Lasersoft are continuing to add new features to Silverfast 8, and one very welcome recent addition was the return of the integrated “Virtual Light Table” file browser (VLT). The VLT was a feature of several incarnations of Silverfast v6, and I assumed that it would not return to v8, but here it is.  It’s better integrated, much more user friendly, and so far, 100% stable.

The VLT in Browser mode. Silverfast HDR format files are automatically labelled.

The VLT is included in all versions of Silverfast HDR and HDR Studio from 8.0.1r48 onwards. It’s accessed by clicking the lightbulb in the upper left corner.  The view can switch between browser only, split browser / viewer, and viewer only.  When the viewer is available, a loupe-type tool provides a localised magnified view of a small part of the image. I wish this feature could be included in the editor mode as well. At present, basic metadata in the form of ratings and labels can be added. To open a file in the editor, it needs to be dragged to the Job Manager icon, and opened from there. This is not 100% intuitive, although it is in harmony with HDR Studio’s multiple file handling mechanisms.  It would be nice to also have a more direct way of switching in a future version.

The VLT in split view, showing the loupe

Until now I’ve used PhaseOne Media Pro to manage the workflow from HDR scan, to TIFF output, and to final edit in Photoshop.  The VLT offers an alternative and more direct approach, at least to the initial steps. Essentially it occupies the same place in the workflow as Adobe Bridge.

Another recent addition to Silverfast, which in this case sees it adding a feature which rival Vuescan has had for a long time, is enabling DNG output for linear “HDR” and “HDRi” scans.  This is an interesting development, and it seems to encourage Adobe Camera RAW, or Lightroom, as an alternative to HDR Studio.

Other recent updates have included the ability to share directly to web services including Facebook, Flickr and Dropbox. This doesn’t really fit into any current workflow of mine, but nevertheless, it’s nice to see Silverfast being continuously maintained and improved.

Now, all I need to add is my standard plea for Version 8 to add support for my Minolta Dimage Scan MultiPro…

Over the years, a late spring long weekend on French Mediterranean coast, specifically in or around St Tropez, has become something of a tradition. Although I’m not that much into the boutique shopping, or gawping at the ultra-rich (well probably mid-high net worth actually) individuals with their floating gin palaces and Bentleys and whatever, it’s no great hardship. The beach is relaxing, the food is good, and the surroundings are gorgeous. Usually, during the shopping breaks, I manage to sneak off and indulge in a little photography. I very quickly got bored of “street” photography, the denizens of “Saint-Trop” are rarely photogenic to my mind, but instead I like trying to find hints of the past quiet, isolated fishing village, away from the glitz, the painfully bohemian and the tourist tat. So this year, I was delighted to come across an exhibition by French travel-street photographer, Xavier Roy, who’s book “L’Autre Saint Tropez” I had read about. The exhibition was a more general sample of his travel photography, with some local stuff mixed in, and it kept me entertained for quite a while. I was also able to buy one of the last copies of his St Tropez book, and get to chat with him and get my book signed. I came out with a grin plastered all over my face.

Xavier Roy’s photography is film based, black and white, and quite timeless. His style is subtle and the delicacy of his compositions takes a while to sink in. I mentioned to him that I thought it was quite a challenge to peel away the superficial in Saint Tropez, which he agreed with. Some of the most successful images in his book make use of off-season fog to soften the ambience, but others revel in the harsh summer light. Others in turn are quite abstract, in particular a set of dense, blurry, disorientated grainy views over the bay at dusk, which to me very effectively communicate the torpid, quiet Mediterranean heat.

© Xavier Roy, click to visit gallery

© Xavier Roy, click to visit gallery

There are many more facets to the collection, much of which is included in Roy’s web galleries. They’re well worth a visit if you’re into this kind of contemplative street / travel. Actually I would say his style is better deployed on the photos he shows from his travels to Asia and especially Latin America.

Anecdotally, I was particularly struck by the cover photo. It’s not a million miles away from something I attempted two years ago, but without the distant figure which makes all the difference between expression and technique. Never too late to learn I guess - and I’m sure I’ll get the opportunity to try again next year.

I am pleased to announce that I am now the proud owner of a silver Olympus E-P5. I wasn’t planning on any gear acquisition, but a super-low special offer price of just CHF 660 made it irresistible, and my significant other talked me into it (she tried to push me to get an E-M1, but that’s just too expensive and not really what I need just now). So I finally have a latest-generation micro Four Thirds sensor, even if the signs are that it won’t be latest-generation for much longer. At least it’s fully debugged now.

I can also blame Neil Buchan-Grant for lending me his E-P5 in Venice. Yes, it’s his fault, he must be PAID by Olympus to DANGLE candy in from of innocent unsuspecting photographers who can’t RESIST the shiny lures. I’m sure of it!

I’d have preferred a black one, for subtly, although the silver is certainly prettier. But the black one wasn’t on sale.

I think it’s bit late to do a review. The world+dog did theirs well over a year ago. So I won’t bother. I’ll just take some snaps with it.

I’m a bit sad to retire the E-P3, which is probably the digital camera I have used the most, but I’m planning on giving it a new role as a dedicated infrared camera. For now though it’s having a bit of a rest.

The dust is beginning to settle on the Aperture debacle, and I’ve had some time to think about it. It’s interesting to see some considered views from long term, expert Aperture bloggers. There’s a glass half full view here, and a glass half empty one here. I’d tend to say the latter was more realistic, but my glass remains ditheringly uncommitted. I’ve dusted off CaptureOne Pro 7 and Lightroom 5, and I find both competent in various ways, but both feel like downgrades from Aperture. Both are good enough, and feature some editing tools which are superior to Aperture’s (sharpening, in Lightroom, and keystone correction in both), but in general I still always come back to re-realising how good, if unassuming, Aperture actually is. The Aperture marketing team deserves to be hung, drawn and quartered. In terms of UI and DAM features, Aperture makes both look prehistoric. CaptureOne’s DAM toolset is a partial cut & paste from MediaPro, with plenty of critical bits missing. It’s a start, but general about as much use as chocolate teapot, not to mention very clunky to use. In theory CaptureOne interfaces with MediaPro. In any approaching realistic practice, it doesn’t. For example MediaPro knows nothing about CaptureOne’s variants, and CaptureOne is totally unaware of MediaPro’s hierarchic keywording. Both have a “catalog” concept, which are superficially similar but completely seperate. Basically it’s a total dog’s breakfast. The rendering of CaptureOne is quite interesting, in that it is quite unlike Aperture and Lightroom for my Olympus ORF files. CaptureOne has more saturated red tones, which are quite difficult to replicate. When evaluating CaptureOne, you do need to be aware of it’s unusual input tone curve feature, which defaults to “film standard”. In my opinion it’s better to start off with the “linear” option, at least until you get a feel for what it is doing. However, taking Olympus Viewer as a reference, Lightroom and Aperture are much closer than the CaptureOne default rendition.

And so to Lightroom. I used Lightroom v1 for about a year before moving to Aperture, so I know roughly what makes it tick. Lightroom 5 seems to have had all manner of bits glued onto it, and quite a lot of random changes. Some of this good, some less so, but the overall impression remains of someone trying to build a replica of Aperture in Lego. There is far too much clutter in the UI, and far too many options, many of which are squirrelled away in unlikely locations. It’s all pretty chaotic, and doesn’t seem to have had much overall design guidance. I think that in time it could be tamed and streamlined through use of keyboard shortcuts, but even so, I’m not why “Map”, for example, gets the same prominence as “Develop”. By using this ultra-modal approach, seems to me that Adobe’s designers painted themselves into a corner very early on. However, Lightroom has two key aspects: a massive installed user base, and endless web and print resources, paid for and free, some of which are very good. It also has an iPad client - not Adobe’s Lightroom Mobile, which even the cheerleaders seem unimpressed with, but the excellent 3rd party app, Photosmith, which has similar functionality to the late lamented Pixelsync (and thanks again for murdering that, Apple. Bastards).

So on the whole, Lightroom seems to come out on top. The problem there is that I’m really not enamoured about Adobe’s subscription model. Now, maybe, for 20 years, maybe, but if my circumstances change, or when I’m retired on a pension, Adobe’s monthly tax might become a big issue.

Anyway, when it comes down to RAW editing, even if for some reason Aperture doesn’t cut it for me, there’s really no reason why I can’t continue to catalogue in Aperture and edit elsewhere. I’m aLightroomeady doing this - I sometimes use Iridient, or Photo Ninja, or Photoshop, or Sigma DPP to process photos, and manage the output in Aperture. So the big issue really is the longevity of Aperture’s DAM features.

I’ve obviously had my eye off the ball as far as the DAM market is concerned. I used to follow it closely, hoping for a modern replacement for iView, but I gave up. In the meantime a very promising looking application called Photo Supreme has emerged. Apart from it’s inherent values, it looks to me that it could act as a metadata hub, or bridge, between various applications. It can read Aperture (and Lightroom, and CaptureOne) libraries, and it seems it can spit out data which others can then import. I haven’t had time to try it yet, but I will.

In the meantime, I’m not evaluating the fullness of my glass just yet. I’ll stick with Aperture for a while at least, but with a very clear eye on keeping everything ready to export.

Following yesterday’s seismic events around Apple Aperture - which may or may not have a more positive interpretation, for example here, I decided to reacquaint myself with CaptureOne 7 Pro, and with its integration with MediaPro. No real conclusions yet, although CaptureOne is worth considering as an alternative to Aperture, but I was really impressed by two things: first, CaptureOne’s keystone tool and its black & white conversions. And second, and not for the first time, Apple’s RAW decoding really is very, very good. If CaptureOne is state of the art, well so is Apple. And CaptureOne’s much vaunted noise reduction, frankly, is about on the same level as Aperture’s, at the RAW decode level.

But enough of that, for now. I did end up producing some black & white versions of a few shots taken last week in St Tropez, France, in CaptureOne, that I’m quite pleased with. And that pulled me out of the OCD-levels of “testing” I’d got myself stuck into.

Un

Quatre

Cinq

Neuf