Do you HDR? Or Fuse?

I belong to an informal group of photographers here on Vancouver Island, and a question of HDR was discussed on our forum several times in recent weeks. Seems like there is lots of interest in HDR technique, and people look for other solutions than new in-camera HDR processing, (like one offered in new Sony, and often not quite satisfactory).

I used HDR technique many times, and it helped me creating some good images for both of my Caribbean coffee table books. However, they gave me lots of grief too.
I experimented with different HDR software, but while results were quite different in quality – one side effect was constant and unwanted. Some of colours were always hyped and changed, giving the final image quite artificial, over-sweetened look.
With each new software on the market my hopes went high again and again, but I always found that colour problem to be quite an obstacle in creating images the way I wanted. I always edit my photos quite a bit, and such HDR-ed images were always somewhat difficult as a starting point for my work.

Some of HDR software offer lots of manual settings, some are more automatic, another yet offers several different presets like “eye catching”, “human eye” etc.. But the problem of sweetened and hyped colours seemed to be always there for me.  (Dynamic Photo HDR was the closest to my liking from three HDR progs presented here.)
Another quite decent tool called Photomatix offers an extra option called Fusion, and explains quickly that a different algorithm processing images in a more direct way is used for that. I actually quite liked it. So, I dug deeper.

I found two simple programs for fusion processing, and I love them. I am happy to say they give me exactly what I wanted – more detail in highlights and shadows - but without any twists in color. What else I love is,  they both are FREE and they are very simple to work with. They operate in DOS (sorry Mac users!), and you simply drag and drop your images over the program icon. So, it is quick and easy, and the quality I wanted is there.

Dynamic Photo HDR in Eye-Catching preset

I believe that relatively not so many people are aware of these tiny DOS programs, perhaps because  these are free, therefore not advertisied aggressively to gain best sales.
They are called TuFuse, and SNS HDR-lite. (Yes, it says hdr in the name, yet it is a fusion application.)
There are some vital differences between them; TuFuse is very quick, but does not perform any image alignments, therefore you really need to shoot on tripod.
SNS on the other hand aligns images perfectly, fixing even photos I shoot free-hand.

Photomatix

TuFuse creates softer photos without strong contrast. It is nice for interiors, where you don't want to see every single crack on walls, stains or discolorations.
SNS is razor-crisp, giving amazing detail in rather strong contrast, and I love using it for landscape and nature shots.

For this post I used 5 images I took using Nikon's bracketing: one correct, two under and two over exposed. All images are totally unedited, except for the final one.
You can see the image sequence, as well as results created using default settings of three different HDR programs: Dynamic Photo HDR, Photomatix, and HDR Expose (I skipped here some other programs).  And then – you can see these images created by TuFuse, and SNS.
As said – my favourite for nature and landscape is SNS, therefore I also edited that image to my liking (at the end).

HDR Expose

I don't intend here to convince anyone what is best, I merely share my experience and conclude that for my needs these small Fusion progs are the best, as they give me perfect starting point for my edits, and they also complement each other nicely.
Possibly you will like more results created with one of other mentioned HDR programs. There are many choices to explore.
At one point one can also ask – is it all worth doing? Is the HDR or Fusion worth the time spent on it?

TuFuse

I can only answer for myself: Yes, fusion adds so much detail that I just love it. To compare it – creating photos with Fusion or HDR is like wearing fine prescribed eyeglasses. Yes, you can see around pretty well without them because you are used to it – but with your glasses everything gains crisp, sharp detail. You simply see more.
It is my hope that showing you quite different results of my experiments can help you find what is closest to your heart, and save you long search for your perfect tools.

SNS

If you wish to try these free progs, here are links:

TuFuse
http://www.tawbaware.com/tufuse.htm

And SNS – this is a direct-download link, as the site is in Polish and you may have problem understanding it (I speak Polish, it is my native tongue).
http://www.sns-hdr.com/files/SNS-HDR_Lite.exe

SNS after my edit.

And as always – if you find my comments helpful in any way – simply click Share or like.

Thank you! Until next time! Derek.

Pixel Soldier flash remotes - small is beauty!

When a while ago I decided to buy remote wireless trigger system for my flashes/strobes, I was a bit overwhelmed with selection, price range and various opinions. Tough call! Some cheap ones cost really very little on ebay, but then, well, they are cheap! You can see plastic mounts will crack, and can imagine thin cheap toy-like plastic will crack quickly. The "professional choice" triggers on the other hand - cost a small fortune! Yes, they work in a really wide distance, can withstand a strong hammering,  and you can see their thick antennas will never fail. But they are painfully expensive and often quite bulky.

I gave it some thought. I did not want my remotes to disintegrate quickly, or fail on a location work. But I don't really work in extremely harsh situations and I always can take reasonable care of my gear. Therefore I did not require  any heavy-duty product at a price tag of $500 or more.
I looked some more on Internet checking reviews for less known brands and their prices. As often with me - I am willing to take some risk and try a less known brand if it looks reasonably well made and priced. I have to admit - I lost a few times in this game, but I won perhaps more times than i lost, so all is good.

After some more deliberation I ordered on ebay set of a trigger-transmitter and two receivers called Pixel Soldier from a Hong Kong company (just search for Pixel Soldier on ebay, you will quickly find them). They arrived promptly and the price I paid was among the lowest prices I could actually find for anything of that sort - around $100 for the set of 3 pieces (it is even less expensive for set of 1 and 1).

I use them constantly for almost a year now, and I can say they easily passed my quality and reliability test. They are light and small, yet reasonably strong, and they work to perfection.

Just recently I had a chance to use their special feature, and I loved it. Together with my friend-photographer we had a shoot together. To keep things simple, we used only one set of three strobes.
Normally it would be just one of us able to use wireless trigger, or we would have independent strobes on set, cluttering it quite badly. Thankfully my friend uses the same brand of remotes, and it all worked beautifully.
Each of us wanted to use only two strobes at a time - one strobe was the same for both of us and we shared it, while we had slightly different angle for our additional "personal" strobes.

These remotes have three channels which can be flexibly configured. So, my remote transmitter was set for channels A+C, my friend's - for channels A+ B.
Receivers plugged to our "personal" strobes were set to our exclusive channels - mine to C, and his to B. The strobe we both wanted to use was set to Awhich we shared on our transmitters.
This way strobes worked perfectly for both of us, each of us had the desired light control, and we shared our lighting being able to have a different light setup for each camera. A beauty!

(I need to say that for the shared flash we used my new  Fomex (see previous review). Its lightening-fast recharge made it problem-free for both of us to shot at random. It was always ready to go!)

What I also like a lot in my remotes are control lights showing in green when they are connected and ready for shot, or reminding you to switch them of with flashing red light, after you're done.
They are well designed and well made. In my personal opinion they are worth more than the low ebay price I paid. Two happy thumbs up!

I paste below some more info and specs from Pixel Soldier in hope you may find it handy (select your model, etc.)
Thank you for visiting, and as always - if you find it helpful - click Share or Like button. Cheers!
Derek

=================
Photographic accessories manufacturer Pixel Enterprise Ltd. are releasing a new model of wireless flash trigger, the Pixel Soldier TF-37x.
Wireless Flash Grouping is the main feature added to the Soldier TF-37X since the Pawn TF-36X. In addition to 16 frequency channels (the Dip switches for which are still buried in the battery compartment) the Pixel Soldier offers three Wireless Flash Groups A, B and C. With a simple switch on the receiver you can quickly set a flash, studio light or remote camera to any of the three groups.
What’s more, the transmitter features a control panel that allows you to select and trigger multiple groups at once. This creates seven (7) different combinations which are:

1. A only
2. B only
3. C only
4. A and B
5. A and C
6. B and C
7. A, B and C (all)

Wireless Flash Grouping on the Pixel Soldier can allow a photographer to control multiple lighting setups at once. It may also be used for individually metering up to three different lights without having to switch any of them off. This could even be used with remote cameras too.
Features

• Professional flash trigger with simple shutter remote control
• Wake-up function wakes compatible flashes from sleep mode
• Transmitter can control A, B and C groups individually with 7 different flash combinations
• Receivers can be set as group A, B or C
• Swappable shutter release cable for your camera model
• Power saving mode on the transmitter
• Receiver battery life of up to 400hrs with 2xAAAs: more than 10x the life of similar products
• Low voltage design allows use of rechargeable batteries
• Multi-power design allows use of power socket
• Syncs up to 1/250-1/320sec on compatible cameras

Specifications

Type	FSK 2.4GHz Wireless System
Operation Range	100m
Channel	16
Transmit Power
Sensitivity	-97dB
Cable length	1.2m (coiled style)
Standby Time	Transmitter	3 years (CR-2 lithium ion battery)
	Receiver	400 hours (2x AA alkaline battery)
Dimensions (L*W*H)	Transmitter	66 * 37.5 * 28.5 mm
	Receiver	80 * 37.5 * 30 mm

Which model?

• TF-371 – Canon
• TF-372 – Nikon
• TF-373 – Sony
• TF-374 – Olympus & Panasonic 4/3

Photo from Pixel Enterprise.

Fomex strobe flashes - worth every penny to me.

When couple of months ago I decided to sell my small and simple strobes (monolights) and acquire new, a bit stronger ones, I promised some fellow photographers to share comments about the new ones I will get. Now, after several shooting sessions I think I can fulfill my promise.

As most times, I didn't have a big budget for it, and had to look around trying to find combination of a good value with fine quality, which can be a tricky task. I often order less known brands, risking disappointment, and sometimes I lose. But I am happy to say that I enjoy quite a few pieces of such photo gear which proved to be an excellent value and also very reliable. I think my new strobes will be added to that more fortunate category.

I did not look for very fancy strobes - but a stabilized light, quick recharge time, and a strongly made unit with cooling and good modeling light were what I was searching for.

After looking at several brands I felt a bit disappointed. Known brand names offered very little for a budget shopper, with their cheaper units being rather unimpressive to me (yes, including the Bee).
More affordable “no brand name” strobes on the other hand looked cheaply made, or did not have features I needed.
There was one Chinese unit offered on Ebay and on alibaba.com, called Menik. A Chinese made, but looking more durable and smart – it has an impressive 5 years' warranty and optional remote control, all with a really low price tag. It could be quite decent for the amazingly low price.

Still, I decided to dig more and I contacted a dealer of photo equipment from Korea I knew from before.
She highly recommended strobes made by Fomex, a small branch of the Korean giant Hyundai.
http://www.fomex.com/
I contacted Fomex directly for all specs, and they looked impressive. That Korean dealer I know http://stores.ebay.com/Mad-for-Camera?_trksid=p4340.l2563 offered me decent 3 year warranty and a good direct deal, therefore I placed my order for Fomex 200W and Fomex 400W strobes.

After a week I received my express shipment, all arrived intact and well.
I was instantly impressed with the quality of my new strobes. Made of fine aluminum and covered with some unknown to me fine finishing, with all-metal parts, Bowens mount and a very clever umbrella holder, they look and feel like the best Japanese equipment. Surely it is very durable, with very well made switches, a rather quiet cooling fan and really fantastic mount. Yes, the mount is really handy, allowing for quick and precise angle adjustments with a single hand. Switchable beeper and a tiny but strong 250W modeling light make it a really nice package to me.

I used them in several different setups, and both of them work like charm. Their super fast recharge is really impressive. The flash is so strong that in a very large room, using a large soft box I set it for about 1/8 to 1/16 power and still can easily work with ISO200. And, with such power setting, recycling takes just a split of second, so in fact I can have my camera take bursts of shots, all properly lit.

The precise power knob allows for 6 full stops of power range.

This strobe is so well made that if it would be one of top brand names, it would cost close to $1000 each, I would say. Yet, being rather new on the market, Fomex priced their strobe flashes really reasonably – making it a perfect deal. I was also told Fomex is looking for an agent/dealer in Canada – if anyone involved in photography is interested...
Ah, one more thing – I also ordered a special carrying bag for two strobes, very handy and protects them well!

I am happy to really recommend this line, and paste below specs for several models (model number indicates power of flash) I found in Fomex brochure.
Until next time! If you find my comments helpful, please click "Share".

Model	D200	D400	D600	D800	D1000	D1200
AC Voltage	100 - 120V , 50/60Hz
	190 - 250V , 50/60Hz
Flash power	200Ws	400Ws	600Ws	800Ws	1000Ws	1200Ws
Tube Replacement	Detachable (Easy to replace)
Color Temp.	5,500k(±150k)
Power Control Range	F2.88 - F227 (6f-stops)	F4.09 - F451 (6f-stops)	F5.66 - F456 (6f-stops)	F5.69 - F640 (6f-stops)	F8.01 - F642 (6f-stops)	F8.06 - F647 (6f-stops)
Power Control Knob	Volume Controller (VR)
Recycle Time	0.1-0.7sec	0.1-1.0sec	0.2-1.3sec	0.2-1.3sec	0.3-1.7sec	0.3-2.0sec
Model Lamp Type	Halogen 250W (E11 base, screw typed)
Model Lamp Control	Volume Controller (VR)
Ready Charge	Sound On : Buzzer and LED On / Sound Off : Model Lamp Blinks
Over Temperature Warning	O.T(Red LED) Blinking, Warning Buzzer
Syncro. Voltage	DC 8V
Flash Trigger	Infrared Photo Cell, Synchro Cord, TEST Button
Sound	ON/OFF
Slave (Infrared Sensor)	ON/OFF
Cooling Fan	DC Cooling Fan (Ball Bearing Type)
Size (W x L x H)	190x140x170 mm 7.5x5.5x6.7 inch	235mmx140x170 mm 9.2x5.5x6.7 inch		350x140x170 mm 13.8x5.5x6.7 inch
Weight	2.35kg / 5.2lbs	2.5kg / 5.5lbs	2.7kg / 5.9lbs	3.5kg / 7.7lbs	3.4kg / 7.5lbs	3.9kg / 8.6lbs

A small gadget I love - PIXEL remote LCD Live View...

I couldn't do some shots the way I wanted. It made my work on locations difficult. I needed a very high positioned camera, but even with LiveView on, I could not see the scene or control my Nikon.
So, I looked around to see my options. I found several Live View remote LCD screens with remote control for my camera. Some were really pricey - simply too much for my strained pocket. Some looked really cheap. As often with me, I decided for something not overly known, but balancing potentially good quality with a decent price.

The unit I found was the same brand as my remote wireless strobe triggers - PIXEL brand I bought on e-bay from Hong Kong. I love my small, yet durable triggers, so I decided to give it a try.
I found - again on e-bay - the unit directly from manufacturer.
http://stores.ebay.com/jiakgong-DIGITAL?_trksid=p4340.l2563

It is PIXEL LV-122   remote control for Nikon D300s (of course they have models for other cameras too.) Priced low enough, at $130 it looked interesting. But, to my nice surprise when I messaged and asked them what is their lowest price they can accept, they quoted me a significantly lower price for a direct sale (below $100 it was!). Wow! amazing price for such product, and I already knew PIXEL things are fairly decent.

I ordered it, and within 10 days it arrived. I used it since on several occasions, and I just LOVE it.
It has really long cord - about 3 meters. So, I was able to shoot straight down on a model from ceiling mounted camera, use it on maximally extended tripod, etc. etc.
It can also act as an extra screen, so someone else can simultaneously see what you are shooting.
I plan to also use it  for wildlife photography. Just to set my camera on tripod and sit quiet partly hidden, waiting for the right moment to click...

Its 3.5" screen is large enough to comfortably compose the frame, and has several levels of brightness, making it easy to see even in bright daylight.  Controls are simple and intuitive, and it all works flawlessly. It uses rechargeable battery for a cell phone, and keeps charge really well. Of course - quick charger is included.
The whole box is lightweight and fits perfectly in my hand. I love it. Without it, I would need to sacrifice some more good shots.  I've seen recently some very good photos by a fellow photographer. It was a fine scene in a bathtub, and I thought - gosh, with this remote he would do even better.
It is such a clever little thing, opens quickly new possibilities.

There is a version which is wireless and has quite a good range. But it uses camera hot shoe for transmitter, and when I shoot with strobes I need it for my wireless strobe transmitter. So, my choice was the corded remote, but I expect the wireless to be similarly fine...

I bought before some camera gadgets which were not so useful in real life - but this one is a little, but invaluable tool to me.
Therefore I am happy to share my finding, and i am sure you can get a similar, very good deal - if you need one. (Remember, you need your camera to have LiveView option, otherwise it won't work!)

I use the image from the manufacturer's auction, but since it may help both - you - and them making a good deal, I hope they will forgive me for being lazy and not photographing it myself...

(please click Share, if you find it useful...)

Nikon PC-e Nikkor 24mm ED-N tilt and shift lens

Nikon PC-e Nikkor 24mm ED-N

This is not an official review. I don't have the need, nor qualifications to write technical reviews. I am just a photographer, not an engineer. There are good in-depth reviews, like the Ken Rockwell's one. (Google his name and lens model, you will find it quick).
I just share with you my hands-on experience and thoughts on using (or not using) this a bit unusual piece of equipment.

I do lots of architecture photography (see some examples here), and falling walls on wide angle lens shots always bother me. The geometry and perspective of such photographs are sometimes hard to fix on Photoshop.

So, when I heard a while ago about Nikon’s PC (perspective correction) lenses – I wanted one.
There are only three models available, and for architecture 24mm definitely sounded like a good choice.

When I was able to save enough dough, I bought it used for a bargain price of $1650. Ouch, quite expensive! But – is it worth the price?

My first impressions:

It is heavy. It is bulky. It is really well crafted, but at the same time I find it a bit crude, like an unrefined prototype, or like a Russian military gear thing.

The lens shifts and tilts in both directions, but you have to use a small, flimsy and uncomfortable screw to hold the lens from sliding down because of gravity. I am sure it could be solved in a more satisfactory way.
It has several pitfalls like that, and you really need to learn it well in order to use it properly. It is totally manual, so you need to set focus manually, and need to remember that exposure reads correctly only when lens is in central position, falling drastically down when tilted. It gets really dark, as much as 2 or 3 full stops down. You need to remember that, and still – the only way to make sure is to do test shots.

The lens – as it says – corrects perspective (up to some point, not as well as I hoped). It also tilts - a bit the same way as the Lens Baby – which is quite a nice thing. Because it allows you to select a part of your photo where EVERYTHING is in focus. Things very close to your camera, as well as things which are far away. In a single line. And, other part of photo can get a nice bokeh, losing its details in a fine blur. It is a nice effect – but there is a problem: when using dSLR Nikon camera, it is extremely difficult to see it properly in viewfinder. I use D300s, and I have a constant problem with properly composing in-focus and out-of-focus areas. Image in viewfinder is too small, and I set the focus a bit blindly. I would need an external, larger monitor to do it properly and get sharp details exactly where I want them.

I miss the fine tuning of manual focus on some old film cameras which had a clever enlargement option. That would be perfect for PC-e. Perhaps new generation of Nikons, like upcoming D400 with newest Sony sensor will have it solved. New Sony cameras using its new, remarkable CMOS sensor can highlight in yellow all image parts which are in perfect focus. With such extra help, manual focusing and blurring on PC-e lens would be much easier. As it is for now, it is a hit and miss game.
(If you really enjoy tilting effects - old fashion view cameras with digital back are the most fun - but also must weight and most price!)

The bottom line here is that you need lots of time to fiddle around. And, if you don't have that time on hand, you risk getting home lots of bad shots.

What I like about it:
The lens is SHARP. Yes, one of sharpest lenses I know. It is reasonably bright too, and its Nano coating suppose to help reducing internal reflections and keeping top detail of your images. It is solidly made, very strong. Feels like a piece of a military gear. Focusing ring is smooth and precise. Lens does help with perspective correction, and also offers the way of keeping one part of image in focus, letting the other part get blurry. Nice for creative shots.

What I don't like about it:
24mm is good for full frame. For architecture using DX format cameras, it feels a bit off. It feels usually a tiny bit not enough. (It works on DX as 36mm lens, and you would wish for a wider angle than that). 20mm would be much more helpful. But it was made for full frame, so I can't really complain.

Shifting and tilting sucks. It is tricky to keep lens in desired position with these tiny screws, and you can actually cut your finger when it shifts, it has very sharp edges on shifting surfaces. It is too much exposed to dust, sand, and other dirt, when shifted or tilted. You need to really care to keep it clean. Good indoors, but when you are on a rough location, it may be tricky. As mentioned – focusing is difficult using regular viewfinder, and exposure is badly off when lens is tilted more than just a bit. It is understandable, but makes quick photography very difficult.
The option to rotate lens for changing shift/tilt planes is good, but would be better if working all way around, it offers only a limited rotation. Also the release knob for rotating is not the most friendly and feels rather primitive.

My conclusion:

24mm Nikon PC-e lens is the most whimsy part of my expensive equipment. It can do really good things – but only if you love it, spend lots of time with it to learn it by heart, and if you have ample time on your locations.
If you are not sure you need – most probably you don't. If your style is to take a bunch of quick pictures and go – forget it. You need a tripod and lots of time to set it properly, each and every time.
If you have lots of $$$ and do mostly architecture and landscape – it definitely is a tool to consider for some work (just some work, not too often). But, if you do such shoots only from time to time and don’t have time or patience, don't bother, it will be your nightmare.
For almost $2000 you can buy a Lens Baby which will be fun and give you kind of similar tilting effects, and you will have lots of money still in your pocket. You will travel lighter and happier, and if you know Photoshop or Lightroom, you will correct the most of falling walls perspective problems without the need for PC-e lens.

Do I like it?

Honestly – I don't know. One day I do, another, when I get bunch of bad, unsharp photos – I can't stand it.
What is really unfortunate about it: to use it well, you need to constantly use it, to really know it by heart. But – you don't need its effects all the time and it is really heavy and slow to use. So, you tend to use it only when you really need it – but by that time you don't “feel” it so well, and are prone to do bad images, or spend well too much time fiddling with it. So, while in theory I agree it is a valuable tool, I may consider selling it one day, to get some more handy piece of equipment for everyday use...

Pigment ink refills - my jet printer Epson Stylus Photo 2880 just got better!

How do you print your pictures?

When I was a kid enjoying my first Russian made camera, I annexed home bathroom for a darkroom. I spent hours practicing different exposure methods and watching black and white images appearing magically under home made safe light. Well, it was about 40 years ago or perhaps even more.
Now, shooting digital we all have an option of giving images for a commercial print, or printing it on our own printer. I usually do the second, unless I require really large images. But for most of my needs 13x19” size, or 13” wide rolls are sufficient. So, I print 90% of my photos at home (unless it is a commercial large run, of course).

I went through various printers and used Canon for a long time. Last year, a good friend convinced me to switch to Epson, and I admit I am quite happy about it. My first Epson – which I still use – was Stylus Photo 1400, a nice printer using Claria dye based inks. I like very much saturated colours it gives, but it was badly lacking when it came to black and white. Monochromes came out of it twisted, with uneven blackness, simply disaster.
Therefore I bought another Epson – this time it was Stylus Photo 2880 using K3 pigment inks. It does fantastic work printing black and white or other monochrome images, although I found that infamous problem of black pigment ink on a glossy paper rather annoying. These of you who use it know well what I mean – black colour has a different reflectiveness, doesn't blend and looks much more mat than other colours, creating a bit weird overall effect on some prints. As I also like very dense, saturated colours – I found that Epson's pigment inks lack that “umph” I liked so much in dye inks. Well, there is always a price to pay... or – is it?

At first, I started to look for alternative supplies of ink purely because of ridiculous price of original Epson inks. Cartridges are so tiny, yet so pricey. With both dye and pigment – when you print large format, you run through them faster than you like it, yes? It was very irritating to see that I pay for cartridges so much that it almost would be cheaper to buy a new printer, ha ha...

I had good luck with replacement dye inks, but finding good “no name” pigment inks proved to be a tricky task. I almost killed my printer when one cheap ink clogged all jets, and I was desperately cleaning them for couple of days. Still – I kept looking. I looked in China, Hong Kong, USA and UK.

But the answer to my hopes came from Canada, and I find it absolute good luck!

I found a company in Quebec, which does their own pigment inks – and they actually are BETTER than Epson. Yes! I mean it – better! Hard to believe it? Sure. I was skeptical too. Their price was a bit higher than other knock-offs, and I ordered just a small test package.

I couldn't believe my eyes. These guys managed to create a very stable pigment ink which works perfectly fine – and it looks like a fusion of pigment and dye. Gone is that weird look of black pigment on a glossy paper, and density of colour, saturation and overall look are simply fantastic!

I am hooked on it.

I noticed that this ink being modified and behaving a bit like a dye ink – sometimes prints slightly different colour spectrum than I would want. I noticed it most in dark blue range. Not much, just a tiny bit. Some would not notice it, but I am always obsessed with quality.

I was told by factory that it is because their pigment inks are a bit different and don't necessarily work 100% with original Epson profiles, and secondly – they are made for bigger models of printers using more cartridges. Benefit of these differently made inks is that they penetrate photo paper a bit deeper than typical pigment inks which, unlike dye inks, typically stay only on the very top surface. That difference makes them look more vibrant, and makes them also harder to scratch than other pigment inks.

Solution to this tiny colour shift? Very simple. I ordered customized profiles for a very reasonable price. Took me 30 minutes and after about a week, I received my profiles from a very helpful professional, an engineer at Adobe, who after hours offers profiling services. Here is his site: http://people.csail.mit.edu/ericchan/

On this photo - my test sheet for profile making.
Once I installed them – I have perfect prints, perfect printer, and perfect inks! Now my mat, luster, and gloss look so good that it impresses me every time. Gone is dull, unsaturated colour of pigment ink, gone is that black problem- and black and white images look shockingly good.

I find it interesting that a small company from Quebec succeeded in improving something Epson did not think of. Good for them – and good for us – photographers who use their services. Best part is that this ink - being better - is still cheaper than original Epson cartridges, so I have no complaints.

Did I say who they are? No? Company is named Ink Owl, and is selling their ink on line http://www.inkowl.com
And – no – I don't get paid for speaking highly about them. I am simply really enthusiastic, because they helped me achieve top results. They offer products for many different brands of printers and models, and their dye inks are as good as original ones, too. Surely, they also have refillable cartridges you need.

Another good thing – it may benefit you or not, depending on your printer model – but my Stylus 2880 uses different ink cartridges for gloss and mat printing. One has to open printer and exchange cartridges each time a different paper is used. I found it completely silly, unworthy Epson’s name, but here we are – it is what it is. But – Ink Owl's black pigment ink is the same for both mat and gloss, so you can simply use one cartridge only and change paper profile when printing from Photoshop, kinda cheating the printer. Works for me!

Experimenting with different photography products and supplies, I had many painful disappointments. It is good to have a story of perfect success from time to time, so I decided to share it with you. Most of us use jet printers, so chances are this can save you money – and give you better prints!

If so, it will make me most happy. Until next time, cheers!

Derek

rechargable batteries and charger

If you are like me, you may have shoots on a remote location. You need to travel light, so you take just small speedlight flashes, some extra batteries, portable umbrella and maybe a clamp, or a small stand.
So, you depend on this small setup and hope it will be sufficient.
I use Nikon Speedlight SB600 and SB900, as well as a Chinese flash as backup or third one.
Specially the Nikon SB900 eats up batteries like crazy. Therefore battery capacity is the most important factor for me. Rechargables are most convenient option because they are much cheaper, more eco-friendly - and also improve recycle time of your flash.

I went through many brands and types, and found that the best working are CFL batteries with huge capacity of 3800mAh (more than 4x regular AA battery!). They work great, last long,  and you can find them cheaply on ebay, just search for CFL AA battery and get the orange ones. There are many other fine brands including new amazing Sanyo Eneloop which keeps charge for up to 3 years - but when it comes for huge capacity and long life - these proved to me over and over that they are worth having.

I have to admit that a while ago I killed a few sets of decent batteries using a cheap charger. (I did not know cheap chargers kill batteries very quickly, sometimes after just a few cycles, usually highly overcharging batteries.) Only then I upgraded to something more decent. Unfortunately the better charger died 6 months ago. I decided to look for an even better charger, checking reviews and comments on various forums. I learned what you may already know - that super-fast chargers result in a shorter battery life. While sometimes a quick charge is important, it should be used only when necessary, and for every day use a more gently, slower charge should be applied. Or, simply settle (like me) for a good charger with average speed. After reading many reviews i decided for "intelligent charger" which can check level of remaining energy, discharge battery if needed, and has multiple overcharge protections. It can also charge batteries of different capacities simultaneously, charge any number of batteries between 1 and 4, and more. It also has LCD indicator of battery level which comes quite handy.

It is Korean brand Maha.  I found it on ebay for about $30, and i think it is worth every penny. Various reviews also pointed to it as one of the best chargers in the world. (I remember it was in top-three, just after the best, very fancy and very expensive French charger). I can't confirm that it really is in top-3 not testing personally other top choices, but this one works for me perfectly. Just search on ebay for
Maha LCD battery charger 4 Channel
Hope you will find it useful, until next time,
cheers!
Derek

Rouge FlashBender - great idea, but...

Some time ago, impressed with description and concept of Rouge FlashBender I found on line, I bought it.
It is a device which controls light of your flash. It can be shaped differently, creating narrow openings,  shape edges of light, or act as a bounce card...
Because three flexible rods hold their position until you change it, it can be shaped to practically any angle, therefore can be used instead many separate light modifiers, like MoBo, bouncing card, snoot, etc. etc.

I thought - how clever to have just a single modifier instead of two or three single function cards. And - I bought it.

Then, I used it. I used it in several situations, trying to like it. However - after many tries - my conclusion was: a great idea, but failed design. Result? Total waste of money.Why?
Well, the three flexible rods are sooo heavy, that combined with also very heavy, unnecessarily thick  fabric, they are simply way to heavy to work well. Even as the bender holds its shape - it slowly slides down from the flash, and does not want to sit firm on it. Its weight pulls it down from flash head, rendering it useless. Additionally, the surface is  made of two layers - thick, heavy black cover on top, and a white plastic on active side. The plastic is not really well attached to the black fabric, and it all gets baggy. Loose bag-like pieces of white plastic limp down, obstructing the way of light. What a fiasco! The Mender went to the bottom of my drawer not to see daylight in any close future.

The idea is great, and if it was better made it would be a great product. As it is - it is pretty useless, and I already bought 3 other separate light modifiers for my Speedlight SB900,
Believe it or not - they are really nice, and combined together weight about 1/4 of the Rouge FlashBender's weight!
So, if you need a flash light modifier, get any of these separate ones, but save yourself some money and lots of stress - pass on the bender, or it will bend your patience...

My light gear - soft boxes and photo umbrellas.

Same as many artists  making living on their work, I have days when I really need to watch my budget. (or to be more frank - I am broke).
This often affects the way I do my equipment purchase. While usual wisdom is to buy the very best equipment which lasts lifetime, it is not always possible.

Because of that, I purchased several really inexpensive light boxes and umbrellas which I regretted later.
They were really cheaply made. The silver lining of one umbrella was probably sprayed on fabric, and flakes of it were falling like snow with each opening and closing of the umbrella. It lasted maybe a dozen openings, now it is just a bad memory.
Similarly cheap were some soft boxes, which also proved to be a nightmare to use on location, as they required two people to set them up!

But, trying my luck over and over and trying to do my homework, i was able to find a few keepers, which I use often without breaking my bank. In hope that I can save you some disappointment, stress and money, I would like to share with you my discoveries. I am not getting any kickbacks for recommending them - they work well, and I am happy I found them, that's all.

Westcott Travel Collapsible Umbrella. (photo above)
This little thing goes to my luggage when I go locations. As small as any folding umbrellas used for a rainy weather, it works really nice. Quick to assembly, it can work as reflective or semi transparent. It is made of white fine quality fabric, with a back layer added on if you want to use it for reflecting light. They are not exactly easy to find, I think I ordered mine from Adorama, and it was around $30 or so. Definitely a good deal! Thumbs up!

Another light travel or street photography item: Firefly soft box (called "beauty box"). It is an octagonal and small, beauty dish sized device. Works on umbrella mechanism for super quick setup and includes speedlight mount. It is really well made of fine materials, and is available in shops around. However, it is a bit pricey here. I bought it directly from Korea for about half price.
http://konovaphoto.com/best-selling/aurora-firefly.html

Another great piece of equipment I bought on ebay from England. It is really fine quality huge parabolic umbrella (photo above). This one is a blast when you need a large and strong source of light, it keep very well rounded and focused light, and its silver surface almost magnifies the light, giving a huge but fairly soft light when you need it. Normally parabolic umbrellas are expensive, but this one on ebay was bought at unbelievable price. Here is the link - until it works - on ebay.
http://cgi.ebay.ca/ws/eBayISAPI.dll?ViewItem&item=160492775292&ssPageName=ADME:B:WNASIF:CA:1123
if link does not work, simply search for "parabolic type umbrella", or seller "cotswoldphoto".
This one is one great piece of equipment.

I have also a larger soft box I bought from ebay, and it is also based on umbrella-type mechanism, therefore it is quick and easy to set for a single person. it is made of very good Korean fabric, and of reasonably good quality - definitely worth the price. The seller ADPLO from Hong Kong offers whole range of sizes and different mounts, but always includes in auction title words "Softbox Korea stuff Rustless" so you can search this phrase on ebay, and save a lot on this item.

Surely, these are not the best possible quality items one can get. But they are durable, give good light, and their price offers quite a bang for your buck.

Panorama Photography 2. Panoramic viewpoint and framing.

Here is continuation of Lex' (www.lexnowakphotography.com) tutorial on shooting panoramic photographs. I find his explanations very good, and hope he will continue with the series, talking about 360 panoramas and virtual tours.

CLASSIC PANORAMA – VIEWPOINT AND FRAMING
Viewpoint – The choice of viewpoint makes a great difference in the perception of a panorama image. Typical viewpoint is the eye-level perspective, in which landscapes scene is seen as it would be from an adult eye-level view. In panoramas more preferred view is from higher vantage point, which can give a more interesting foreground and will better resonate with viewers.
Framing - Framing a picture is an essential part of the panorama imaging process. Historically, two aspect ratios have dominated landscape format: the 3:2 ratio of 35mm film, and more recently the 4:3 ratio of most computer display. The advent of high definition HDTV has brought its new standard aspect ratio of 16:9 (almost 2:1), a format more suited to landscape scenes.
There are numerous panorama framing formats. I found the best framing formats to range from 2.4:1 to 3:1. Interestingly, format ratio 2.41:1 is derived from golden ratio, and is naturally pleasing and proportional.
I use different format for different media:
For showcasing panoramas on HDTV, it is visually more appealing if the pictures are optimized for the full screen – nobody likes black horizontal lines at the top and bottom of the frame.
Where the panoramas really shine is on the print media. Computer monitors are not capable of showing full panoramic images, due to screen ratio and size.

CLASSIC PANORAMA – COMPOSITION
Composing panoramic image is inherently more difficult than image shot with camera, partly because viewfinder doesn’t display the whole panorama we visualized, and the amount of detail is greater than in a single shot.
One approach is to pre-visualize scene with home-made framing/composition aid cut out of mat board. Depending on the distance from your eye, you can also simulate differences in focal length.
Other approach is to shot scene wider than visualized and select/ crop in post editing.
Rule of Third – still applies but shouldn’t be used blindly. Because panoramic images are mostly displayed lengthwise, placing horizon in the middle doesn’t disrupt symmetry and harmony. Panoramas are well suited to emphasize symmetrical subjects, e.g. reflection of the mountains in the tranquil lake, and putting horizon in the center of the frame seems like the correct choice.
The best candidates for panoramas are scenes that have a single subject and whose broad surroundings serve to enhance that subject. Panorama images at sunsets and sunrises are also well suited; however they pose technical challenges (lighting and exposure).

Panorama of Royal Roads gardens, Victoria, BC by Lex Nowak.

Panorama Photography 1

While working on various locations, we were often asked by photography enthusiasts about panoramas - how do they work, how to shoot them, etc.
Trying to address these questions, my good friend and panorama expert, Lex Nowak (www.lexnowakphotography.com), wrote his comments on panoramic photography. He recently agreed that i reuse his postings on this blog.
Here is what Lex is saying in 1st part of his tutorial:

The world of panoramic images is fascinating, and with the advancement of digital photography and stitching software, is more accessible than ever. To achieve satisfactory results some technical knowledge and discipline is required. Photography principles like good composition, lighting, depth of field etc still apply.
I will focus in this article on modern panoramas obtained by taking a series of overlapping images with digital camera and stitched with the software. I don’t have experience with film rotational camera like Noblex, or Widelux, so I can’t comment on those.
For the sake of clarity I divide panoramas into two categories:

• Flat, rectangular panoramas – with the angle view typically exceeding 80 deg.

These panoramas can have different type of projection -rectilinear, cylindrical or mercator.

• Virtual Reality panoramas – fully interactive panoramic image allowing for panning 360 deg. These panoramas can be cylindrical – full 360 movement left to right and spherical – full 360deg movement left to right, as well as up and down.

In the series of articles I will write about flat, rectangular panoramas – I call them “classic” as opposed to new breed of VR interactive.

CLASSIC PANORAMA – ANGLE OF VIEW AND PROJECTION
The field of view of the human eye is approximately 140- to 160 degrees. Panoramic image emulates that effect and gives illusion of open views. Human vertical field of view is far more limited – approximately 90 deg. Typical wide angle zoom, on Nikon DX sensor, at 12mm will have field of view 89 deg. There is no actual limit on what field of view panorama should encompass, but the angle of view will impose the correct panorama projection. You can use different type of projections, however there will be only one that “looks just right”. In case of rectilinear panoramas the 100-110 angle will give nice, straight converging lines and natural look.

Single viewpoint panoramas – most panoramas are shot from single viewpoint, where the camera is rotated around lens’s nodal point. The camera is mostly kept level so the horizontal and vertical lines remain relatively straight. Tilting camera e.g. towards the sky will cause converging of vertical lines towards vanishing point, with horizontal line remaining straight. In my articles I will focus on single viewpoint panoramas. Good examples of high quality classic panoramas can be found here – http://www.arnaudfrichphoto.com/

Multiple viewpoints panoramas- (also called multi-perspective) – this panorama is obtained by taking pictures perpendicularly to the subject at different intervals (viewpoints), with desired overlaps of the images. Multiple viewpoints panoramas can’t be stitched easily with traditional stitching software and usually require tedious assembly work in the Photoshop. There is very little distortion in these type of panoramas.
You can view examples of multi-viewpoint panos by artist Michael Koller here – http://www.seamlesscity.com/
There are several types of panorama projections: rectilinear, cylindrical, mercator, equirectangular. The main variable that controls panorama projection is the angle of view.
Rectilinear projection – This projection type is what most ordinary wide angle lenses aim to produce, so this is perhaps the projection with which we are most familiar. Its primary disadvantage is that it can greatly exaggerate perspective as the angle of view increases, leading to objects appearing skewed at the edges of the frame – thus generally I don’t recommend it for angles greater than 110 degrees. As I mentioned earlier, this type of projection will give natural look we are accustomed – it is also one of my favourites.
Cylindrical projection -Is the standard type rendered by traditional panoramic film cameras with a swing lens. Cylindrical projections maintain more accurate relative sizes of objects than rectilinear projections, however this is done at the expense of rendering lines parallel to the viewer’s line of sight as being curved (even though these would otherwise appear straight).
Because of vertical stretching at the top and bottom, this type is not suitable for images with a very large vertical angle of view.
Generally cylindrical projection can be used with angles up to 160 degrees – anything over that will create unnaturally bowed lines. I use this type of projection if I have wider angle of view and can’t use rectilinear.
Mercator projection – Is most closely related to the cylindrical and equirectangular projection types; and represents a compromise between these two types, providing for less vertical stretching and a greater usable vertical angle of view than cylindrical, but with more line curvature. I use this type if the image looks better than in cylindrical mode.
Equirectangular projection – Can show the entire vertical and horizontal angle of view up to 360 degrees. This type maps the latitude and longitude coordinates of a spherical globe directly onto horizontal and vertical coordinates of a grid, where this grid is roughly twice as wide as it is tall. Horizontal stretching therefore increases further from the poles, with the north and south poles being stretched across the entire upper and lower edges of the flattened grid.

Nikon Speedlight SB-900 - my comments on using it.

It is not an official or systematic review, but rather several loose comments I have after using this flashgun in several different situations.I used it for indoor portraits, architecture/interior photography, outdoor portraits and landscape, as well as some night photography.

I used two other flashes for a while;  Nikon SB-600 which I love, and a Chinese flash, amazingly inexpensive, rather powerful and good - if you don't mind working with only basic settings - Yonghuo Speedlight YN460-II.
The Yonghuo has lots of bang for its money (just about $50 on ebay) - amazing value, works great in manual mode, and is perfect for general use, or as a backup flash.
Nikon SB-600 for quite a while worked for me as primary flash, and did it really well. Precision, power, endurance. I love it.   But, since the news about new super-flash Nikon SB-900 showed on line a while ago, i knew I want to use that one to.
So, some months ago I purchased it, and after quick tests decided to use it as my primary flash. It has remarkable power, much bigger than anything else around in its class. The power of SB-900 can be compared with power of some of bigger and much heavier studio type strobes, and is great outdoor, as it can overpower sunlight in some situations. Actually - its power was the major factor behind me ordering it.
So, I accepted that the power comes at cost, and at size - as it is bigger and heavier than SB-600.
Someone called it a "speedlight flash on steroids", and after a few tests I agreed with that.

It has such bang that it works great with biggest umbrellas, soft boxes, and other diffusers and modifiers, giving substantial light even after reflecting through several layers.

It also eats up batteries, much more than slimmer SB-600. I learned to always have another set or two of freshly recharged AA batteries. (by the way, I use remarkable rechargeable batteries I found in Hong Kong on ebay. They are orange-coulored CFL High Capacity AA batteries,  with amazing 3800mAH of energy, more than 4x of typical alkaline battery! So cheap, and they go really long way.)

High energy use is unfortunately not the only issue with my new SB-900 flashgun. There is a problem which I find really annoying and difficult to deal with; overheating!
It is all fine if you use your flash only sparingly. But for portrait works, or for HDR imaging, I need my flash to act often and sometimes in series of several flashes per minute. With that, I don't need to work long to hear the sound signal announcing overheating. After playing a lovely, happy melody - flash switches off for several minutes to cool down, and is simply unusable. What? Do I need to say "wait" to all people i am working with, so the flash can cool down?
It created several very silly situations for me, and also some situations where i was unable to complete my job in scheduled time.  Rather bad. Awfully bad, to be frank.
It has an override setting to disable overheating warning, but since it was factory programmed to switch off, can I risk ignoring it and frying the $500 unit? Not very tempting.

There is another option - to turn its power down, as when it is set to 1/4 or less, it does not overheat so quickly.
But the power was what I bought it for. So, if I need to reduce its power, I can rather work with smaller SB-600 which is lighter, much more gentle on batteries and easier to travel with. You can also try high zooming of flash beam to 180 or 200, as it tends to run a bit longer without overheating - but it may not be what you need on your set, so it can't be considered a working solution.

My final opinion after using it for 1/2 year?
It is a good flash which can SOMETIMES give you extra power when you REALLY need it.
But if you need consistent high power, use strobes in studio situations.
and, outdoor, on locations? turn your ISO up, and work with maximum power of SB-600 or other flashes you can get - or with SB-900 switched to 1/4 power or less.
and use higher power only occasionally, for selected shots, and only when you really need it.

I find this sole overheating issue very disappointing, and not worth the Nikon name. Perhaps Nikon's engineers should think of some cooling vents, or adding some sort of heat-sink? I don't know, but I am certain that solving this issue would greatly improve usability of this pricey unit. as it is for now - I have mixed feelings, and am not thrilled.  And, when I go for location work far away, traveling light - having pricey SB-900 at home, i travel with my old SB-600 which I find more reliable and trustworthy...

Expensive Gitzo tripod? Or some other options?

Hello,
 I wanted to share some thoughts with fellow photographers here.
As we are preparing for another location trip in the Caribbean (in October), together with Lex we decided to get some good carbon fiber tripods, light enough to carry around, but sturdy enough to hold D300 with the heaviest lens, flash, etc..
Lex bought a nice, rated 12 kg Gitzo, which is renowned as a Mercedes of Tripods. I, on the other hand have always a tendency to go sideways and experiment. I looked at less renowned brands. I like Manfrotto, but their carbon tripods are too heavy. So, I checked some others, and - decided for a relatively little known brand from Taiwan - Feisol.

Based on photo and description, I ordered on-line ( www.feisol.com )  model FEISOL CT-3441S Travel Carbon Fiber Tripod. Rated 10 kg and weighting less than 1 kg (just about 2 lbs), standing tall over 170 cm - it tempted me, specially with its price $300 - less than 1/2 of that Gitzo.
Just recently we had a chance to compare them together, next to each other. And we both were impressed with Feisol. So strongly built, it is very sturdy and has no tendency for vibration. Maybe fully extended it can be a bit less perfect, but i rarely use such height - with the Markins head it is almost 180cm high - no need for such height in 90% of my photography. Of course Gitzo is really fine and gives you legendary reliability, but it is to be expected for its rather steep price.

So, my verdict? They both are really good, a bit different in handling but Feisol is an excellent value, and fantastic quality too. if you don't care about using only most recognized brands and need to watch your money spending, you can go for it without regret. A big bang for the buck. Kudos for Feisol! Personally, I prefer it over Gitzo, just feels nice in hand.

Ah, there is something else from this kind of information i wanted to tell you. (Some of you know it already and laugh at me, that is OK :-)
Fellow photographers - if your neck hurts after handling a D300 or similarly heavy camera with 300mm lens for a few hours - consider an amazing camera strap. made by Crumpler, it has typically extravagant name as all their products. It is called "Industry Disgrace". I thought it is a funny name. But hey - you don't know why it is called like that, until you try it! It really brings shame to cheap, lame straps included with the finest cameras.
It is AMAZING! So light, but soooo comfortable. You owe it to your neck and your body. I only regret I did not buy it sooner...
Until next time!
Derek

Photoshop brush is lagging on my PC - mystery solved! (at least to me).

I have a decent Windows 7 computer with lots of processing power. Still, I decided to upgrade to a new i7 second generation with overclocked processor, SATA 6 disks and other fancy options.
So, i moved my stuff to the new machine. To my surprise- while Photoshop CS5 worked perfectly fine on my older computer, on this new super-fast beast - brushes were sluggish, lagging badly behind my movements and driving me crazy.
I checked for remedy on internet, and learned that quite a few other people complain about the lag problem.
Recommended by someone solution was to change brush "space" property from default 25 to a lesser value.  It helped to some extent, but it also changed brush characteristics. So, no good. I searched more, and found more postings on various forums.
Desperate, annoyed users tried to uninstall and reinstall drivers, Photoshop itself, Wacom Bamboo drawing pad, trying to debug Photoshop with Adobe support, etc. etc.  Somehow, I did not believe that any of these actions would solve the problem. After all - brush is one of Photoshop's basic options, and if there was a bad driver or other similar problem, it would be addressed in an updated version.
Additionally, I use both  a Bamboo pad, and also mouse. So, surely Bamboo would not affect my mouse performance.
Then, having experience with music recording on my computer - I remembered about latency problem. A similar, annoying lag between the moment one presses a music keyboard key and the moment the sound is heard. And I remembered that latency problems are related to sound card, with different brands and models having a different latency or no latency at all. So, I decided to follow the line of the card - in this case - the video card.
In my older computer I have a Radeon based card. In the new one I had NVidia Ge-force based card.

Instead of trying my luck installing and uninstalling drivers as recommended on some forums - I decided to buy a different card. I bought a simple Radeon card, tossing NVidia altogether.
That was it!!! From the moment I installed new card, all problems magically disappeared!
All works perfectly, and both my pad and mouse feel more crisp, more snappy and more precise!
They work exactly the way i like!

Worth a note is fact that I did not install anything fancy or expensive, but bought a modest card for about $80. So, it is not the fancy card which fixed it, but rather a different chip.
My conclusion is that NVidia Ge-force based cards are "not in love" with Photoshop, and possibly using Radeon cards would solve the problem. I am not a gaming guy, so I can't comment on differences between these brands when playing a game. But - for Photoshop and other editing programs - Radeon rules!
So, if you are one of people affected by this brush lag problem and you use Windows based PC - chances are you can quickly fix it (and by selling your old card you may not lose a penny on this switch!)
Good luck!

BASIC COMMENTS - PLEASE READ

Hello,
Just a few words about this blog and a few words about me:
At the time of opening this blog, I am working from Victoria, BC, Canada, often traveling to various international locations. Because i need to travel reasonably light (airlines' luggage restrictions), I don't use full frame equipment. Currently I use Nikkon D300s dSLR camera, having previous experience with many other cameras, like Nikon D90, Nikon D60, Yashica, Panasonic, Canon, some older Russian cameras like Zenith, and more.

I do not wish to discuss here advantages or disadvantages of my gear vs full frame, or Nikon vs Canon, etc.
I am a Nikon guy, but the thing is - I do not enjoy theoretical discussions which brand is better, nor i wish to know more about Canon in order to discuss such things. I am not one of these guys who enjoy testing anything they can get on hold of. I am more a practical person, and i care for results. If I can do what I wanted to to - I am happy with my gear.
So, none of my posting will be an official test or endorsement of any equipment.  I work with what I need and what I like, and from time to time - when I discover something interesting or have a comment - I simply want to share it. As simple as that.
For an extensive library of independently tested photo gear and reviews, I recommend Ken Rockwell's blog  www.kenrockwell.com

My posts are not organized by categories and can be random. Please check post TITLES to see what they are about. Thank you!

A Few lines about me:
At the time of opening this blog, I am working from Victoria, BC, Canada.
I am a member of:
CAPA (Canadian Art Photographers Association)
GMG  (Garden Media Guild, international association in UK)
PGP (Professional Garden Photographers,  international association in UK)
My photographs won various awards, such as IGPOTY (International Garden Photographer Of The Year by KEW Gardens, Royal Garden Society, UK), Four Seasons, Monochrome, and other international and national competitions.

My photos were exhibited in North America and Europe, and published by various magazines and publications, including:
Debbie Travis - Caribbean Charm, April 18 2010
Luxury Home Quarterly – Summer 2010 (main feature - 26 pages)
Building Savvy magazine vol.2 2010
ZING magazine (in-flight Liat airlines) vol.8 Summer 2010
Good Life Connoisseur magazine (Heat Wave feature) Summer 2010
Trellis – Toronto Botanical Garden mag. Winter 2011, vol.38, nr 1
ZING magazine (in-flight Liat airlines) vol.10 Jan-March 2011,
Real Life magazine, Spring 2011
Luxury Home Quarterly – Spring 2011
Pin-Up Architectural Entertainment Magazine, New York, Summer 2011
Real Life magazine, Summer 2011
and others...

I had the pleasure of working for a wide, high end clientele, including:

Lane Pettigrew Architects (LPA Inc, Florida, USA)
Cap Maison Resort (St Lucia)
Jalousie Plantation - Sugar Beach Estate Resort (St Lucia)
Mount Hartman Bay Estate (Grenada),
Sotheby's Realty International
Fort Young Hotel (Dominica)
La Giralda resort, Honduras
RealLife Magazine - Cayman Island
Zing in-flight magazine (UK, Caribbean)
Secret Bay lodge, Dominica
and many others...

I am a co-owner of Ozone Zone Books, independent publishing company offering coffee table books books, as well as custom publishing services. Our books are distributed through North America, the Caribbean, UK and Europe, as well as through major book stores on-line, and received several prestigious international awards and 5-star reviews from readers around the world.

I offer my stock images (through  Photographers Direct web site), as well as high quality photography services with an artistic edge, accepting travel assignments to Canadian and international locations.
More info on my photography services available on my personal Web site   www.artphotographyservices.com
while more info on packages (photography, photo panoramas, writing, designing, publishing, etc.) - offering one stop high end publishing and printing solutions, see www.ozonezonebooks.com/custom-orders
We offer all sort of very high quality printing materials, from books to brochures, wall calendars, folders, postcards, etc.
My Ozone Zone Books' partner art historian, researcher and award-winning author, Margaret Gajek, works with me on regular basics, lending her professional eye also to my photography jobs.
We work with a small team of highly specialized and skilled professionals, including photographer-panorama expert Lex Nowak, to offer you the highest possible quality work you require.

To learn more, see my portfolio, and inquire about any of above services please refer to listed above Web sites, contact me, or Ozone Zone Books office.

Thank you! I hope you will find my comments and tips on this blog helpful.

LINKS:
My personal site and portfolio http://www.artphotographyservices.com
Ozone Zone Books  http://ozonezonebooks.com
Ozone Zone Books blog http://ozonezonebooks.blogspot.com
Photography and publishing services offer  http://www.ozonezonebooks.com/custom-orders
My Model Mayhem page (portrait and fashion photography) http://www.modelmayhem.com/DerekGalon