Jun 022014
 

I recently upgraded my Mac OSX to the 10.9 Mavericks version. About time, I hear you say but my guiding principle tends to be: If it ain’t broke, don’t fix it!

I still vividly remember an update to Mac OSX Panther that crashed my system and that of many other Mac users worldwide. My days of being an early adopter ceased from that time on. I now prefer to wait a few months to let the initial bugs get ironed out.

Keith Cooper, who runs the Northlight Images website — a valuable source of photography information and excellent reviews – happened to mention he had experienced a problem with the Google Nik Collection after he had upgraded to Mavericks. I checked out the Google Nik Collection website to see if Keith’s problem was widespread. I discovered it wasn’t and also became aware of the existence of Analog Efex Pro 2.

The original Analog Efex Pro had appeared as an icon in the folder when I downloaded the Google Nik Collection in March 2013 but the actual plug-in failed to materialize. Bearing in mind that Google at that time had offered me the entire collection as a free download, I wasn’t about to look a gift horse in the mouth and let the absence of Analog Efex Pro ride.

Analog Efex Pro 2 was a different matter. I now felt like I was missing out on something and so duly downloaded the Nik Collection again and the plug-in arrived in full working order.

I watched the Analog Efex Pro 2 tutorials and put the software to work. The software offers an array of filters to recreate vintage cameras, classic cameras, black & white, toy lenses to name but a few. Within those filters it is possible to control parameters such as bokeh, vignetting, dirt and scratches, and light leaks. And, of course, Nik Software’s control points are available to fine tune the effects.

I find a certain irony in this age of digital photography that we now wish to recreate photographic technology from as far back as the late 19th century, with the Wet Plate option, but such is the human condition. In the age of digital sound — CDs and mp3s – some people still prefer the sound obtained from vinyl. It is not hard to see the origins of the English expression: There’s nowt so queer as folk!

Here is my first attempt using Analog Efex Pro 2 with a vintage camera filter on a color shot.

HSC Mananna heads for Liverpool past Crosby Beach, Merseyside.

Canon 40D and Canon EF 100mm f/2.8L. ©Calvin Palmer 2014. All Rights Reserved.

The same shot with my usual color workflow of Viveza 2 and Color Efex Pro 4.

HSC Mananna heads for Liverpool past Crosby Beach, Merseyside, England.

Canon 40D and Canon EF 100mm f/2.8L. ©Calvin Palmer 2014. All Rights Reserved.

I enjoyed playing about with Analog Efex Pro 2 and without a doubt it does tend to provide a dramatic impact to color photographs. I must confess to mixed feelings, as part of me cannot help preferring the greater integrity of my usual color workflow using Viveza 2 and Color Efex Pro 4. I use “integrity” in a loose sense since any image is manipulated if subjected to Viveza 2 and Color Efex Pro 4.

I found my “integrity” was not so compromised using the Wet Plate option to convert a color shot to B&W.

Couple on Crosby Beach, Merseyside, England.

My usual processing (left) using Viveza 2 and Silver Efex Pro 2, with the Analog Efex Pro 2 version (right). Canon 40D and Canon EF 100mm f/2.8L. ©Calvin Palmer 2014. All Rights Reserved.

It may be that I overstepped the mark a little with my attempts on color images. Subtlety is often the key when it comes to applying effects to images. Sadly, I am not renowned for my subtlety.

I would be interested to hear which versions of these shots readers prefer.

Here is a final shot I processed straight from the RAW dng file in Analog Efex Pro 2, completely bypassing my normal workflow just to see how it fares as a standalone.

New Brighton Beach and Perch Rock Lighthouse, New Brighton, Merseyside, England.

Ricoh GR ©Calvin Palmer 2014. All Rights Reserved.

I am undecided whether Analog Efex Pro 2 will become a regular feature of my workflow. The jury is still out at the moment. I think it is more likely to be applied to certain shots when the mood takes me. Your feedback could well change my mind.

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May 292012
 

Memorial Day weekend should have been a time to get out and about with my camera, especially as it coincided with the Jacksonville Jazz Festival. Alas, Tropical Storm Beryl partly put paid to my plans. Sunday’s events at the festival were cancelled and I had to content myself with one day of shooting on Saturday.

The Jazz Festival is the one weekend in the year when downtown Jacksonville takes on the appearance of a bustling and vibrant city. For a Jacksonville photographer, it allows the opportunity to do some street photography, an impossibility during the rest of the year when the downtown area looks as though it has been hit by a neutron bomb.

This year, the festival also coincided with a friendly soccer/football match between the USA and Scotland at the Everbank Stadium on Saturday night. The presence of the Tartan Army and USA soccer fans added to the mix of people and choice of subjects.

Canon 40D and Canon EF 100mm f/2.8L Macro. ©Calvin Palmer 2012. All Rights Reserved.

Canon 40D and Canon EF 100mm f/2.8L Macro. ©Calvin Palmer 2012. All Rights Reserved.

On Sunday, I spent an hour watching a Nik Software webinar given by photographer Derrick Story and featuring shots from his B&W Vegas project. Derrick described his workflow in Silver Efex Pro 2 and also talked a little bit about cameras. His “stealth” camera for candid street photography is the Olympus EP-2, soon to be replaced by the Olympus EM-5 OM-D.

I have to agree that a smaller camera is less conspicuous out on the streets and also less threatening for those people being photographed. But it doesn’t automatically follow that larger DSLR cameras are not up to the task.

I think it is safe to say that a DSLR will guarantee you a shot every time and that is the reason why DSLRs are the camera choice of mainstream press photographers.

I don’t think it is the bulk of DSLRs that people find intimidating but the lens that is attached to the camera.

On Saturday, I shot exclusively with my 100mm f/2.8L IS USM lens. It is a recent acquisition and after shooting for more than 30 years with manual focus lenses, I am enjoying the benefits of an autofocus lens.

Canon 40D and Canon EF 100mm f/2.8L Macro. ©Calvin Palmer 2012. All Rights Reserved.

The 100mm f/2.8L lens is not large in comparison to say the 70-200m f/2.8L zoom lens but it is still large in the eyes of the public. Several times I was asked if I was taking photographs for The Florida Times-Union, Jacksonville’s daily newspaper. That question has never been posed while shooting with my Zeiss Planar T* 1,4/50 lens.

Canon 40D and Canon EF 100mm f/2.8L Macro. ©Calvin Palmer 2012. All Rights Reserved.

A DSLR camera, preferably full-frame, fitted with a prime lens — 24mm, 28mm or 35mm — is still capable of performing as a street photographer’s camera. With those prime lenses, a DSLR camera is certainly far less intimidating. But the best camera of all is the one you have with you.

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