I have opened my blog CG Jaakko. This is where I will publish my 3D related things.
http://www.cgjaakko.com
Saturday, November 12, 2011
Thursday, August 11, 2011
Free Images in Art Film Stock
You know, I started photography in 2005. I've been taking all kinds of photos and also done my share of microstock photography. I think money is important, but I think money isn't the reason why I'm doing it.
Therefore, I decided to release almost all of my portfolio for free download. That's over 300 images.
You can download images here.
The free downloads are under standard royalty free license. So they can be used for commercial purposes.
Sunday, August 7, 2011
HDR Attempt
Quick attempt of HDR photo. Easy bracketing setting with Canon EOS. Combined in Photoshop CS5 automatic HDR import.
Friday, August 5, 2011
Inspecting Photos
Royalty free stock photo sites have professional people called "image inspectors" who make sure that the uploaded photos are technically and legally sound.
I must say I respect these folks. Not only they must evaluate the technical execution of the photos, they must ensure that there's not going to be legal trouble if the photo is used in massive advertisement campaign. This means checking there's no logos, brand identities, license plates, barcodes or recognizable human faces (if photo is provided without a model release).
But that's not all. They must check the skies for dust specs, make sure there's no hot pixels, excess noise, and they must evaluate the overall lighting composition, and artistic value of the photo as well.
And there's crazy amount of photos, so these guys must also be efficient, which means they have to be quite fast with their work.
Often, there are "grey areas", a bit subjective things. For example a photo showing woman's hand. Woman is wearing unique looking bracelet, and there's no model release. Some inspectors accept the image and some reject it, fearing that the uniqueness of the bracelet will make model recognizable, thus requiring the model release.
Naval vessels are especially difficult area. If the ship is the main subject of the photo, it will most likely get rejected by stock agencies due to property related problems. If the ship's on background, this also becomes gray-area real fast. Depending how the inspector views the photo, it might get either rejected or accepted.
Different sites have different policies, some require more technical precision than others. For photographer, this often means self-discipline, as rejections can't be avoided. Even most popular photographers get rejections sometimes. Just keep going and chances are that more and more of your photos get accepted.
I must say I respect these folks. Not only they must evaluate the technical execution of the photos, they must ensure that there's not going to be legal trouble if the photo is used in massive advertisement campaign. This means checking there's no logos, brand identities, license plates, barcodes or recognizable human faces (if photo is provided without a model release).
But that's not all. They must check the skies for dust specs, make sure there's no hot pixels, excess noise, and they must evaluate the overall lighting composition, and artistic value of the photo as well.
And there's crazy amount of photos, so these guys must also be efficient, which means they have to be quite fast with their work.
Often, there are "grey areas", a bit subjective things. For example a photo showing woman's hand. Woman is wearing unique looking bracelet, and there's no model release. Some inspectors accept the image and some reject it, fearing that the uniqueness of the bracelet will make model recognizable, thus requiring the model release.
Naval vessels are especially difficult area. If the ship is the main subject of the photo, it will most likely get rejected by stock agencies due to property related problems. If the ship's on background, this also becomes gray-area real fast. Depending how the inspector views the photo, it might get either rejected or accepted.
Different sites have different policies, some require more technical precision than others. For photographer, this often means self-discipline, as rejections can't be avoided. Even most popular photographers get rejections sometimes. Just keep going and chances are that more and more of your photos get accepted.
Thursday, August 4, 2011
Tripod Buying Guide
I really recommend having a tripod in your arsenal. In almost all situations, it will make your shots look sharper.
There are plenty of tripods out there and the price range is quite large. There are some really high-end models that are made of carbon fiber and then some small and compact beginner models which are constructed from aluminum.
I've always been fan of Manfrotto's "reasonable cost" models with a fixed ball head.
The ball head is what it sounds, a ball joint between the fixing plate and the tripod, allowing you to tilt the camera in all axis and fix it in place with one single move. These are very popular. Medium cost models come with a fixed head, while more expensive models allow you to purchase head separately.
My tip would be to avoid the cheapest models, but not to go overboard. Most expensive models aren't going to make that much difference for average photographers. Stability is key factor.
If you shoot DSLR movie, it's good to choose a tripod without fixed head. This will allow you to use fluid heads for smooth movements.
There are also monopods, and these will come handy in shooting situations that do not allow tripods. I've seen people shooting with monopods in some shrines for example, which doesn't allow tripods because they would obstruct visitors. Some sports shooting situations also forbid tripods because such fixed camera installations would pose danger for sportsmen. Monopods are ideal choice for these situations.
There are plenty of tripods out there and the price range is quite large. There are some really high-end models that are made of carbon fiber and then some small and compact beginner models which are constructed from aluminum.
I've always been fan of Manfrotto's "reasonable cost" models with a fixed ball head.
The ball head is what it sounds, a ball joint between the fixing plate and the tripod, allowing you to tilt the camera in all axis and fix it in place with one single move. These are very popular. Medium cost models come with a fixed head, while more expensive models allow you to purchase head separately.
My tip would be to avoid the cheapest models, but not to go overboard. Most expensive models aren't going to make that much difference for average photographers. Stability is key factor.
If you shoot DSLR movie, it's good to choose a tripod without fixed head. This will allow you to use fluid heads for smooth movements.
There are also monopods, and these will come handy in shooting situations that do not allow tripods. I've seen people shooting with monopods in some shrines for example, which doesn't allow tripods because they would obstruct visitors. Some sports shooting situations also forbid tripods because such fixed camera installations would pose danger for sportsmen. Monopods are ideal choice for these situations.
Tuesday, August 2, 2011
Keeping Your DSLR Sensor Clean
I'd like to tell you what I have learned so far about dust and DSLRs.
Dust specs show up in digital photos usually in skies, when photos are shot with narrow apertures such as F11 or narrower. Usually small dust doesn't show up when shooting at wide apertures. In most cases dust specs can be easily cloned out in Photoshop. However, it's important to prevent dust entering your camera.
Professionals prefer to change lenses in dust free environments, and they make the change so that the hole in camera body is pointing downwards. Dust particles follow gravity and they move more likely down than up.
If you remove lens, immediately place body cap on your camera. Make sure also to keep rear cap attached when storing the lens.
It is best to change lenses in a place with as little ventilation as possible. Moving air moves dust particles, so windy weather is hardly ideal. Get inside car or shelter yourself from the wind before making the change.
If dust doesn't show on your photos, you're probably fine. If you constantly shoot landscapes with narrow apertures and notice dust specs on skies, it might be a problem that requires action.
Although most modern DLSR's have some kind of active dust reduction mechanism, it doesn't remove all dust. Big bulb blower without the brush tip is a tool of my choice. Choose one from the expensive side rather than the cheapest.
Set the camera into manual cleaning mode, and remove the lens, and make few blows with the blower. Make sure the tip of the blower never touches the sensor. I don't recommend to insert the tip past the shutter curtains. If somehow the shutter would close while cleaning and bulb blower's tip's blocking it, you'll probably end up with damaged shutter.
You can test the result by taking picture of a blue sky, or a white wall. Use narrow aperture, for example F11, or F22. If dust specs still exist, repeat the cleaning process.
There are also tools that allow you to wipe the sensor directly. Personally I feel it's a bit too risky. If bulb blower isn't enough, I recommend to take the camera to the manufacturer's official maintenance for cleaning.
Some cameras also have automatic dust spec removal function, which registers the sensor spots in photos and automatically removes them in post processing.
When we shoot long enough with DSLRs we get used to removing occasional dust specs in post processing. In most cases it isn't big problem. What you need to take are are the big spots when they appear. In film age, dust was actually much worse problem, because it couldn't be removed as easily as nowadays.
Dust specs show up in digital photos usually in skies, when photos are shot with narrow apertures such as F11 or narrower. Usually small dust doesn't show up when shooting at wide apertures. In most cases dust specs can be easily cloned out in Photoshop. However, it's important to prevent dust entering your camera.
Professionals prefer to change lenses in dust free environments, and they make the change so that the hole in camera body is pointing downwards. Dust particles follow gravity and they move more likely down than up.
If you remove lens, immediately place body cap on your camera. Make sure also to keep rear cap attached when storing the lens.
It is best to change lenses in a place with as little ventilation as possible. Moving air moves dust particles, so windy weather is hardly ideal. Get inside car or shelter yourself from the wind before making the change.
If dust doesn't show on your photos, you're probably fine. If you constantly shoot landscapes with narrow apertures and notice dust specs on skies, it might be a problem that requires action.
Although most modern DLSR's have some kind of active dust reduction mechanism, it doesn't remove all dust. Big bulb blower without the brush tip is a tool of my choice. Choose one from the expensive side rather than the cheapest.
Set the camera into manual cleaning mode, and remove the lens, and make few blows with the blower. Make sure the tip of the blower never touches the sensor. I don't recommend to insert the tip past the shutter curtains. If somehow the shutter would close while cleaning and bulb blower's tip's blocking it, you'll probably end up with damaged shutter.
You can test the result by taking picture of a blue sky, or a white wall. Use narrow aperture, for example F11, or F22. If dust specs still exist, repeat the cleaning process.
There are also tools that allow you to wipe the sensor directly. Personally I feel it's a bit too risky. If bulb blower isn't enough, I recommend to take the camera to the manufacturer's official maintenance for cleaning.
Some cameras also have automatic dust spec removal function, which registers the sensor spots in photos and automatically removes them in post processing.
When we shoot long enough with DSLRs we get used to removing occasional dust specs in post processing. In most cases it isn't big problem. What you need to take are are the big spots when they appear. In film age, dust was actually much worse problem, because it couldn't be removed as easily as nowadays.
Thursday, July 28, 2011
Ten Tips for Shooting Sharp
There is this special term used by photographers "tack sharp" which means something of an absolute sharpness, where things fall in place and photo turns out to be exactly sharp, when viewed at 100%. Here's my tips for getting as close as possible to this.
1. Mount the Camera
..on tripod, sandbag, your knee, whatever's available. Whenever possible, use tripod. Yes, even in broad daylight. Remember to turn off image stabilizer if your lens have one, when mounting the camera.
2. Use Shutter Release
Even when you mount the camera on tripod, when you press the shutter, there's chance that the camera will move just a bit. This "just a bit" can be enough to reduce sharpness in the photo. That's why it's recommended to use shutter release, wired or wireless, which will remove the mechanical impact of your finger, pressing the shutter.
3. Use Timer
If you don't have shutter release, timer will do the job for you. 2 seconds is good for this. Just make sure you remember to turn the timer off after shoot..
4. Find Sweet Spot of Your Glass
Every glass is different, and each has a certain aperture value which is sharper than others. In my Canon EF 28-135 USM it happens to be somewhere around F8.
5. Confirm Your Focus
It should go without saying, but sometimes autofocus doesn't operate perfectly. Focus manually if you have to. If AF keeps failing you in Canon's cameras, there's function called AF microadjust, which allows you to calibrate each glass separately.
6. Sharpen RAW in post
If you shoot RAW, the in-camera processing is bypassed and you get the RAW data as it is. Many professionals sharpen their RAW photos in post to find the best solution. Sharpening in post cannot make unsharp photo sharp, but can increase the appearance of sharpness in already sharp photo.
7. Handheld
If you shoot handheld, use image stabilizer, and shoot with shutter speed that's fast enough. If lighting doesn't allow it otherwise, increase the ISO. Take a deep breath, and hold your elbow to your chest. Press the shutter as gently as possible to keep the camera from moving when fired.
8. Mirror Lockup
This is the ultimate trick of those who are crazy about sharpness. Mirror lockup locks up the mirror of the DSLR. When camera takes picture, only shutter curtains move. Mirror, especially in full frame cameras, is quite heavy and can cause camera shake when moving up and down.
9. Use a camera without antialiasing filter
Most Canon DSLR's have antialiasing /low-pass filter mounted on top of the sensor. This is Canon's way of dealing with aliasing. The low-pass filter softens the image, thus reducing aliasing/moire, and by default, camera sharpens the photo digitally. But there are some cameras, such as Ricoh's certain models, which do not have antialiasing filter. Photos shot by these cameras appear often sharper.
10. Use Sharp Lens
Canon's L lenses are generally very sharp, especially at F4. We recommend using a high quality glass to get most out of the pictures. Cheaper alternative Canon EF 28-135 USM is also quite sharp lens. Find out which lens produces most sharp photos. Trial and error is often the best way.
1. Mount the Camera
..on tripod, sandbag, your knee, whatever's available. Whenever possible, use tripod. Yes, even in broad daylight. Remember to turn off image stabilizer if your lens have one, when mounting the camera.
2. Use Shutter Release
Even when you mount the camera on tripod, when you press the shutter, there's chance that the camera will move just a bit. This "just a bit" can be enough to reduce sharpness in the photo. That's why it's recommended to use shutter release, wired or wireless, which will remove the mechanical impact of your finger, pressing the shutter.
3. Use Timer
If you don't have shutter release, timer will do the job for you. 2 seconds is good for this. Just make sure you remember to turn the timer off after shoot..
4. Find Sweet Spot of Your Glass
Every glass is different, and each has a certain aperture value which is sharper than others. In my Canon EF 28-135 USM it happens to be somewhere around F8.
5. Confirm Your Focus
It should go without saying, but sometimes autofocus doesn't operate perfectly. Focus manually if you have to. If AF keeps failing you in Canon's cameras, there's function called AF microadjust, which allows you to calibrate each glass separately.
6. Sharpen RAW in post
If you shoot RAW, the in-camera processing is bypassed and you get the RAW data as it is. Many professionals sharpen their RAW photos in post to find the best solution. Sharpening in post cannot make unsharp photo sharp, but can increase the appearance of sharpness in already sharp photo.
7. Handheld
If you shoot handheld, use image stabilizer, and shoot with shutter speed that's fast enough. If lighting doesn't allow it otherwise, increase the ISO. Take a deep breath, and hold your elbow to your chest. Press the shutter as gently as possible to keep the camera from moving when fired.
8. Mirror Lockup
This is the ultimate trick of those who are crazy about sharpness. Mirror lockup locks up the mirror of the DSLR. When camera takes picture, only shutter curtains move. Mirror, especially in full frame cameras, is quite heavy and can cause camera shake when moving up and down.
9. Use a camera without antialiasing filter
Most Canon DSLR's have antialiasing /low-pass filter mounted on top of the sensor. This is Canon's way of dealing with aliasing. The low-pass filter softens the image, thus reducing aliasing/moire, and by default, camera sharpens the photo digitally. But there are some cameras, such as Ricoh's certain models, which do not have antialiasing filter. Photos shot by these cameras appear often sharper.
10. Use Sharp Lens
Canon's L lenses are generally very sharp, especially at F4. We recommend using a high quality glass to get most out of the pictures. Cheaper alternative Canon EF 28-135 USM is also quite sharp lens. Find out which lens produces most sharp photos. Trial and error is often the best way.
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