What’s wrong with my colour?

Ever noticed the colour of your printed digital image looks different from what you see on your computer? This is called colour management and a new ‘thing’ we have to contend with in the digital era.

It is basically all about the colour of light and how our different devices record this: some are better than others and hence that is always reflected in price.

Our digital images are made up of pixels and each of these pixels is described by a set of colour numbers. It’s all very mathematical and something most of us, including me, have struggled to understand.

What happens is every device (camera, monitor, printer, scanner) interprets colours in its own way and therefore gives different colour numbers for the same colour pixel. And this is when your images start to look very different from your computer to your print. Even each camera interprets colour in its own way. For example look at this same colour numbered pixel and the colours it displayed as:

 

Pixel from camera
93R 154G 186B

Same pixel colour number printed at Lab ‘X’ 

 Same pixel colour number printed at Lab ‘Y’

So what do we do? Our best bet is to try and manage our colour workflow. 

It is a complex area and at each level there are numerous things you can do: colour management is a field of its own and for many that’s a mine field not a daisy covered one!
Here’s a couple of tips to get you started.
Start with your camera settings and ask yourself where do you want your images to end up?

sRGB is a good place to start if your images are going to be used for the internet as it’s the colour space of an average uncalibrated computer.

Adobe RGB is at present, the largest colour space available to most DSLR cameras so is a good starting point for those who want to process their digital files and output to a printer as in make prints to hang on your wall.

If you are using Photoshop choose Photoshop to Manage Colours' in the Color Handling options to print from your computer to your printer.

If you are using a printing lab to print images, ask them for their printer profiles and match your screen to that.

Best of luck!

 

These two images below (both scanned off the prints) came from the same digital file yet printed totally different at two different printing labs.

It's vintage time in the Granite Belt

It's vintage time in the Granite Belt and Sam has a grin across his browned Italian face. 'The grapes are looking good this year,' he tells us as we load the camera bags and jump in the back of his 4WD for a tour of the vineyard.

We're at Golden Grove Estate Wines, south of Stanthorpe and just west of Ballandean, at the home of the Costanzo family. Growing grapes in this region is nothing new, it's been going now since for quite some time. The Granite Belt is dotted with wineries, enough to take up more than a day for a serious wine connoisseur. Luckily we found the time to pop in on one or two while there for some work recently. 

The cool summers and the high altitude of around 820 metres provides ideal growing conditions for many of the classic wine grape varieties Sam explains, as his voice is almost lost in the wind and the 4WD clunks into another gear as it climbs the first ridge. Sam is a keen photographer and also a Nikon use and being tempted, on the odd occasion, to a fermented grape juice, I think I may like Sam a lot.

Proud grape grower Sam shows off this years prime crop
near Ballandean in the Granite Belt

 

 The ripening grapes set to make a fine drop of red wine.

Across the road is a long time favourite of mine, Ballandean Estate Wines, Queensland's largest and oldest family owned and operated winery. The Puglisi family are seeing in their sixth generation soon and have much to be proud of.

It's good to catch up with Angelo's and Mary's daughter Leanne again after many years, though I initially think I have timed my visit too early as I suspect a slightly sore head from entertaining in the cellar the night before. As usual though Leanne is her bubbly self and we venture out to where the wine is being bottled, casks emptied and readied for the crop coming in.

In an unfortunate accident last year Ballandeans' storing cellar burnt to the ground taking with it 180,0000 bottles of wine and some of the best vintages seen from the property. As we chat i-phone photography (yes Anita that's right) Leanne is not so quick to show me the images of the smouldering, devastated mess the family were faced with in the early hours of that shocking morning. In true Puglisi style, the smile returns to her face and the attitude of 'things could have been worse' takes over. 'On and up as they say, at least no lives were lost, and this vintage is looking pretty good,' she says.

I spot a bottle of the 2007 vintage, another acclaimed year of which all but a few bottles were lost to the flames and purchase it. With this and along with my couple of bottles from Sam and his crew, I'll toast the Granite Belt, its wineries, fun loving families and high trap rock country.

If you have never been out this way do yourself a favour: there's loads more to do such as great bush walking, wildlife, National Parks, four wheel driving and heritage and history.

We'll bring you more over the next few months from this truly unique part of Queensland.

 Tasting at Ballandean Estate with Leanne.

Want more info

Ballandean Estate

Tel: (07) 4684 1226
www.ballandeanestate.com

Golden Grove Estate
Tel: (07) 4684 1291
www.goldengroveestate.com.au

Southern Downs Tourism
www.southerndownsholidays.com.au

Granite Belt Wine and Tourism Inc.
www.granitebeltwinecountry.com.au

Check out these events they hold:
Ballandean Estate: Opera at the Vineyard

Golden Grove Estate: Sicilian Vintage Lunch

View these giant historic casks at Ballandean Estate.

Photoshop Elements: Who knew?!

Guest Blog and image by Julie Martin

So one day the boss calls and asks me: "Julie, can someone with Photoshop Elements come along to your One Day Beginner Photoshop Workshop?”

"Sure thing!” I reply.  "I'll just have a wee look at Elements and see what the differences are so we can let them know what they'll be missing during the day."

Photoshop Elements is a pared back version of Photoshop, which covers the main "elements" of full Photoshop.  Whereas full Photoshop will set you back around $1000, Elements is around $185 (price in AU and may vary), so I was expecting the differences to mirror the price difference.

So I dutifully downloaded a trial version of Photoshop Elements 10 and worked my way through the workshop tutorials, looking for what is missing in Elements.  The further through the workshop notes I went, the more I discovered that virtually everything I was going to be teaching was possible using Elements alone.  I was amazed, and impressed! For a fraction of the cost it is possible to achieve virtually everything most photographers need to achieve.

What are some of the differences?  Bridge and MiniBridge are not part of Elements, which has the Organiser instead.  However, the Organiser is felt by many to be better than Bridge.   In Camera Raw, there are only three panels - the Basics panel (which covers the majority of what we do in Camera Raw), the Sharpening and Noise Reduction panel, and the Camera Profile panel.  The panels that are missing cover some of the "finishing touches", but I found ways to achieve the same thing elsewhere in the program.

Onto Photoshop Elements itself, I discovered that the layout was slightly different but in a more user-friendly way, with the option to choose Quick, Guided, or Full Edit functions.  The Guided edit option, as it sounds, takes you through the changes you can make to your image, in a way that teaches you at every step. 

Layers are said to be the heart and soul of Photoshop, and they certainly exist in Elements also.  While the adjustment layers don't always appear in the same way or in the same place, every adjustment I wanted to make was possible in Elements.  The majority of the most used tools in Photoshop were present, and in fact the Text tool has more features in Elements than it does in Photoshop.  There is also a Recompose tool (absent in full Photoshop) which comes with complete instructions on how to use it, as well as a link to a video tutorial on its use!  How I wish Photoshop had that for all its features!  Content Aware Fill, an awesome function of Photoshop CS5 is only present within the Spot Healing Brush, but it did a great job here.  

Image by Julie Martin

Using a polariser and neutral density filter together

There has been much written on the use of polariser filters and neutral density filters (ND).

On a shoot the other day I had a classic example of how they work so well together, of course there is more than one scenario, however I thought these two images demonstrated it perfectly.

Why use them together? Well they do two different 'things' and combined those two 'things' can allow you the opportunity to control light and therefore capture an image impossible without them. Let's face it, our cameras can only do so much with the lighting situation we present them with.

After the recent rains in south-east Queensland a friend of mine that some of you have met, Linden and I took off to photograph his jeep crossing the 14 Condamine Crossing four wheel drive road. We knew the crossings would be over and flowing at a good rate and hopefully perfect for an image I had in mind. 

I was also glad he informed me before the first crossing that the jeep had a bung or two missing in the floor so we should ensure our camera bags were up off the floor. The water slowly lapped at our doors, seeped in and the muffler gurgled and smoked on many of the crossings, however the whole day enabled us to have a play with creating long exposures in the middle of the day.

In the first image below only a ND filter was used. The water is slowed to a milky wash but the car's windscreen and windows and other highlights in areas such as the rocks, foliage and sky are over exposed. By placing a polariser on as in image number 2, the reflections are reduced, contrast and saturation are increased to what our eye sees of the scene. The result, I think you would have to agree, is the second image is a much more appealing image.

One of the main problems that can occur from stacking filters like this is vignetting. If you get some make sure you frame your image to allow for some cropping preferably in an aspect ratio suitable for your camera.

When I use my ND fitter and polariser together I always place my polariser closest to my lens. I polarise the scene, pre focus on my subject then turn the auto focus off. I then carefully place my ND filter on the top of my polariser making sure no part of my lens changes position, meter read through the lens and that is my starting point for my exposure and its usually pretty close but I do bracket and of course, I always shoot in RAW and jpeg.

The presumption that the polariser filter does nothing unless the sun is at the right angle I have to say I find a double edged sword as it depends on what you want. If you have a half decent polariser (some are much better than others) in your kit try combining it with a ND. You may be amazed at the final result. They are a fabulous combination when used together for so many scenarios from landscapes and seascapes to busy cathedrals, streets and temples where you can make the hordes of people disappear and best of all they are such easy tools to carry in our kit.

Image 1.

 Image 2.

Both shot on Nikon D700 with a 17-35mm lens set at 24mm

Are you ready to be wedding photographer?

Warning: a shiny new camera does not give you a right to be a professional.

Sound a bit harsh? Well unfortunately, we have heard this story more than once before. You have a new camera which looks great, and you've managed to capture a couple of great shots, maybe even done a workshop here and there, all the time gaining valuable knowledge to your new found passion and you should be rightly proud.

And then you are asked to do a job...there are expectations.... it's a one-off like... a wedding!

Shooting a wedding is not as easy as it sounds. It's not just a matter of clicking the shutter button and because it's a 'good' camera means you'll get images that meet the expectations: that is the clients expectations, as that is what it is, a client either paying or non paying when you say 'I do'. That word expectations holds a lot of power. Let's look at a few pointers for photographers wanting to enter this market and brides to be looking for a photographer that needs some practice, and everyone does.

For Photographers

• Know your boundaries, be honest with yourself on what you can and can't do. This is not a day to be learning on the job.
• Manage the expectations - what they are seeing in magazines is not necessarily what you can honestly deliver.
• Have a shot list with family details checked.
• Research your venue: what's the light like, what's in flower, are there rules such as no flash.
• Get help! Have back up and its great if you can have a helper to round up the family.
• Said yes and now panicking because people are saying you need this and that. Before rushing out and buying consider hiring first.
• Always be polite and professional: become a peoples person.
• Have a contract even if they are not paying.

For Brides to Be
If you are paying peanuts expect a monkey - sorry but true. And at the same time, just because they are charging a lot, does not mean they have the experience and the people skills to manage your big day.

• Look at their images, speak with others that have had them photograph their wedding and if it is their first wedding, have realistic expectations.
• Have a contract.
• Make sure you feel comfortable with the photographer and can express easily your likes and dislikes in creating your shot list together - this helps manage those expectations mentioned above.
• Make sure you have a truthful mirror. One of our last but hard tips is be careful of your dress. We all want to look slimmer and usually with as few as wrinkles and bags around our eyes as we can. However, it is a fact, many see themselves in a dress either too small or really not suiting their figure: a classic is the strapless wedding dresses as you have to be a neat size 10 to not look fat in these dresses and under that you look bony and undernourished. Sorry, we said this was going to be truthful.
•  Enjoy the day! When a bride enjoys the day you can tell. Have fun, as this is such a special day for you!
  
  
   
  Image by Mike Geisel at a Bluedog Wedding Photography Workshop

Photographing Fireworks

By Danielle Lancaster

It's that time of the year again when the champagne corks will pop, kisses are shared, resolutions are made and the fireworks will explode!

So you have your camera in hand now how on earth do you photograph all that colourful light in the sky?

There's no great trick to it and usually no matter what type of camera you have you can capture something of the light show.

Do I need a tripod?
For the best results yes! The tripod head needs to be able to support your camera and the heaviest lens you have in a vertical position. If you forget your tripod, relax and try some hand holding abstract images: drawing with the camera shapes and letters, zooming in and out during an exposure, the options are endless and can create some bizarre one-of-a-kind images.

What lens? 

This is a hard one as each lens has negatives and positives. With a wide angle you can include other points of interest like a landscape or cityscape in your image. An object that is recognisable such as a statue or monument can really look awesome.

With a zoom you can capture one burst standing solitary in the sky and eliminate  other objects that could become distracting like bright lights or even worse the backs of people's heads.

ISO 160; f3.5; 6 sec; 32mm

Position, position, position
As they say in the property game location is the key, it's the same photographing fireworks. Areas can get very busy especially at times like New Year Eve celebrations and it is not un-heard of to hear of photographers 'camping' on a site for a day before the event to secure their prime sought after position. Up higher is generally better.

Watch the wind.
It is preferable to get up wind as then the smoke will blow away from you. Still night's can be as bad as those when the wind is blowing towards you, as the smoke lingers longer in the air and is notably worse after multiple bursts. Yes you can edit it afterwards but it can also be a lot of work.

Smoke hanging around can really ruin a good fireworks image.
Manual mode; 28mm; ISO 200; f9; 2.6sec

 

Before and after of an image where PS has been used to reduce the smoke.

ISO 200; f20; 6.7sec

What colours are best?
Reds and greens photograph brilliantly. Some gold fireworks photograph as white so it's a good idea to play with your white balance as well.

Take your UV filter off and switch image stabilisation/vibration reduction off.

Exposure

Shoot in manual mode and set your camera to Bulb. Choose a low ISO say 100 to 200. Generally we find we are shooting at an aperture of around f8 - f16. Use a cable release to control your shutter times.

Most importantly have fun and if you have managed to do all the above whilst juggling a glass of bubbly in one hand after the midnight show, then please let us know! 

Image by Sheryn Ellis
Canon 5D
ISO 200; f13; 4 sec; 25mm

Bluedog Photography shoot for corporate and private clients. They also hold a variety of workshops and courses on Photography. 

For more info visit www.blue-dog.com.au

The day I met a living Legend…..

Guest blog by Anita Bromley
Images by Anita Bromley and Danielle Lancaster

I noticed him immediately, sitting in a vinyl lounge chair on casters, legs covered with a multi coloured crocheted rug, staring up at the flat screen TV. I wondered if he actually knew what was currently showing and if he even was taking in the information or it was simply a way to pass time, a different view from his room with pale walls and a few token framed photographs reminding him of times gone past. 

Times where he was yes, younger, but back when his daily view was of wide open spaces in outback Queensland. Views of sunsets you have only ever seen in print and wonder to yourself – was that photo enhanced? Could there actually be sunsets that stunning in colour? Views of dust storms rolling in over the local Pub, sweeping the red dirt and the many stories each speck holds down the wide streets of a very, very small town. When you have worked all your life on the land being self sufficient and self-funded until the ripe old age of 92. How does that change the workings of your mind when you retire to a small nursing home and your legs just aint what they used to be.

Frank Purser is a character that everyone it seems in the greater western Qld knows or knows about. Just the day before when I was speaking to a group of photography students I came to an image in our presentation, one that has become quite iconic to me personally, I heard from someone in the group  “That’s Frank! Frank Purcell! He’s just over the road here in the nursing home….”  

I can only imagine how shocked I would have looked. I first saw this image back in 2009 on my first visit to Bluedog and have since lost count of the times I have viewed this image of Frank. Frank, standing in front of the iconic Birdsville Hotel, beer in hand, grin on his weathered face, black headphones (his hearing aid) on his head with a large and looming dust storm encroaching over the roof of the Pub. Never did I imagine back then that I would actually have the chance to meet him in person.

The image of Frank outside the iconic Birdsville Hotel as a dust storm rolls in
as seen by Anita so many times in the Bluedog Photography Beginner Workshop - composition session. Image by Danielle Lancaster

So how does the mind weather over time when it makes that big change from being active along with your body, to still and seemly confined when you compare it to the bulk of your life? Well it seems, for some, for Frank at least the mind stays pretty well sharp. Within minutes of Danielle and I arriving at the Nursing Home, Frank recalled the day Danielle took that image and the next half hour the two of them relived old times, stories and the people they both knew. Maybe an active life in your younger and adult years keeps the mind sharp in old age? Maybe that is the secret? Time will only tell. All I can say is that when I shook Franks hand as we left to catch our flight back home my thoughts were already anticipating my next visit to Charleville where I certainly hope Frank is still in residence.

Danielle and Frank catch up.
Images by Anita Bromley

I can only image the pride Danielle must feel to know that the image that has become so iconic to myself and many others associated with Bluedog, stands framed along with the article written about Frank, pride of place on his mantel in his room.

Note from Danielle:

I won't say I did not have a tear in my eye when I farewelled Frank this day Anita speaks of above recently in Charleville . I remember well as we were entering the nursing home saying to Anita, 'He'll most probably not remember me." And he did immediately. I felt such a privileged person when his face lit up with that smile I had come to know and love so much on my visits west. To have worked till nearly 93 and now just about to enter his second year on the pension is a story that needs to be told.

We did laugh about all sorts of things: snakes in swags, the bonus of a nip or rum nightly that his doctor says won't hurt him a bit, our mates and what's happening in Birdsville, how Don and Cooper are fairing up taking over in Frank's shoes keeping the beer cold at the Birdsville Hotel and how the old red girl is still going (she was Frank's truck).

Frank was awarded the 'Legend of Birdsville' this year - that's another image taken by me hanging in the framed print given to him for a story I did a few years ago now for 4x4 Australia, RM Williams Publishing and News Limited and some others. 

Thank you Anita for writing this, it is a blog I will cherish as one of those special ones in my life.

Good on you Frank, you are truly a legend.

You'll find them hanging in galleries, at Outback Spectacular, printed in books and magazines, on pub walls, and there's too many more in her archives to make a list, however Danielle's compassion and dedication to photograph most she meets has produced an amazing collection of portraits of the people of western Queensland at their home, in play and at work.

 Image by Anita Bromley