May 6, 2009

How to use a DSLR as an altimeter

The reference to “altimeter” is slightly tongue in cheek, but if you take a picture of a plane way up above you in the sky, and you happen to know its wingspan, you can calculate how far up it is from the size of its image on the sensor.

It’s a bit of a geeky thing to do, but the opportunity came up recently and I couldn’t resist the mathematical challenge.

On May 1st, my eldest son Jonny did a skydive for Cancer Research. I was at work but my wife went along to the Parachute Centre, Tilstock, to cheer him on and take some pictures (with my Sony DSLR and 18-250mm zoom lens). One of the pictures that came back was this one of the light aircraft the Parachute Centre was using for the jumps, taken when the plane was at its highest altitude just before a skydive.

This is a 289 x 193 pixel crop. The full 10MP picture was nearly all sky and measured 3,872 x 2,592 pixels.

Now I reckoned that with a bit of schoolboy physics it should be possible to get at the “object distance” (i.e. how far the plane is from the camera) provided you know the size of the object, the corresponding image size and the focal length of the lens.

So far as object size is concerned, the wingspan is the obvious dimension to concentrate on because it is published (assuming you can identify the make/model of the aircraft). If the plane had been banking the calculations would have been affected by foreshortening effects, but in the image the wings look to be level and I’m told the shot was taken pointing as near as dammit straight up.

Identifying the plane was surprisingly easy. I started with a picture my wife took of the same plane on the ground:

I tried Googling the plane’s registration number, G-VANX, and found this which is clearly the same plane and is described as a Gippsland Airvan. A Google image search rapidly confirmed that the plane was indeed a Gippsland GA8 Airvan. From there it was trivial to get at the wingspan. It is 40′9″ which is 12,420.6mm.

Now the image size. I opened the 289 x 193 crop in Photoshop and used the tape measure tool, reading in pixels, to get the wingtip to wingtip distance. It comes out at 165 pixels. Not the last word in precision maybe, but something to work with. From there it is a simple ratio. The DSLR has an APS-C 24mm sensor corresponding to 3,872 pixels across (see above). So the physical size on sensor of a 165 pixel image is:

24 x 165 / 3872 = 1.023mm

And the focal length was 250mm. You can get that from the EXIF data embedded in the image file.

So that’s all the data items. We now need a formula to connect them to the object distance. In practice, all you need is the main optics formulae you learned (and probably hated) at school, namely:

Equation 1: (1 / v) + (1 / u) = (1 / f)

where v = object distance, u = image distance and f = focal length.

You also need:

Equation 2: (u / v) = (I / O)

where u and v are as above and I = image size, O = object size.

The one variable we don’t know (and don’t really need) is the image distance, u. So we rearrange Equation 2 to get u on its own and substitute that into Equation 1. After a bit of GCSE level algebra you get:

v = ((O / I) – 1) x f / 1000

where the factor of 1000 converts the result from millimetres to metres.

So we get v = ((12420.6 / 1.023) – 1) x 250 /1000 = 3,035.9m

That works out at 9,960 feet, which is interesting because the Parachute Centre staff had said that the jumps would be from a height of 10,000ft. OK, so the exercise didn’t tell us anything we didn’t already have good reason to believe, but having established the mathematical method it might come in handy some day. Who knows?

Some assumptions implicit in the method:

Plane was flying level (or at least not banking)
Plane was directly overhead
Height of the airfield above sea level ignored
Height of photographer was ignored

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April 20, 2009

Another dark horse

Back in December I had to learn how to cope with low light when taking pictures of my daughter riding her horse and jumping fences. I had an opportunity to reuse some of those techniques yersterday at the British Open show jumping at the NEC LG Arena.

The light was even worse (at EV8) and I was a long way from the action, being a regular spectator in the stands albeit with a good seat. No chance of using flash – strictly prohibited for fear of spooking the horses – and the distances involved were too great anyway.

I had to resort to ISO 800 (something I really try to avoid with my camera) and pick an angle which allowed me to get away with the lowest possible shutter speed. There was a fence where the horses would be heading straight towards me as they jumped. The foreshortening effect reduced the effect of motion blur.

This is William Whitaker on Fairview Mirabelle D’Or in the opening round of the main event of the day.

1/60th @ f5.6 ISO 800. Sony DT 18-250 @ 110mm.

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March 27, 2009

Dark Horse – but how dark?

In my previous post I commented on the difficulties of taking action shots (horse jumping over a fence) in limited light.  It seemed gloomy (it was noon in midwinter on a heavily overcast day) but how much darker than on a typical sunny day?

You can get an objective measure of the ambient light level by calculating the Exposure Value (EV) from the aperture, shutter speed and ISO setting required for correct exposure.  EV0 corresponds to an exposure of 1 second at f1 with ISO set at 100.  From there, each f-stop narrowing of the aperture corresponds to an increase in light level of 1EV.  Similarly a halving of the exposure time or halving of the ISO setting, also correspond to +1EV.

A typical cloudless sunny day would require 125th at f16 and ISO 100 – a rule of thumb known as “sunny 16″.  This corresponds to EV15.  Relative to the definition of EV0, we have kept the ISO unchanged but narrowed the aperture by 8 f-stops and halved the exposure time 7 times.

Looking at the EV for the day at the stables, the shot of Bazil jumping was taken at f3.5 and 1/400th with ISO at 400. That works out at EV10.3, in other words nearly 5 f-stops shy of the light levels on a “sunny 16″ day.  That’s 2 stops less light than suggested under a simplistic application of the Sunny 16 Rule.

The general formula for EV is:

EV = log2 (aperture x aperture) +log2 shutter – log2 (ISO/100) – expadj

where log2 means the logarithm to base 2, the aperture is the f-number, the value for “shutter” would be say 500 if shooting at 1/500th and expadj means any exposure adjustment applied in post, in say Aperture or Lightroom, expressed in stops.

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March 25, 2009

Horsing about in the dark

At XMAS, I took some pictures of my daughter riding and jumping her horse, Bazil. It was a quiet day at the stables, no-one else around, so we had the arena to ourselves.

What we didn’t have was a great deal of light. We were there late morning but it was gloomy and overcast, hardly any shadow. My challenge was how to get some usable shots.

I wanted some pictures of Bazil jumping but it was very hard to get a fast enough shutter speed on my Sony A100. It was also very hard to get the lens to focus. In the low light the focus mechanism was either too slow or simply unable to work properly. Time after time it would miss with the focus. I had to resort to manually pre-focusing the Sony 18-250.

This is how I went about it. I picked a place to stand by the arena fence, near the jump, and focused on the bar of the jump with the lens at 250mm (so I could see when it was properly in focus). I then turned off the auto-focus and set the lens to 18mm, mainly to get away with the slowest possible shutter speed, and set the aperture to maximum (F3.5). ISO was set at 400, the fastest I dared risk without inviting unacceptable noise.

The camera was on Aperture Priority and the shutter speed was coming out at 1/400th which was just fast enough to freeze the action. The camera has built-in image stabilisation but that doesn’t help to get a moving horse sharp.

It was then all about waiting for Esther and Bazil to come around the arena, reach the jump and go over it. As they approached I would start a series of frames on continuous shooting.

The hope was that one of them would catch the peak of the action. I hadn’t brought a tripod so I stood against the fence for support.

Esther kept changing rein so the horse would then be moving away from me as it approached the fence. I had to wait until Bazil was going the right way again. The results aren’t too bad. A bit affected by noise, and I couldn’t get in tight with any of the shots, but I did get some worthwhile action pictures.

I also managed to catch Bazil with all four hooves off the ground.

This was a bit of a fluke. Esther thinks I took the picture at the instant of a flying change of rein.

The ten best pictures from the day are here.

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March 23, 2009

Twitter exposures

You can now subscribe to this blog on Twitter.

If you are a Twitter-user (and who isn’t these days?) just click here then click the “Follow” button.

Then, each time there is a new post on this blog, you will see the title and a link appearing as a tweet in your Twitter stream.

What more could you ask for?

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February 12, 2009

Mishca @ ISO 800

This is my brother-in-law’s German Shepherd, Mishca, taken at ISO 800 on a Sony Alpha A100. If you are using Firefox, you can see it at 1024 x 686 by right clicking on the picture, selecting “view image” then clicking again to zoom in.

It’s not that it’s all that remarkable a picture. More that it’s surprisingly usable given that the A100 is known to be a disappointing performer at higher ISO levels. With the advent of cameras such as the Nikon D3 and D700 pushing the envelope on low noise at high ISO, it is easy to forget that most cameras out there right now can’t get close to that sort of performance. I always set the ISO on my A100 manually and hardly ever set it higher than 400.

This was a rare exception. I was at the limit of my 18-250 zoom and needed f8 to get the sharpness and depth of field I wanted. The slowest shutter speed I thought I could get away with was 1/60th (relying on the built-in image stabilisation to give me 2 stops of leeway) and that meant ISO 800.

If nothing else, this does prove that in the right circumstances you can get away with ISO 800 using the A100. The lack of areas of plain colour helps mask noise, I suppose.

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February 11, 2009

Lightroom Catalog – post-crash recovery

Barely 6 months old, my Seagate FreeAgent 500GB external drive died on me a few days ago, taking my photo files with it. Its demise was quite sudden, following a short illness whose chief symptoms were that some files or folders started to “disappear”.

If I had been using a Drobo or a RAID array the loss of a drive would have had no impact at all, but at least all was not lost.  I had a backup in the cloud. For around a year I had been using the excellent Jungledisk system which automatically backed up all my photo related folders on the FreeAgent drive to Amazon’s S3 data storage platform.

I ran a restore overnight, but the following morning a quick check revealed that only a part of my photo file collection had been reinstated. At first I thought this was because the relevant files and folders had not been backed up. Not so.  An inspection of the Jungledisk logs revealed that the folders had indeed been backed up in the past, but then deleted again in the last few days!

What I think must have happened is that during the nightly backup, Jungledisk could not find those particular folders on the FreeAgent (due to its deterioration), interpreted their absence as the result of a deliberate deletion and accordingly removed them from the backup in the cloud.  Thankfully, Jungledisk is a well designed system that keeps archived versions of backed up files for a period, as a safeguard against unintended changes or deletions. All my files were there and I was able to get them back.  The archived previous versions all had “ARCHIVExxxxxxxxx-” prepended to the file name (where “xxxxxxxxx” is an ID number) and as there were hundreds of these files I had to write a short Visual Basic 6 program to go through all the file names, stripping out the prefixes.

At last I was ready to open Lightroom 2 and recreate my catalog, the latest catalog files having been lost. This worked fine except for the fact that none of the development histories in the imported DNG files was present.  The image displayed in each case was after the latest adjustments made in Lightroom but the history tab showed no record of those adjustments.

Now I had Lightroom set up so that XMP data would be saved automatically to the DNG file and believed, in my naive way, that this would include the step by step history of adjustments made in Lightroom in the past. Well, it doesn’t. The only way to recover those is to retrieve the relevant catalog files, it seems, as that is the only place they are saved. Without the original catalog files, you have the choice of using the fully adjusted version as is or resetting back to the original RAW import.

I had been exporting my catalog as a .lrcat file periodically and found a reasonably recent export in one of the archived folders on Jungledisk. I then imported that catalog and suddenly I was nearly back to normal.  All development histories were back, as were flags, ratings, etc. The catalog had been nearly up to date and from there it was easy to get back to a fully recovered position.  Not as easy as if I had had a Drobo but not too terrible either.

This unpleasant episode does underline the importance of making regular exports of the catalog files or ensuring that the ones in use are backed up. So back up those image files but don’t forget to back up the catalog files too.

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January 21, 2009

DSLR lenses: Try before you buy?

Before I spend hard earned money on an expensive new lens I would quite like to try it out.  Sure, you can look at other people’s shots on flickr, which is more than you ever could in days of yore, but it’s still not the same thing as exploring what you can get out of the lens over a weekend.

The idea of renting a lens for a week, maybe to coincide with a trip abroad, is very attractive if the cost of hire is reasonable.

The problem is that this idea has not really caught on with non-professionals.  Maybe people just aren’t aware of the lens (and camera) rental market.  It is still almost exclusively professionals who rent specific gear for particular assignments, and so far as digital SLR equipment is concerned that means either Canon or Nikon.  Those two makes so dominate the professional market that it is not worth the rental companies carrying other brands.

The highly acclaimed Zeiss Sonnar T* 135mm F1.8

The highly acclaimed Zeiss Sonnar T* 135mm F1.8

So if I, as a Sony Alpha user, fancied trying out one or two of the highly regarded Zeiss lenses on a trip then I am out of luck.  Not to be had, at all, in the UK.

It’s not so bad in the US where outfits like lensrentals.com offer a slick web-based service, with lenses couriered to anywhere in the country, and covering a wider range of brands. The choices are far more limited in the UK, with only a couple of serious options for lens rental, London Camera Exchange and Calumet, and neither offer a service to compare to the best of the US. Nor do they cover DSLR brands other than Canon or Nikon.

It’s a shame the lens rental market is so limited.  I imagine a lot of keen amateurs might welcome the idea of short term rental, with a view to potential later purchase, if the equipment were available and the service suitably publicised.  And that goes for non-professional Canon and Nikon users too.

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January 3, 2009

Workflow questions #1.1 – Taking notes in the field

This post considers the options in response to question 1.1 posed in my earlier post: the questions you should be asking yourself about your workflow.

The question was:

1.1 What are you going to do about taking notes that will help you process your pictures correctly later?

This is something I confess hadn’t occurred to me at all until Scott Bourne, wildlife and landscape photographer, recounted an anecdote while being interviewed about workflow on the popular This Week in Photography podcast.  In particular it was episode #62.

Scott was talking about a student of his who, on examining his images on the computer after a day’s shoot, spotted a series all of the same subject where all but one were clearly over or underexposed.  So he deleted all but the correctly exposed one.  Only when it was too late did the realisation hit him that he had destroyed a sequence he had intended to combine into a High Dynamic Range (HDR) image.

Scott mentioned he sometimes writes the letter “H” on his hand and takes a photo of it to remind himself that the following sequence of exposures are for blending into an HDR.

There are photographic situations like that, when you will not be able to process some of your images correctly without reference to contemporaneous information about conditions, circumstances or intended use.  If you are going to be taking a lot of pictures in a single shoot, it may be dangerous to rely solely on your memory, especially if you might not get an opportunity to process your images for some days.

Another example: it might be helpful to record information about ambient lighting (eg indoors under tungsten bulbs) to help you set white balance later.  Or you might have decided to deliberately underexpose because you wanted to preserve highlight information, but with the intention of correcting later.

Before considering the options, we need to think about the criteria we will use to assess them.  These are the criteria I will use in this post, and in other posts which address questions about workflow:

COST

CONVENIENCE

RISK

QUALITY

(I’ll use a RAG colour coding system)

There will inevitably be a balance to be struck between these.  The choice you make for yourself will most likely reflect the compromise which makes most sense in your own circumstances.

Suggested options:

a) Don’t bother – rely on memory

This is fine if you rarely take large numbers of images between processing sessions, don’t indulge in “special” shots (where the processing has to complement the camera settings), or are blessed with an eidetic memory.

COSTCONVENIENCERISKQUALITY

b) Use a notepad

Make sure you have one in your camera bag and a supply of pens or pencils.  Record the date and location, and any pertinent info about shots you’re taking.  You can go into detail if you need to. The drawback is relating your notes to specific images.  You really need to check your camera for the relevant image file numbers, which can be a nuisance.  And don’t lose the pad.

COSTCONVENIENCERISKQUALITY

c) Write on your hand and take a photo as per Scott Bourne

Great for something simple like introducing an HDR sequence. Not so good for intricate notes when you’re doing something complicated.

COST - CONVENIENCE - RISK - QUALITY

d) A voice memo device


There are small dedicated voice recorders available and many mobile phones support voice memos.  It may though be hard when back at the computer to find info about a specific shot if it’s in the middle of a recording.  And, as with the notepad, you need image file numbers.  Some (expensive) cameras support voice memos which at least takes care of associating each voice memo with the corresponding image.  Applications such as Adobe Lightroom are starting to support camera-recorded voice memos.

COST - CONVENIENCE - RISK - QUALITY (dedicated device / mobile phone)

COST - CONVENIENCE - RISK - QUALITY (camera voice memo)

These are just my thoughts.  Please suggest any solutions of your own.


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January 2, 2009

The questions you should be asking yourself about your workflow

Workflow is a big subject, and far more important than is often realised, even for the amateur photographer.

If you have a well thought through workflow that suits your personal circumstances and preferences, then you can stop wondering and worrying about how to get things done quickly and conveniently. The backroom processing will become a familiar, comfortable routine, freeing you up to concentrate on enjoying your photography.

So how do we nail down that ideal workflow? There is no “one size fits all” solution, because needs will vary depending on whether you are a professional or taking photos purely for pleasure, on your throughput of images, on how much you can afford to spend on software and equipment, on the kind of photography you are interested in, on whether you shoot in studio or on location, on your personal preferences, etc.

So instead of attempting to prescribe a workflow, I’m going to suggest a series of questions you should be thinking about, covering all aspects of your photographic process from click to print. Your individual answers, reflecting your own preferences and circumstances, should help lay down the basis of a workflow that will work for you.

In this post I’m putting forward the questions. In future posts, I’m going to be taking each of the questions in turn and looking at the pros and cons of various possible approaches. I am assuming throughout that we are talking about digital photography and that a computer will be used somewhere in the workflow.

Firstly, a recap of my own definition of photographic workflow, from an earlier post:

Workflow means a systematic, planned and repeatable pathway for transitioning the image data captured in the camera into usable images and safeguarding them in organised, secure long term storage

Following from this definition, here are the questions that need to be answered for each stage of the process:

(The symbol denotes a link to the corresponding post suggesting some possible answers)


1. In the field

Note that for this purpose “field” means the place where you are shooting, which can include home and studio.

1.1 What are you going to do about taking notes that will help you process your pictures correctly later?

1.2 What aids will you use to assist with later adjustments to white balance, exposure, etc?

1.3 Are you going to shoot RAW, JPEG or both?

1.4 Which colour space will use use?

1.5 Are you going to use one large memory card or several smaller ones?

1.6 Are you going to use external devices to safeguard your images in the field?

1.7 Are you going to delete “dud” images in-camera?

2. Transition to the computer

2.1 How will you physically transfer digital image data from the camera (or other storage device used in the field) to the computer?

2.2 In what file format will the transferred images be saved on the computer for subsequent processing?

2.3 What will you do about the physical organisation of image files on your computer so that you can locate and identify them later?

2.4 Will you add tags to help identify or search through your images?

2.5 How will you incorporate tethered photo capture? (added 20/2/09)

3. In-computer processing

3.1 What software will you use?

3.2 How will you select and deal with discards?

3.3 How will you standardise your processing?

3.4 To what extent will you use presets?

3.5 How will you approach sharpening?

3.6 How will you deal with noise?

3.7 How will you handle HDR and other specialised processing?

4. Transition to web

4.1 What file format will you choose for images to be displayed on the Internet?

4.2 Which on-line medium will you use?

4.3 How will you upload your images?

4.4 How will you deal with colour calibration?

5. Transition to print

5.1 Will you use your own physical printer or a third party printing service?

5.2 How will you deal with colour calibration?

6. Transition to long term storage

6.1 What file format will you use for long term storage?

6.2 Will you use a physical backup medium, the “cloud” or both?

6.3 How will you organise your backed up files for ease of location and retrieval?

7. Administration

7.1 What routine housekeeping tasks are required?

7.2 What additional record keeping do you need for your business?

7.3 What about links with your accounting system?

7.4 How should you document your workflow? (added 8/1/09)

I’ve probably forgotten loads of important questions.  If you can think of any please let me know and I’ll incorporate them.

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