So I come all the way to Iceland, swing by Sirkus in search of elves Sigur Ros & Björk only to discover: who's playing Reykjavik tonight? San Francisco band Brian Jonestown Massacre, and just around the corner from my hotel. So Remo & I hike back down the hill to Club Nasa to pick up the beginning of their set. Playing warmup were local bands Singapore Sling and Jakobinarina we meet Sikka from Sirkus & then Bibi from Jakobarina she assures us they were even better. Maybe next time....
Not bad for a Wednesday night in the dark and relatively touristless "quiet" season.
On my way to the Narita airport I stopped in Otemachi to have lunch with Dirk Rösler and Peter Blakely. As I emerged from the Ginza-line Exit 3, I was greeted not by by two hungry photographers but by a handful of amplified Chinese protesters, who were just getting warmed up.
They were shouting at a corporation in the office tower there alongside the station; demanding that the corporation of today, the remnant of a pre-war zaibatsu, recognize and apologize for its parent's actions sixty years ago in Manchuria. I eventually learned that they come to protest in the same spot regularly.
At that point I was carrying a full complement of luggage. Clothing, books, heavy computer. Hard to make pictures, though the nature of Japan allowed me to leave most of that luggage on the sidewalk while snapping a few quick pics (with full confidence that the luggage would still be there when I returned two minutes later).
It's easy to feel sympathy for these guys, who worked in slave-labor-like conditions many years ago. And their children. The resolution to their problems, however, is hard to envision. Is apology enough? Are the people who committed these old crimes still around? What responsibility do the executives today, most not yet born in 1936, bear? Can the new generations find it in their hearts to help? How?
And I wonder if. fifty or sixty years from this evening, we will see clusters of aging Iraqis and Americans shaking tired fists at the offices of American oil companies, at Bechtel, at Halliburton. What will our children say to them?
While my iTunes subscribes to it, I have to say that I'm not a huge fan of NAPP's "Photoshop TV" video podcast. I subscribe in the hope that some of the tips on the show will be useful. At the same time I dread having to wade through the hosts' gossipy and self-congratulatory prattle. It's better to watch on iTunes than the iPod, mostly because it's easier to fast-forward and skip those sections on the PC.
Another gripe: often the latest episode sometimes takes an hour to download on a broadband connection. Ugh.
This week, though, my pains were rewarded by a segment shot at the recent Photoshop World conference, featuring John Paul Caponigro and his recommendations and method for converting color images to black and white. His method was different from what I have been using and I like it a lot. If you're used to working in Photoshop adjustment layers, the pic above tells almost the whole story... with more details below.
What I've been doing (up to now, that is) is using a "channel mixer" layer with the 'monochrome' button checked to do my conversions, & quickly previewing all three channels (ctrl-1, ctrl-2, ctrl-3) before adding that layer. So does Caponigro. The tricky part for me has been getting the balance of the three R, G and B channels to look good (more effort than just hitting "grayscale" but a lot more control).
Caponigro's method depends on the "channel mixer," but he uses two layers where I had been using one for a lot more ease, speed, and flexibility. In this expanded method, just leave the "channel mixer" at its monochrome default: that is, check the "monochrome" box and leave the sliders set to 100% red, 0% green, and 0% blue. The resulting monochrome pic with therefore contain only the red channel. Rather than tweak the channel balancxes in the mixer, insert a "Hue/Saturation" layer immediately below the channel mixer layer, and play with the input color balance by simply sliding "Hue" back and forth.
A big Duh! moment for me. This method is so much more fluid to use, lots of variations can be developed just by dragging around that single slider.
I think I'd seen an article describing his method before, but the video really made it come alive for me and I realized it wasn't just useful for the landscapes typically used as examples.
The pic above shows a range of variations that can gained just from sliding "Hue" back and forth some cartoonish, some pretty standard and some Just Right.
If I felt like further noodling, all the other "Hue Saturation" controls could have been used too, including tweaks across specific color ranges (raising the saturation of just the reds, for example, could lighten the darker side of the face if I'd wanted that). For the sake of this example I've just stuck to a "straight" manipulation of only Hue.
The conversion happens independently from the two top Curve layers, which are optional. I use them (a) to give the overall picture a bit of a contrasty "S" characteristic tonal range that I like (that's the 'bwLimits' layer), and (b) to give the final B&W image some color tone by tweaking the blue channel only: boosting a wee bit in the shadows and pulling it back a wee bit in the highlights for a slight warm/cool effect (the "toneCurves" layer) (these layers would be the same regardless of the method I'd chosen for the basic B/W conversion from color).
In the pic at left you can see the "bwLimits" layer editor, which shows the "S" pretty clearly. It's not a strong "S" but it's there just the same, and the high and low points of the histogram are deliberately brought-in a little to give a full range between pure black and pure white.
Below that we see the "toneCurves" editor, which is only applied to the blue channel to create that warm/cool effect (for a color image, as on the web. When printing B&W I currently prefer to use Roy Harrington's Quadtone RIP, which has its own warm/cool print style).
(Photoshop experts may point out that I could have done the work of both curves layers in a single layer. They're technically correct, though I prefer using two layers to do two different jobs)
In both cases, the 'curviness' of those curves applied is really very slight. The Hue/Saturation layer is where all the really bold action occurs.
This shot was just a quick grab from yesterday at the coffee shop. Iz was working with her laptop and didn't even realized that she'd set herself up with a cluster of papers on the tabletop supplying reflected fill beneath her face, which was already illuminated by a big soft-source picture window. The color image (shot quickly with the camera set to "P") doesn't really have the right feel, especially given the mixed-color nature of the light sources (the window was partially obscured by a tan sahde above her head, blue-gree anti-glare film near her face, but no film on the papers combined with incandescent lamps from the other side), but the B&W starts to approach the luminous glow I saw when shooting. Other than the conversion, there's not a bit of dodging or other alteration required for this one.
As a shooter for the Baltimore Sun David gets lots of opportunities to work through classic location portraiture issues. In this way his job is a bit like that of Neil Turner, and some of the site reminds me of Neil's dg28.
It 's one of those little paradoxes that the standard way to light still photography is to not light it at all (in fact many photographers get indignant about "respecting the original light" and so forth). This is quite opposite of motion-picture photography, where much might look "natural" but everything is deliberately lit and often the lighting is far, far, from anything that nature would have actually provided.
A byproduct of this disconnect is that a lot of the little stunts that Strobist and the like have devised (like a cardboard-and-gaffer-tape snoot, as in the snap here) are pretty similar to the things that gaffers and lighting cameramen in the movie world deal with daily.
For movies, every location shot has to be location-lit. And there's usually a crew to do the work. I find it fascinating to read Strobist and a few other sites and see so many of the classic gaffer's tricks and crafts re-worked so that one person can do them, quickly, and how thanks to the use of small strobes instead of 2000W Molepars, you don't need to worry about having the fire department on standby.