect ratio 4:3, area 58.1mm²

Used in Fujifilm Finepix X10 (12MP).

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1/1.7" (7.6mm x 5.7mm)
crop factor 4.21x, aspect ratio: 4:3, area 43.3mm²

Used in “bridge” and “premium” mid-sized cameras; Canon PowerShot G12 (10.1MP), PowerShot S95 (10.1MP); Nikon Coolpix P7100 (10.1MP), Coolpix P5100 (12.1MP).


Compact

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1/2.3" (6.16mm x 4.62)
crop factor 5.19x, aspect ratio: 4:3, area 28.5mm²

Used in compact “shirt pocket” cameras, Canon PowerShot SD780 IS (12.1MP), Nikon Coolpix S series; Pentax Q, Optio, RZ series.

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1/2.5" (5.76mm x 4.29mm)
crop factor 5.59x, aspect ratio 4:3, area 24.7mm²

Used in compact “shirt pocket” cameras.

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1/3.2" (4.5mm x 3.4mm)
crop factor 7x, aspect ratio 4:3, area 15.3mm²

Used in the iPhone 4S (8MP)

Two-Drive Archiving Workflow

When it comes time to archive to optical disk, I do it in a batch; assembly-line style using two drives.

Over time, I organize the files in folders named with their proposed volume names. I can preview the size of each folder to confirm that its files will fit on the media I plan to burn it to. This naming convention is appended with a unique code that cannot be repeated…the date! For example, “Images 20111028” wherein the date is that of the most recent file on that disk.

Once everything is staged, I can burn when I have a free moment, working from the oldest volume to the newest. I burn on the external drive, and when it’s finished verifying, I eject it and place it into the internal drive. This ensures that it will in fact mount using the internal drive (some burns may not compatible the first time around, or even between certain drives, although I’ve never encountered the latter).

I then use this drive to catalog the disk (currently I’m using CD Finder) while I load a blank optical disk in the external drive and start burning that. When I eject the cataloged disk from the internal drive, I write the volume name in the clear section near the hole with a Sharpie. (Never write anything on the data area; over time, the chemicals in the marker can eat their way through the lacquer coating on the “label” side and damage the reflective metallic coating on the data layer, causing possible data loss.)

This helps to speed up an otherwise arduous task.

Expositor Lite

I’m still discovering useful photo apps, like exposure lookup tables and depth of field calculators. Many of the reference notes that I keep on my studio workstation are now available to me in the field on the iPhone as an app. Even when I’m in the studio, I’m finding it’s more convenient to dial the numbers into an iPhone app than to look them up on a table.

Again, some apps don’t work, or have clumsy interfaces that make them difficult to use. I have no problem plunking down a couple of bucks for an app as long as it works. The best formula seems to be the free app with either limited features or ads, which I can use to assess the quality of the paid version.

Expositor Lite is like that. The interface is a little different from the typical exposure meter paradigm, but it’s very usable.

The Lite version has a limited exposure range and feature set, making it suitable only for daytime photography. Purchase the full version, and you get half-stop increments, an EV range of -6 to +16, an ISO range from 25 to 25,600, apertures from f/1 to f/32, shutter speeds from 1/8000 to 30 seconds, and exposure compensation from -10 to +10 stops. Definitely a candidate for purchase at a mere $1.99.

TiltShift Generator

This is one of those apps I consider to be more entertainment than a true photographic tool. It simulates the effect of the tilt function of a tilt-shift lens. It creates the effect of turning reality into a scale model by blurring everything but the main subject.

When a lens is tilted, it alters the depth of field, creating an extremely narrow plane of sharp focus. The effect is similar to that of photographing a scale model, in which close-focusing results in narrow depth of field. As the distance from the lens increases, the depth of field increases as well. Tilting the lens creates a narrow depth of field where it would not normally exist.

The effect can be simulated in post processing by masking out the objects in a given focal plane, and blurring everything else. TiltShift generator allows you to create masks of different shapes and sizes, and blurs the image around them, simulating the simulation. Although it does not create its masks based on the focal planes within the image, the results can be quite effective in certain images.

The app also allows you to adjust the brightness, saturation and contrast of the image during processing. It’s fun, and depending on the image its effect can be quite engaging. Since there are no known Tilt-Shift lenses for the iPhone, it does add a sort of functionality to it.

Light Meter Free

Next on my list of iPhone photography tools is a light meter.

Light Meter is a free app which emulates a traditional light meter, and it does so quite well. It has a display similar to that of the LCD of a modern electronic light meter and allows you to lock either the shutter speed (Tv) or aperture value (Av). Both “+” and “-” keys and a slider are provided to adjust the shutter speed in full stops, the aperture value in half stops, and the ISO in third stops. It’s also possible to set an exposure compensation value in third stops.

The interface is certainly easy to use, but how accurate the meter is remains to be seen through further testing. Also, there is no means of attaching the meter to the camera’s hot shoe as there is in the case of the Gossen DigiSix. But certainly in a pinch, it’s handy to have.

ColorChooser

ColorChooser is a free app that allows you to pick a single color (or capture a sample with the camera), and displays two, three or four coordinating colors based on established color theory models.

It provides hexadecimal and RGB values for both web and print designers. You simply select the color model desired, and drag the main color around the color wheel to vary its hue and saturation level. The remaining one, two or tree coordinating colors move in relation to the main color, both in terms of hue and saturation. You can alter the position of the coordinating colors on the color wheel for a “custom” scheme, and they stay locked to the main color.

A rectangular color picker is provided to allows you to vary the saturation and luminosity value for the chosen hue. Ample color swatches are provided, including a lighter and darker variation for each coordinating color. You can save the color schemes and reload them at a later date, and you can even email the colors directly from ColorChooser.

Highly recommended.

Introducing the Fujifilm X10

Fujifilm X10; For Rangefinder Lovers.

Well, this is not quite what I had in mind, but it’s a start. A wonderful start.

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Fall Flowers

ColorWise

After much searching, I found a paid app to sample color from the iPhone. As a professional, I require a L*a*b* readout, and there aren't many out there that do L*a*b*. And, many apps don’t work at all, or are poorly written.

ColorWise costs $2.99 and will allow you to sample live, from a captured image, or from an existing one. It displays the samples in the following color spaces: RGB, HSB, CMYK, CMY, Lab, hLab, and XYZ. It allows you to save your samples as swatches, and arrange them in any order you choose.

I gave it a try in a real world situation, and it worked like a charm. Of course, I was using it under ideal, calibrated lighting conditions, but it put me in the ballpark far quicker and more accurately than guessing would have. Of course, it doesn’t replace a real colorimeter, but just like any tool, if you learn to work around its shortcomings, you can get surprising results.

This app is now a staple in my collection of color tools.

Camera Plus Pro

I really tried to resist buying a camera app, but when a colleague showed me Camera Plus Pro, I just couldn’t resist.

With a clean interface and some very usable features, this app adds some of the functionality I’ve grown used to such as a self-timer, white balance lock, burst mode, keywords, and separate exposure and focus control. Unfortunately, it doesn’t use the volume + button as a shutter release, but perhaps a future update will incorporate that.

But what I really found useful is that it also allows to you apply filters to new captures or existing images, and has superior post-processing controls.

As a professional, I view these apps more as entertainment. But even I have to admit, they’re fun and useful, especially when I’m on the road away from my primary workstation. Well worth the $2.99 price tag.

More Than Meets the Eye

It pays to read the manual from time to time.

I remember reading in the iPhone promos that the camera could be acessed quickly from the lock screen. Boy, could I have used that on my commute home.

To learn how to do this, I consulted the Apple website, which also informed me that the camera has a digital zoom feature. Sure enough, a pinch gesture causes a zoom slider to appear. This rounds out the feature set for me. I don’t think I’ll be seeking out a replacement camera app. I did download a 360 panoramic camera which stitches together individual image captures, creating an enormous montage of poorly composed images, and the post processing apps are of greater interest than trying to second guess Apple’s app.

So now, I merely double-tap the home button, a camera icon appears, and I tap that to launch the camera. Much faster than logging in.

Mums

Blogging from the iPhone

I recall from my first attempt at blogging from my partner’s iPad that I would have a problem. The iPhone is no different.

The iPhone and iPad versions of Safari are not the same as the desktop versions. Therefore, compose mode is not supported. This mode is necessary for any kind of formatting. Still it does seem to be possible to compose in HTML mode, which I seem to recall didn’t work before either. Well, at the very least I should be able to get a basic post up and refine it later on.

Technology is wonderful when it works, but so frustrating when you come to depend on it and it doesn’t.

First Impressions: iPhone 4S…This Changes Everything

Mark this day: October 14, 2011: The Day of the iPhone.

My partner and I finally purchased our first iPhones today. We couldn’t wait any longer, so we did it as soon as they were available. We didn’t pre-order them, and the whole process for three phones took about two hours. Relatively painless.

The timing was perfect, because my antique Motorola V.90 was in dire need of a new battery, and my two-year-old iPod touch wasn’t far behind. But more importantly, this release, the 4S, has increased speed and features with the same industrial design as the former. It’s likely that the iPhone 5, due next summer, will incorporate a major face lift, and I’m very happy with the current design. And, historically, this is Steve’s last iPhone, for which the “S” has been frequently attributed.

It’s not like I haven’t been following the development of the iPhone, but to hold it in one’s hand is a different story. It truly is a marvel of engineering.

First Impressions
It’s much thinner than I imagined. The build quality is impeccable. The stainless steel band around the outside, the buttons, even the tiny speaker and microphone grill have a gem-like quality. I gave a little cheer the when I had heard of the glass front and back when they first announced the iPhone 4. All of these are truly durable surfaces.

As for a case, there are so many options out there I could’t decide, so for now I opted instead for the “classic” Apple bumper. The cases seemed to add extra thickness that the bumper didn’t, and the glass back is far more durable than the highly polished stainless-steel back of the iPod touch. The bumper is also impeccably designed with matching stainless-steel buttons.

This is not merely a phone, but a Swiss Army knife for day-to-day existence. It was a guilt-free purchase for me, not only because I’ve held out so long, but because this replaces so many devices; cell phone, MP3 music player, camera, video camcorder, voice memo recorder, stopwatch, alarm clock, timer, calculator, etc., etc. And that’s not to mention all the apps that give you things like a compass, a level, a flashlight, etc., etc.

But of course, all this is leading up to the most exciting thing for me. An 8MP camera with a 5-element f/2.4 lens.

I found the camera to be very impressive. It’s simplicity itself really; you just point and shoot. The camera does actually autofocus (if you look closely you can actually see the lens moving in and out!) and the focus zones are selected simply by tapping on the screen. The LED “flash” has three modes, auto, on and off, and is quite helpful, although its coverage is a little narrow for the lens’s 35mm angle of view. There are selectable grid lines that follow the rule of thirds, and the HDR feature does an amazing job, not of creating images with a creative bent, but of extending the dynamic range of the image to include highlight and shadow detail that is usually lost.

Apple’s previous take on the digital camera, circa 1996

One thing I was very impressed with was that when you use the camera in the correct orientation (with the LED flash above the lens) the volume “+” button doubles as the shutter release. So, you can gradually squeeze it to take your shot. This promotes a much more stable holding position to ensure sharper images.

Don’t get me wrong. This can’t hold a candle to even the Canon SD780 IS. But, it’s still an amazing tool for reference, and to get that shot that you otherwise wouldn’t have if you forgot to pack your real camera.

There are dozens upon dozens of photo apps out there, but it’s unlikely that they will actually add any real functionality to the camera. It’s more likely that they will add a few features, like a self-timer, and allow you to modify existing images. But I will be looking closely at these, reviewing them from time to time. There will definitely be a new section of ATG devoted to the iPhone. Personally, I’m on the prowl for an app that can substitute as an exposure meter, and one to identify colors as L*a*b* values. Now those would be truly useful to me.

The iPhone is essentially a camera for the rest of us. There are many users who may never own a dedicated camera, and for them this a very capable photographic solution. Not only is it a camera, but also a lightroom and a photo album all in one.

It’s interesting to note that it took the iPhone for Apple to get back into the digital camera game. The QuickTake 200 shown above was discontinued in 1997, along with the Newton and LaserWriter, shortly after Steve Jobs returned to Apple in an attempt to streamline operations. It had a resolution of 640 x 480 (0.3MP), an 8mm (50mm equivalent) lens, and a shutter speed of 1/4 to 1/5000 sec. It retailed for $600.00, about the cost of a Nikon D3100 DSLR with zoom lens.

Top Ten Things to Know About Digital Photography

1. All digital images require processing. Just because the image is visible, doesn’t mean it doesn’t require processing. Whether you choose to let the camera do the processing, or do it yourself in “post”, it’s still a necessary step.
2. Digital photography favors underexposure. You can almost always extract some information from an underexposed digital image during processing, but overexposure results in pure white areas in which there is absolutely no information.
3. Always know your Image Quality setting. Unless you have very little remaining space left on your flash memory card, using the highest setting available.
4. Always know your ISO. ISO has a significant impact on image quality. If set incorrectly, it will result in noisy, low resolution images. Avoid Auto ISO.
5. Always know your White balance. Be sure to set your white balance manually when you know what the ambient light temperature is, and use Auto White Balance when you don’t. You won’t need to buy specially balanced film or conversion filters anymore, but you will need to know how to set your camera.
6. The most important control on your digital camera is the exposure compensation button. There’s no such thing as “Auto Exposure”. The sooner you begin to rely on the auto exposure system of your camera, the sooner it will let you down. Auto exposure puts you “in the ballpark”. It’s up to you to know how to use the exposure compensation button to hit the ball out of the ballpark.
7. Learn how to interpret a scene’s values. A dark scene should look dark in the photo. The camera will try to make it look like a sunny day. Know how to interpret the lighting conditions of the scene and set the exposure accordingly.
8. Don’t stand in one place when composing images. Keep your zoom lens at its widest setting, and move around the subject observing the scale and position of the subject in relationship to its surroundings. Only when you’ve found the best position and distance should you adjust the zoom to suit the composition by cropping it.
9. Don’t always center the subject in the frame. Observing the “Golden Ratio” or “Rule of Thirds” will produce engaging photos that more effectively direct the viewer’s eye to the subject.
10. A good photograph has vey little to do with the camera. Photography is all about visualization, recognizing a compelling image, capturing it, and presenting it in such a way as to substantiate that vision.

What Has a Loud Bark But Makes No Sound?

Tree Bark, Post-Processed in the L*a*b* color space.

A photograph of a tree processed in L*a*b*. Ever since my first trip to Wave Hill, I’ve had this thing about tree bark. I encountered some trees with a camo-like appearance, with subtle shades of green and yellow. They made for some interesting, almost abstract compositions.“If there is indeed any such thing as abstract photography, this certainly qualifies”, I thought. “Tree bark is Nature’s form of abstract expressionism”.

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Minolta Lives

After speaking with my friend Anthony, a Minolta devotee, and learning of the genius of the NEX-7, I’m finally beginning to equate Sony with Minolta.  He has some legacy Minolta A-Mount lenses from the Maxxum era that he wants to use, and we’ve gone full circle, exploring some of the new offerings.

He needs both a full-feature camera, and a walk-round camera, And I’m beginning to think an Alpha a580 and NEX-7 would be perfect for him. Both would accept his older lenses, and there are so many new offerings that it’s mind-blowing.

Sony is producing some incredibly competent cameras, with some of the highest resolutions around. The new Alpha a900 full-frame DSLR is a prime example. True, it tops out at ISO 6400, but it’s probably so clean you could shoot in RAW and easily open the images up two stops if you needed to. The a580 on the other hand is just the perfect combination of performance and price, just as the Nikon D7000 is.

I myself learned photography on an SR-T 201, and often wonder why I chose the Canon AE-1 over the XG 7 for my first camera. In retrospect, the XG 7, with its aperture-priority mode would have been a much better choice at the time.

F-Mount Lens Formulae Comparison

The other day I decided to do a quick comparison between Nikon F-Mount lens formulae from Nikon and third party manufacturers. Here are the results…

20/21mm
AF NIKKOR 20mm f/2.8D   Groups: 9; Elements: 12
NIKKOR 20mm f/2.8 AI-S   Groups: 9; Elements: 12
Voigtländer Color-Skopar 20mm f/3.5 SL II   Groups: 6; Elements: 9
Voigtländer Color-Skopar 21mm f/4.0 M-Mount Pancake   Groups: 6; Elements: 8
Zeiss Distagon T* 21mm f/2.8 ZF.2   Groups: 13; Elements: 16

24/25mm
AF NIKKOR 24mm f/2.8D   Groups: 9; Elements: 9
NIKKOR 24mm f/2.8 AI-S   Groups: 9; Elements: 9
Voigtländer Color-Skopar 25mm f/4.0 M Pancake   Groups: 6; Elements: 8
Zeiss Distagon T* 25mm f/2.8 ZF.2   Groups: 8; Elements: 10

28mm
AF NIKKOR 28mm f/2.8D   Groups: 6; Elements: 6
NIKKOR 28mm f/2.8 AI-S   Groups: 8; Elements: 8
Nikon 28mm f/2.8 Series E   Groups: 5; Elements: 5
Voigtländer Ultron 40mm f/2.0 M-Mount  Groups: 8; Elements: 10
Zeiss Distagon T* 28mm f/2.0 ZF.2   Groups: 8; Elements: 10

35mm
AF NIKKOR 35mm f/2.0D   Groups: 5; Elements: 6
NIKKOR 35mm f/1.4 AI-S   Groups: 7; Elements: 9
AF-S DX Nikkor 35mm f/1.8G   Groups: 6; Elements: 8
Nikon 35mm f/2.5 Series E   Groups: 5; Elements: 5
Voigtländer Nokton Classic 35mm f/1.4 M-Mount   Groups: 6; Elements: 8
Voigtländer Color-Skopar Pan 35mm f/2.5 M-Mount Pancake   Groups: 5; Elements: 7
Zeiss Distagon T* 35mm f/2.0 ZF.2   Groups: 7; Elements: 9
Zeiss Distagon T* 35mm f/1.4 ZF.2   Groups: 9; Elements: 11

40/45mm
Nikon 45mm f/2.8 P   Groups: 3; Elements: 4
GN Auto-Nikkor 45mm f/2.8 Pancake   Groups: 3; Elements: 4
Voigtländer Nokton Classic 40mm f/1.4   Groups: 6; Elements: 7
Voigtländer Ultron 40mm f/2.0 SL II   Groups: 5; Elements: 5

50mm
NIKKOR 50mm f/1.2 AI-S   Groups: 6; Elements: 7
AF-S NIKKOR 50mm f/1.4G   Groups: 7; Elements: 8
AF-S NIKKOR 50mm f/1.8G   Groups: 6; Elements: 7
NIKKOR 50mm f/1.4 AI-S   Groups: 6; Elements: 7
AF NIKKOR 50mm f/1.8D   Groups: 5; Elements: 6
NIKKOR 50mm f/1.8 AI-S   Groups: 5; Elements: 6
NIKKOR 50mm f/1.8 Series E   Groups: 5; Elements: 6
Zeiss Makro-Planar T* 50mm f/1.4 ZF.2   Groups: 6; Elements: 7
Zeiss Makro-Planar T* 50mm f/2.0 ZF.2   Groups: 6; Elements: 8

Steve Jobs, 1955-2011

There’s a New Camera in My Future…

There’s a new camera in my future. 8 MP backside-illumination sensor, 5 element f/2.4 autofocus lens. 3.5", 614,400 pixel display display. Built-in flash. 1080i HD video with sound. Three-exposure HDR capture. 32GB on-board storage. Geotagging. All in a package measuring only 4.5" x 2.31" x .37".

Sadly, It doesn't have a viewfinder. But I can overlook that because it has some other cool features, like an MP3 music player, web browser, WiFi and 3G network capability. A calculator. It even has a mobile phone.

I’m talking of course about the new iPhone 4s. I’ve been holding out for far too long waiting for the iPhone to join the Verizon network. Then, I waited for it to come to the 4G network. When the last new iPod Touch came out, I might have bought one had it not been for its pitiful excuse for a camera.

Apple’s new iPhone 4S. Updated, but not overdone.

But since the 4G network didn’t turn out to be the Holy Grail everyone thought it would be, and they’ve improved the iPhone without messing with its superior industrial design, it’s time. We won’t see the 4G network-compatible iPhone 5 until the summer of 2012, and it’s likely to be a complete redesign. The industrial design of the Four’s scratchproof mineral crystal front and back are perfect for me.

My iPod Touch has served me well, as has my now antique Motorola V.90 flip phone, which incidentally still performs magnificently. But the iPhone opens up new horizons. Not only may it prove to be a competent everyday camera, it will also serve as an enormous photographic tool.

I can’t wait to become another Joel Gray, snapping off photos with my phone, joining the ranks of arms-length photographers worldwide. Maybe it will give me some insight into this iconic way of taking photos.

Will it unseat my other cameras? No. I liken it to a folding bike. It’s not exactly a real bike. But it gets you where you need to go.

Kodak: Still Trying to Reinvent Itself

The market got a little nervous last week when Kodak tapped into its 160 million dollar credit line. After all, why should they what with the economy doing so well?

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Importing Images from Flash Memory

When importing images directly from flash memory such as SD cards, it’s a good idea to set up a permanent folder for such a purpose. I’ve named my “Contact Sheet” as it behaves like one big contact sheet from which I rate, sort and tag image files. Within this folder, I have a separate subfolder for each of my cameras, digital or film.

I work with relatively small SD cards (2-4 GB), and each time I take a series of photos, I import them into this Contact Sheet folder. I mount the SD card and look in the Contact Sheet folder to see what the number of the last imported image is. I then select this image and all images after it, dragging them into this folder. This I usually do in Adobe Bridge, but it’s also possible to do it from the Finder. If I use Bridge, I have the option of selecting all the images on the card, and as I drag them into the folder Bridge will open a warning dialog to indicate if there are duplicates. I can choose to overwrite them, or I can skip them to save time. There’s also an option to resolve duplicate filenames by appending a version number, but I only use this when I’m unsure of the contents of the destination folder.

Unless the SD card is full, I leave the images on it as a backup. As I go through the Contact Sheet folder, rating, sorting and tagging, I tag the images I don’t plan on keeping as “Reject”. This way, the next time I go to import, Adobe Bridge will see the images and again present the “duplicate image” warning dialog.

When the SD card is indeed full, I select all the images and do one final import to make sure there are no images left on the card that are not in the contact sheet folder. I then replace the card in the camera and reformat it. This is a good practice, as Flash memory is somewhat quirky, and frequent reformatting helps to maintain the integrity of the data structure on the card.

Then, I use the filters in Bridge to select only the files tagged “Reject” and delete them permanently. However, since I use the Mac OS X Time Machine, they will still be on my backup volume. If I need to save space on this volume, I can permanently delete the old backups from time to time.

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By the way, if you discover that you’ve formatted a card before you’ve removed all the images from it, it’s a fairly simple matter to recover them. To find out how, see my post Restoring Lost Images.