tag:blogger.com,1999:blog-45946291639288526812024-03-05T00:47:19.549-08:00The iPhone ArtsThis site features product reviews, tutorials, guest artists, mobile stories and essays, including the works of fine art photographer of Egmont van Dyck.Anonymoushttp://www.blogger.com/profile/15115370601212216654noreply@blogger.comBlogger192125tag:blogger.com,1999:blog-4594629163928852681.post-46954410880797070322015-11-14T10:00:00.000-08:002015-11-14T10:00:04.531-08:00Relight, a New HDR iOS Application<div dir="ltr" style="text-align: left;" trbidi="on">
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For the last two months I have had the pleasure and privilege to beta test <i>Relight</i>. During that time the application underwent many changes and from what I have been told by the developers at Code Organa, there are a few more additions coming real soon in future updates.</div>
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<i>Relight</i> is not only a real-time HDR camera application, with eight unique modes, with fifty-three artistic and photo enhancement/corrections presets, but <i>Relight</i> is an application with an extensive post-editor, allowing the user to import other regular non-HDR photographs and edit their photograph to bring our the very best results possible.</div>
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One of the many things <i>Relight</i> accomplishes is being able to adjust all settings live before taking the exposure and seeing the effects right on your iPhone screen. This feature alone makes <i>Relight</i> very a valuable application to have in one’s toolbox. Now not everyone has the time to edit prior to taking the image, so don’t worry, take the photograph before the action is lost and do the editing afterwards.</div>
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<i>Shot with Relight - Non-HDR version JPG file</i></div>
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<i>Shot with Relight - HDR version TIF file</i></div>
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Not dark areas are naturally lighter. Default setting Enhance #1</div>
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Now everyone has a different opinion about HDR and what I like about <i>Relight</i> when using the application to capture images, is that the results look natural and appear more like <i>how</i> the human eye sees and renders the scene. Of course if you prefer a more HDR appearance, that can be accomplished by going to <i>Settings</i> and selecting your preference in the <i>Default Mode</i>. The default mode is <i>Enhance 1</i>. Currently there are fifty-three preference modes available to the user can set to have consistent images to their liking.</div>
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<i>Using Relight Post Editor to edit previous HDR photo</i></div>
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Though the iPhone’s native camera does provide HDR, <i>Relight</i> goes far beyond, by providing the user with ample control over the appearance of the end result of the photograph.</div>
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Even if you are not into HDR photography, I seriously suggest that you should have a serious look and consider trying <i>Relight</i> because it improves the over all look of your photograph, especially since a great percentage of one’s images suffer from some kind exposure imbalance and this is were <i>Relight</i> comes to the rescue. </div>
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<i>Final version</i></div>
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Russian Orthodox Church, San Francisco, California</div>
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Check out and to purchase <i>Relight</i> at Apple’s iTunes store by <i><a href="https://itunes.apple.com/app/id1055538670" target="_blank">clicking here</a></i>.</div>
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Code Organa’s mantra is “<i>We make high tech fun</i>” and Relight makes it easy and exciting to create HDR images with ease.</div>
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NOTE: All images shot and edited with <i>Relight</i> beta version.</div>
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©2015 Egmont van Dyck - All Rights Reserved - iPhone 6</div>
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Anonymoushttp://www.blogger.com/profile/15115370601212216654noreply@blogger.com1tag:blogger.com,1999:blog-4594629163928852681.post-26817625301683841812015-10-15T10:00:00.000-07:002015-10-15T10:00:01.706-07:00The ShoulderPod R1 Pro is Coming<div dir="ltr" style="text-align: left;" trbidi="on">
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Last year, Enrique and his design team introduced us to their successful ShoulderPod S1 3-in-1 Smartphone Grip <i>(<a href="http://www.theiphonearts.com/2014/09/shoulderpod-s1-review.html" target="_blank">link to my review</a></i>). Now they have developed the Shoulder R1 Pro Smartphone Grip for the mobile photographer, filmmakers, journalists and travelers. They also developed R1 Go, a smaller version of the R1 Pro.</div>
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Right now ShoulderPod is taking orders for the R1 Pro and R1 Go, limited to 1000 units, with plans to ship to those who have preordered by/around the end of November.</div>
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<i>All images are of the R1 Pro</i></div>
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The two handle R1 Pro (<i>from the images provided</i>) reveal that it is designed to hold multiple accessories, such as light(s) and/or microphone and the single handle unit R1 Go, handles only one accessory. </div>
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While I have not seen or tested either the R1 Pro or the R1 Go, I am looking forward to receiving both units for extensive testing under numerous situations, especially since the S1 3-in-1 Rig has been my <i>go to </i>accessory when shooting a portrait, macro, product or editorial still-life.</div>
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If you wish to to get yours before they are gone, I suggest that you click on any of the links below.</div>
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Links:</div>
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ShoulderPod <i><a href="https://shoulderpod.squarespace.com/" target="_blank">Home Page</a></i></div>
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ShoulderPod <i><a href="https://shoulderpod.squarespace.com/r1-pro/" target="_blank">R1 Pro</a></i></div>
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ShoulderPod <i><a href="https://shoulderpod.squarespace.com/r1-go/" target="_blank">R1 Go</a></i></div>
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ShoulderPod <i><a href="https://shoulderpod.squarespace.com/shoulderpod-s1/" target="_blank">3-in-1 S1 Rig</a></i></div>
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©2015 Egmont van Dyck - All Rights Reserved</div>
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Anonymoushttp://www.blogger.com/profile/15115370601212216654noreply@blogger.com0tag:blogger.com,1999:blog-4594629163928852681.post-76765273870203866812015-07-11T10:00:00.000-07:002015-07-11T10:21:25.872-07:00OlloClip 3-in-1 Macro Lens system for the iPhone 6/6Plus<div dir="ltr" style="text-align: left;" trbidi="on">
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OlloClip graciously sent me their entire line of lenses for the iPhone 6/6 Plus for testing and I was very keen on trying out the macro 3-in-1 as I had not used it before. I was also curious as to how OlloClip solved the iPhone’s lens now projecting beyond the surface of the phone.</div>
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Previously the OlloClip was securely attached ‘snuggly’ to an iPhone, yet I never felt comfortable unless I also had a finger or two touching the older lens system. With the redesigned clip-one version for the iPhone 6/6 Plus, the designers at OlloClip have designed a system that solved the iPhones lens projection, while establishing a very secure connection between the macro lens or any other OlloClip 6/6 Plus lens system.</div>
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When you first use your new OlloClip 6/6 Plus system, note that all their new lens systems are sent ready to be used on an iPhone 6, but those with a 6 Plus will need to make one simple and permanent adjustment. You will need to remove a small plastic item that was inserted on the inside base of the attachment clip and replace it with a similar one to make the lens system work with your iPhone 6 Plus. Unfortunately OlloClip did not provide instructions in how best to remove and replace this item for iPhone Plus users.</div>
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The 3-in-1 Macro Lens System comes with two lenses, of which one serves a dual purpose 7X, 14X, and one, 21X magnification lens, both of which are clearly marked and utilize OlloClip’s new securer clip design that attaches to the iPhone, along with OlloClip’s new <i>pendent</i> system. </div>
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The 3-in-1 macro system comes with two frosted defuser domes but will only fit the 14X and 21X magnification lens. The reason the defuser dome will not work with the 7X, is only because the of lens’ diameter is smaller and therefore will not accommodate the defuser dome, besides the distance between lens and subject matter is greater, rendering the dome ineffective. </div>
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I should point out that using any macro system with a mobile device requires at best a steady hand, especially as one increases the lens magnification, so it is preferred but not necessary to use a tripod. However when photographing flat material or very small items that will fit under the defuser dome, then the dome not only serves as a defusing the light source but also as a resting platform between the subject and the iPhone’s lens.</div>
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Regardless of the magnification of the macro lens, you will notice that lines in a flat object, like a stamp reveal barrel distortion on the other perimeter of the subject. This is not the fault of OlloClip, rather it is the iPhone lens in combination with the OlloClip that cause the distortion. To clarify, the iPhone lens to begin with is a wide angle lens when compared to a normal 50 mm lens on a 35 mm camera. When shooting the iPhone at 4:3 full frame format, this distortion is noticeable but at 1:1 square format, the distortion is only evident at the edge of the image.</div>
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<i><span class="Apple-tab-span" style="white-space: pre;"> </span>Using the 7X</i></div>
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Between the 7X and 14 or 21X macro lens, the 7X is easier at maneuvering the iPhone to obtain the desired shot, since the area of focus is larger then the two other magnifications, but that is just natural, as the magnification increases, the area of capture drops off significantly.</div>
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You will notice that the barrel distortion with the 7X is evident when photographing a flat image as the 1 centesimo Uruguay stamp, but when capturing a three-dimensional object, this effect will not be seen, as the depth of field will now be effected.</div>
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<span class="Apple-tab-span" style="white-space: pre;"> </span><i>Using the 14X</i></div>
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Because OlloClip has provided these two frosted dome defusers for the 14X and 21X lens, it makes photographing a flat object considerable much easier, as the height of the defuser is the required distance between the OlloClip lens and the flat object being photographed. The other benefit for using the defuser is that it also provides a soft and even light source upon the subject, especially when photographing a three-dimensional item that is able to fit under a defuser.</div>
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Using the same image as in the previous example, we now observe the lens barrel distortion is still evident, but only on the perimeter of the image and the over-all sharpness of the rider and horse engraving is exceptional.</div>
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<span class="Apple-tab-span" style="white-space: pre;"> </span><i>Using the 21X</i></div>
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The 21X is the only lens that does not serve a dual function and renders the rider and horse engraving beautifully with only a slight drop off in sharpness around the very top/bottom edge and sides due to the barrel distortion that is a little more evident at the corners of the image. </div>
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<span class="Apple-tab-span" style="white-space: pre;"> </span><i>Other examples using the 3-in-1 OlloClip macro lens</i></div>
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<span class="Apple-tab-span" style="white-space: pre;"> </span><i>Conclusion</i></div>
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First off I like the improved design of the lens system and how it securely attaches to the iPhone 6/6 Plus and the over all simplicity of how the lens handles when one is working with it in the field or at home. The inclusion of two frosted dome defusers is an added benefit to ones experience when using the 3-in-1 macro lens system. </div>
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While the lens barrel distortion may be a factor for some, it really should not be, as I already have explained and particularly when working with three-dimensional objects, as it then becomes an issue of depth of field.</div>
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Since Apple has chosen to reinvent the wheel every two years, manufactures like OlloClip are forced to adjust and because of this, the life of this lens is between 2-3 years, unless the iPhone and/or lens is handed down to someone else.</div>
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Bottom line, while it takes a little getting use to working with a magnification lens to get the best results when using the lens system without the defuser domes, I enjoyed exploring with the 3-in-1 macro lens and cannot wait to actually be shooting with it more, especially doing a video.</div>
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I rate the macro 3-in-1 lens at 4.75 out of 5 stars and feel that individuals interested in close-up photography should have this lens as part of their extended equipment. </div>
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The 3-in-1 macro lens sy<i>stem</i> sells for US $69.99</div>
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This lens comes in only BLACK</div>
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OlloClip <i><a href="http://www.olloclip.com/" target="_blank">website</a></i></div>
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OlloClip <i><a href="http://www.olloclip.com/product/iphone6-macro/" target="_blank">3-in-1 Macro lens</a></i></div>
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<span style="font-size: 12px;"><i>Technical notes</i>: </span>All images were captures using an iPhone 6 with the PureShot camera application from <a href="http://jag.gr/">Jag.gr</a> and no post work to any images other than resizing and adding a small white frame around the images for publication. Light source was natural northern light exposure. When using 14 and 21X lens, a frosted defuser dome was used.</div>
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This review first appeared in the preview issue of iPhotographer Magazine available for free at iTunes by <i><a href="https://itunes.apple.com/us/app/iphotographer-magazine/id984113775?mt=8&at=&ct=&ign-mpt=uo%3D6" target="_blank">clicking here</a></i>.</div>
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All photographs taken with an iPhone 6 by</div>
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©2015 Egmont van Dyck - All Rights Reserved</div>
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Anonymoushttp://www.blogger.com/profile/15115370601212216654noreply@blogger.com0tag:blogger.com,1999:blog-4594629163928852681.post-32157302854085798442015-07-04T10:00:00.000-07:002015-07-04T10:00:00.217-07:00Knowing When to Continue and When to Stop<div dir="ltr" style="text-align: left;" trbidi="on">
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When it comes to abstract painting, there is always a challenge for the artist to know when a painting is finished or it still needs additional work. Such is the case with the painting <i><a href="http://www.theiphonearts.com/2015/06/an-accidental-discovery-leads-to.html" target="_blank">I spoke of in my last post</a></i> and now titled “Bruised Chaos.” After seeing the painting throughout the day and especially studying the numerous close-up images, I realized it still was not finished.</div>
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During the various painting stages, the canvas went through numerous transitions, reflecting my many thoughts and ideas as to interpreting the photograph the painting is based on, though it is not a copy, it is based on the inspirations that I drew from the photograph.</div>
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Left: <i>Stage 5</i> — Right: <i>Completed Painting</i></div>
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With a few more brush strokes of color, the painting now began to bridge better between the soft background and the additional larger color patches were more visible from the distance, something that was so necessary. At one point, one steps back, takes a hard look and say <i>it is time to hold off</i>.</div>
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The painting remained a few more days on the easel, which permitted one to analyze the painting, making sure that any additional brushstrokes would only make the painting appear overworked. </div>
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<i>Bruised Chaos</i>, Mixed Medium, 36x36 inches</div>
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Now that one has reached the finished line, there are still two more steps before the painting is truly completed and can be signed. Because I used Neupastels and NeuColor II Aquarelle sticks for the line work and accents and because of this, the surface now needed to be secured and protected by using a fixative spray before the painting could receive a coat of 2 to 1 mixture of Golden soft semi-gloss medium gel to unify all the elements and colors.</div>
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All photographs taken with an iPhone 5S by</div>
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©2015 Egmont van Dyck - All Rights Reserved</div>
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Anonymoushttp://www.blogger.com/profile/15115370601212216654noreply@blogger.com0tag:blogger.com,1999:blog-4594629163928852681.post-17171743865137117782015-06-20T10:00:00.000-07:002015-06-20T10:00:01.849-07:00An Accidental Discovery Leads to Painting<div dir="ltr" style="text-align: left;" trbidi="on">
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In <i><a href="http://www.theiphonearts.com/2015/05/when-photographs-seek-alternative.html" target="_blank">my previous post</a></i> I spoke of finding my adventure to Mare Island and the realistic abstract images I discovered and how they served as training the eye in composition and as inspiration toward another form of medium, such as painting. So four weeks ago, while attending an Open Show in San Francisco, I discovered a beautiful column full of texture and history.</div>
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Out came the iPhone and after selecting the camera application 6x6, it was down to business. At first one is overwhelmed and not knowing where to start isolating and framing a section of the huge column, I need to just take in a deep breath and visually map the column into sections and begin from there.</div>
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<i>Untitled as of now</i></div>
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Since this was indoors, the lighting was horrible, but it did not deter me from capturing two to three dozen images which would serve as a study for a possible painting. While it is certainly possible to duplicate a photograph in another medium as a painting, the photograph is best served as inspiration and letting the artists emotions about the scene emerge and be part of the painting. This way the painting or drawing becomes more personal and meaningful.</div>
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During the shooting of the column, I framed each image according to the columns best feature and developing a strong composition, including going for a few detail close-ups were the information is more important then the composition.</div>
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After uploading the images to the laptop, the editing process began and the best images placed in a separate folder on the iPad to serve as a resource and inspiration.</div>
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In the end I selected a full frame image (3264x2448 pixel) that was only cropped on the top and the bottom so that it would become a square (2448x2448 pixel), considering the canvas I had prepared was 36 x 36 inches.</div>
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The general shapes were loosely painted with acrylic to cover the gesso layer and to see how these shapes balanced with each other. While this is only a general base, much is contemplated before the next layer is applied.</div>
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<i>Painting in Progress - Stage 1</i></div>
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<i>Painting in Progress - Stage 2</i></div>
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In stage 2, the color palette was more defined, including the different brush sizes that would be used when painting. After contemplating on the progress, I felt that another painting had started to emerge, rather than the one I had intended, that I almost considered continuing what I had done by making more distinct building shapes to reveal a cityscape. However in the end, I decided I needed to return to the original idea and be more bold and not too refined with my brush work, while retaining some of the earlier brush strokes.</div>
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<i>Painting in Progress - Stage 3</i></div>
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One needs to be honest with one’s self, when it comes to judging a work of art in progress. One needs to set the painting aside, then place it in other rooms that are being frequented, before returning it to the easel for further study. It was just after such a process that I noticed the far left dark area was competing with the main dark shape on the right side of the canvas and so changes were being made to tone down the problem and make that area more homogenous with the rest of the canvas by blending the tones with each other.</div>
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<i>Painting in Progress - Stage 4</i></div>
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<i>Painting in Progress - Stage 4½ </i></div>
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The following photograph is accurate in what it portrays but not in color. Since all images were taken outdoors with the canvas facing the North, the surrounding reflective light influenced the colors, making everything appear warmer.</div>
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By now I had taken a major step, using a stiff nylon wallpaper brush that was dipped in paint as to apply hard lines, marks of destress in the lower mid-left-center. If it did not work, I would have to react rather than move ahead with the vision to which I was locked in.</div>
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Now that there was major progress accomplished, it was time to hang the painting on a wall in the dinning room to see how it held up against the strong red wall. It also became clear that what had been done with the wallpaper brush needed to be better integrated with the surrounding. This was accomplished with a few blended brush strokes. Now I was ready to begin the next major stage of the painting by applying the horizontal brush work and adding color, including line work with non-acrylic material.</div>
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<i>Painting in Progress - Stage 5</i></div>
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I had already spent about 36-40 hours or so painting from stage one through 4½ and stage 5 seemed almost ended up being another seven hours plus. Of course much of that time is also spent taking a step back to study ones progress. </div>
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The question that remains to be answered is, <i>is the painting finished?</i></div>
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After taking the above image, I realized that my brush work now appeared much larger and it gave the shapes more prominence, thereby realizing the painting is not finished and I would need to go back and add larger brush strokes so things would not be so subtle and be lost when viewing the painting from a distance.</div>
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This would mean that after doing this, I would need to go back and add a few more smaller brush strokes so that one layer does not stand out but all becomes integrated, appearing things happened over time, just as all the dents and bangs into the column took years to make.</div>
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Since I only paint one to two days a week, it will take at least another 10 days before the painting will be actually completed and signed and yes, what about a title, that still needs to be accomplished also.</div>
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All photographs taken with an iPhone 5S by</div>
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©2015 Egmont van Dyck - All Rights Reserved</div>
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Anonymoushttp://www.blogger.com/profile/15115370601212216654noreply@blogger.com0tag:blogger.com,1999:blog-4594629163928852681.post-23369671334873135422015-05-16T10:00:00.000-07:002015-05-16T10:00:03.722-07:00When Photographs Seek Alternative Mediums<div dir="ltr" style="text-align: left;" trbidi="on">
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Last month on April 21, was The iPhone Art’s third anniversary, a moment that just went by without much fanfare and that is all right. At some point one no longer counts the birthdays or anniversaries, rather just enjoys the moment. While a number of iPhone dedicated websites have closed, TiPA plans to stay around a few more years and like with every anniversary, there is a reflection of looking back to see what has been accomplished, that which is still on the drawing board, and then focusing on the future.</div>
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After mobile photography having played a major roll in my creativity at the cost of other creative interests, the pendulum having reached its zenith, it has slowly begun a descend into the opposite direction. </div>
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By no means is this signaling that mobile photography is taking a backseat, it simply means that photography is looking for an alternative way to express itself, for most creative individuals express themselves in a number of different ways and various mediums. </div>
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So when Fletcher called me a little over one week ago, asked if I would join him on a trip to Mare Island, Vallejo for a few hours, revisiting the pier we were at a couple of months ago, I said yes and the next day we were on route.</div>
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Unfortunately, Mare Island is one of those places where everything is fenced off and you see more “No Trespassing,” and “Trespasser Will Be Prosecuted to the Fullest Extent of the Law” signs then people. Then you are dealing with Vallejo’s Public Works, Private Security and of course the Vallejo Police Department, who are actually more understanding then the other two.</div>
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We just arrived and I went to the far end of the pier and setting up, when my cell phone rang and Fletcher said, “We’re busted” before a single exposure was taken. Undeterred, we searched for an alternative location within the island. Thirty minutes or so later we reached a place I knew would be less visited and the next ninety minute or so, we were both lost within our visual creativity.</div>
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Photography is not only an art form in its own right, it is also a tool with which to explore and record visual ideas to be applied in other mediums. What I am eluding at, is that while honing by compositional skills by carefully selecting segments of a wall into their own rightful artistic expression, I’m also having numerous images that would serve not only as inspiration for other forms of artist expression, even reinterpreted in the form of an abstract painting, as with the two previous photographs, which could serve as the foundation of a painting. </div>
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Even just capturing segments of a building which one finds interesting can serve as a compositional layout as we see in the following two examples.</div>
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But now my photography is longing to find a new path in which to express itself, for I’m no longer satisfied just taking photographs, post processing them on my iPad and printing out a few. My photographs and future images want to live in another environment, another form other than just being illuminated on the screen or viewed was a print. </div>
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Therefore I now stand at the precipice, carefully measuring my next step, because that which I have left untouched for four years and counting; several unfinished canvases and numerous concepts that have not left the pages of notebooks, the old books I have collected to convert into altered book art or use some of the pages in a collage, are all waiting for my return.</div>
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And just as the images long to be converted into beautiful brush strokes of splendid colors living on a large canvas, or other photographs intertwined amidst a variety of papers, or a letters from a son mixed in with a few different ephemeral materials, which have been assembled into a collage; or reconfigured into an image transfer and applied to a multi-medium surface. The photographs also desire to live along side of words, telling stories and filling one’s imagination, then to be stored as a digital file on a hard drive and given a number for easy retrieval. </div>
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So for now and through the summer months, when opposing mediums come together through a symbiosis, mobile photography will be playing a supportive roll, so that it may find a new voice.</div>
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All photographs ©2015 Egmont van Dyck - All Rights Reserved</div>
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Anonymoushttp://www.blogger.com/profile/15115370601212216654noreply@blogger.com0tag:blogger.com,1999:blog-4594629163928852681.post-80780910931786302492015-04-29T10:00:00.000-07:002015-04-29T10:00:02.865-07:00First Friday of the Month - Brussels HipstaPak Revisited<div dir="ltr" style="text-align: left;" trbidi="on">
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<i><a href="http://www.theiphonearts.com/2015/04/first-friday-of-month-brussels-hipstapak.html" target="_blank">Earlier this month I reviewed the HipstaPak Brussels</a></i> and despite my few reservations, I had recommended the lens and film combo. I still stand firm on my review, so why am I revisiting this HipstaPak? Just because I have reviewed an item, it does not mean I do not continue to test and try an item after publishing my findings and so it was with the Brussels combo. </div>
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During a walk, I came upon a pond with numerous wonderful Koi of various splendid colors and sizes, that within seconds the iPhone was engaged and I quickly decided to use the Hipstamatic Classic camera application. After my first exposure and having a look at the results, I was intrigued and decided to continue shooting. With every additional exposure I became more and more excited, now finding myself workings seriously at various elements to obtain that one image where everything comes together as one.</div>
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The Brussels lens and film has a tendency to turn areas into solid color by stripping any detail from the subject. While I did find this irritable in general, under the circumstances in which light, shadows, reflection and movement of the Koi, magic happened.</div>
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Not every image shot that afternoon was a success. There were many failures and just as many “just” alright, but then a small handful on the other hand were better than just alright.</div>
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The other reason why I am so excited by these results is that the movement of the water interacting with the reflections, created the appearance of a special effect that was achieved in post production. </div>
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A few weeks later I came upon another pond with Koi fish and after a couple of exposures, it was clear that light, shadow and reflections were needed to be able to achieve the kind of results I had a couple of weeks earlier. </div>
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When I have the opportunity to return to the original location, I can only hope that I will have perfect condition between light, shadows, reflections and movement, in order to have a chance in achieving the perfect photograph.</div>
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Note: <i>All photographs in this post have not been altered or retouched in post production, except for one, “The Solitary Koi.” </i></div>
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<i>The Solitary Koi</i></div>
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All photographs taken with an iPhone 5S by</div>
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©2015 Egmont van Dyck - All Rights Reserved</div>
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Anonymoushttp://www.blogger.com/profile/15115370601212216654noreply@blogger.com0tag:blogger.com,1999:blog-4594629163928852681.post-57479835306328850602015-04-18T10:00:00.000-07:002015-04-18T10:00:01.125-07:00Experimental Photography - A Book Review<div dir="ltr" style="text-align: left;" trbidi="on">
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The title is somewhat misleading, considering that a good portion of the book introduces the reader to numerous first techniques available for processing images more than a century ago. Never-the-less, there are plenty of examples of creating your one-of-a-kind camera or pin hole system one may wish to build for truly surprising and experimental photographs.</div>
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<i>Having tea and reading up on “Experimental Photography”</i></div>
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This books serves a good purpose by introducing curious photographers in the alternative imaging processes without going into great depth. In a way, “Experimental Photography” serves as a guide for mobile photographers using applications like Hipstamatic Classic camera, or the post processing app “Photo Copier” and the like, who base a good portion of their filters on old traditional photographic photo processes and provides them with an understanding how the image was created. </div>
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<i>Sample pages from “Experimental Photography”</i></div>
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I also believe the book offers a photographer of viewing at their own work differently, by thinking how any of these older techniques or mobile application filters would complement a certain subject or scene.</div>
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Everything in the book is nicely compartmentalized, brief and direct, with each concept given two pages and in some cases four, is one of the reasons I refer to this as a book that introduces one to the different techniques with plenty of examples, rather then go into great depth. There is however a good index to all the chemical mentioned in the book with further notations and chemical safety information. </div>
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There are also listed thirty-nine other publications for further reading on alternative processes and printing, one would find very useful as a base source.</div>
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<i>Sample pages from “Experimental Photography”</i></div>
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<span class="Apple-tab-span" style="white-space: pre;"> </span><i>Final Thoughts</i></div>
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The book does provide a service for the inquisitive individual desiring an introduction to alternative processes, while lacking further detailed information on a specific method, which no doubt would have greatly increase its current 240 pages and so I cannot fault the publisher.</div>
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There are plenty examples of building ones own alternative image capturing device or altering an instant or film camera most interesting, considering that there are many used film cameras inexpensively available for purchase.</div>
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There is also a nice addition of various photographers being interviewed about their work and these alternative processes mentioned in the book, that can only inspire and generate ones creative juices.</div>
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The book does an excellent job at all of this and thereby opening the readers eyes to all these various processes and possibilities they are able to explore and so develop their artistic craft further. </div>
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If one desires a greater depth of information on these various traditional old time processes, this book is not for you and while I had hoped the authors would have focused more on experimental photographic techniques using not only film but also a DSLR or mobile device, the book is still a good resource.</div>
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Rating: 3.5 out of 5 stars.</div>
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<i>“Experimental Photography”</i></div>
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EXPERIMENTAL PHOTOGRAPHY - A Handbook of Techniques</div>
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240 pages with over 600 illustrations, </div>
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Authored by: Marco Antonini, Sergio Minniti, Francisco Gomez, Gabriele Lungarella, and Luca Bendandi</div>
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Edited by: Luca Bendandi</div>
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Published by: Thames & Hudson, 2015</div>
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Website: <i><a href="http://thamesandhudsonusa.com/" target="_blank">Thames And Hudson USA</a></i></div>
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The book: <i><a href="http://thamesandhudsonusa.com/books/experimental-photography-a-handbook-of-techniques-hardcover" target="_blank">Experimental Photography - A Handbook of Techniques</a></i></div>
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ISBN 978-0-500-54437-2 Hardbound edition, $45.00 US Dollar</div>
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All photographs taken with an iPhone by</div>
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©2015 Egmont van Dyck - All Rights Reserved</div>
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Anonymoushttp://www.blogger.com/profile/15115370601212216654noreply@blogger.com0tag:blogger.com,1999:blog-4594629163928852681.post-19014918286450426352015-04-11T10:00:00.000-07:002015-04-11T10:00:03.304-07:00First Friday of the Month - Brussels HipstaPak<div dir="ltr" style="text-align: left;" trbidi="on">
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<i>San Francisco Golden Gate Bridge</i></div>
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I have been having a <i>Love - Hate</i> relationship with Hipstamatic’s ‘First Friday of the Month’ HipstaPak releases, but April’s offering is certainly better then last month’s Versailles HipstaPak, with the Savannah lens and Luis XIV film, which I elected not to review.</div>
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My belief has been that Hipstamatic has lost sight of their direction and so it certainly has been difficult to say anything good, and while I am not going to rave about the Brussels HipstaPak, I will admit the combo has a certain charm that makes me want to shoot with it more and more and here is why.</div>
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While the results greatly depend upon the quality and direction of the light, the Brussels HipstaPak produces either bold contrasty colors or color shifts with certain colors. Yet when one looks at the images of the San Francisco Golden Gate Bridge or the daylight industrial image, the results remind me of a 50s hand colored postcard and I like that.</div>
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<i>Driving on the Golden Gate Bridge</i></div>
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While images taken in my garden, especially of my cat Sasha, there is an unwelcome color shift in Sasha’s face and one I see in other images when yellow is one the colors base that does shift and flatten out.</div>
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<i>Parts of my garden</i></div>
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There is more contrast with this combination of lens and film, as well as some colors appear desaturated and others more saturated. Shadow detail in saturated areas is lost, but all this does not bother as does one of the random grey colored anomalies that appears not only fake but alters its shape insignificantly as it appears at various places of the frame and at the edge of an image.</div>
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<i>Chevron Refinery, Richmond</i></div>
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<i>Woman Sitting at a Starbuck’s Shop Inside Barnes & Noble Store</i></div>
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On the other hand the light beige smudge marks also found on the border could be a little more random, thereby less repetitive, it does remind me of the Buenos Aires HipstaPak, with the Diego lens and Uchetel 20 film that emulated older 50s Polaroid prints, see my review: <a href="http://bit.ly/1Gw0CV7"><i>http://bit.ly/1Gw0CV7</i></a>.</div>
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We also have the appearance of a faded light-leak on some images, this is followed by an anomaly on the opposite side that is not a light-leak, but rather has the look of dirt from a Polaroid roller extending upon the entire image but not the frame. This effect either appears in a vertical or horizontal position. These two special effects are subtle and rather nice when they do appear.</div>
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<i>Mannequins Inside an Adult Sex Shop</i></div>
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Most mobile photographers and myself included would have preferred the Brussels HipstaPak were a borderless film, so I would like to suggest that in the future Hipstamatic includes the option for the user to select what kind of frame they would like, by having the ability to choose one as they do a different film, lens, or flash. This would be a fantastic update/upgrade, as well as offering future design frame packages, which would earn Hipstamatic additional funds. Are you listening Hipstamatic.</div>
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Another aspect of the Brussels HipstaPak is having areas go flat of any detail as we see in the roadway of the bridge by turning the area into a solid single solid color. We also see it in the woman sitting at a Starbuck’s shop inside Barnes & Noble store, as we look at her left jeans leg. It is also evident with the tree trunks photograph, as it works itself into the trees textures. This random effect is another one I like seeing from time to time in my photograph.</div>
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<i>A Garden Rose</i></div>
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There are some colors that the Brussels HipstaPak is unable to render without virtually posterizing that particular color as we see with the rose. I also experienced this effect when photographing a deep red rose. In general, I noticed difficulty in handling the red/magenta spectrum.</div>
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<i>Exploring Merchandize at a World Market Store</i></div>
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I have not tried the Brussels HipstaPak with other films or lenses, but shall at some point, using not only the Classic Hipstamatic camera but also Oggl. </div>
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Though I would have wished for a no border with its effects or the random grey anomaly, believing that the other special effects, the desaturation or over saturation of some colors and that some images appear as having been hand colored post card with some registration issue would have been enough. I even believe that in the near future, we will see this combo being applied to a commercial fashion photo shoot.</div>
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Bottom line, despite the few objections I have listed, this combination should be seriously considered to be part of ones lens and film collection.</div>
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<i>Finding Abstracts at a World Market Store Floor</i></div>
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All photographs taken with an iPhone 5S by</div>
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Anonymoushttp://www.blogger.com/profile/15115370601212216654noreply@blogger.com0tag:blogger.com,1999:blog-4594629163928852681.post-82595582730713824422015-03-28T10:00:00.000-07:002015-03-28T10:00:02.512-07:00Passport to My Neighborhood — Relations between Fine Art Photography and Mobile Photography<div dir="ltr" style="text-align: left;" trbidi="on">
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When one views traditional fine art photography, there is a specific style and subject matter that has changed very little since the origins of the medium. However with the introduction of mobile photography, the traditional genre of fine art photography, has been virtually abandoned do to the lack of education. </div>
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Though mobile photography has and continues to contribute to the medium significantly, it also has failed traditional <i>fine art</i> photography, at the same time, traditional fine art photographers have also failed by not embracing the new mobile technology.</div>
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It seems foolish that the ‘old school thinking’ traditionalists seem set on continuing to use either film or digital DSLR without exploring the flexibility that mobile devices offer, despite the lack of high end resolution and not being to shoot using RAW file format. As the years continue and transform into decades, a large gap reflecting traditional fine art style and subject matter that will have been lost, will only leave a blank in our future collective consciousness. </div>
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It is not that there are at least a few mobile photographers who not only explore the new medium and contribute to its advancement as a new art form, but also continue to add to the tradition of ‘fine art’ photography by using their mobile devices. </div>
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<i>Jonathan, Samuel in the Kitchen with Herbe, San Francisco - 2015</i></div>
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So what is ‘traditional fine art’ photography ? Over the decades the only real change has been how we interpret and process ‘traditional photography,’ while the subject matter has remained unchanged.</div>
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At first glimpse there appears little difference to an untrained eye between fine art and mobile photography, but there are significant differences. It may not appear so when looking at this picture of two people and a dog in their kitchen, captured on the spur of the moment with a mobile, as it appears as nothing more than a ‘snapshot’ and not a traditional <i>fine art</i> photo. Yet even my friend stopping off at a fast food drive-in qualifies as a traditional <i>fine art</i> photograph.</div>
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<i>Monica at the Fast Food Drive-In, San Francisco - 2015</i></div>
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It lies not only in how the scene was rendered and then treated in post process, but what the scene represents and says about our lives today. There is also a visual language, a poetry about fine art photography that comes through the majority of the photographs, in how one treats the subject matter.</div>
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<i>Sea Gull, Mare Island, Vallejo - 2015</i></div>
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The death of a sea gull treated artistically and with reverence becomes not just a graceful photo, it also becomes elegiac in an idyllic way. Though there is nothing romantic about death, yet the morning dew lingering upon on the feathers like translucent pears until the sun rises over the obstruction that covers the bird in shade and between the natural recline of the bird amidst the wooden pieces and the photographers composition, makes this a classic fine art photograph.</div>
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<i>Intersection Cesar Chavez St and 3rd St, San Francisco - 2015</i></div>
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A favorite traditional fine art subject matter are structures, buildings against the vast lonely and cold emptiness, especially abandoned iconic structures that are slowly reclaimed by natures elements, balancing memory and the romance of the past with the current condition of the scene. </div>
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<i>The Garage Workshop, Pescadero - 2012</i></div>
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Urban or rural landscapes in traditional fine art images are mostly void of any human inhabitance, juxtaposed against other structures or empty spaces, while reminiscing what possible stories these places could tell.</div>
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Traditional fine art photography has been primarily Black/White due to the esthetics of the medium, while color has successfully managed to get a good foothold, in part because of a print process known as <i>Cibachrome</i> in the mid 1970s, which gave color prints a little punch of vivid saturation. </div>
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<i>Rusted Metal Door, San Francisco Dry Docks - 2015</i></div>
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<i>Abstract Metal Patterns, San Francisco Dry Docks - 2015</i></div>
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The relationship the viewer has with a color photograph and that with a Black/White one, are two extremes, as color provides an emotional response and a Black/White image causes the viewer to contemplate what is being viewed. Another aspect of fine art color photography is one were natural or vivid colors have been reduced and softened to appear like pastels tones, ensuring a more emotional response that evokes a personal memory.</div>
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<i>Asian Man, San Francisco Chinatown - 2013</i></div>
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Street photography is a field all it’s own and not all street captured images are automatically considered traditional <i>fine art</i>, as photographs have certain elements ranging from snapshots to social documentary. Similar to the first two photographs representing slices of our daily lives.</div>
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<i>Man with Beer Can, San Francisco Tenderloin - 2012</i></div>
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Mobile photography has certainly shaken up traditional <i>fine art</i> photography, as well as photography in general. While I have nothing against the many divisions and variations of mobile photography as an artistic medium, I am simple concerned that by mobile users not embracing any aspect of traditional <i>fine art</i> photography or for fine art photographers not including a mobile device as part of their tools, traditional <i>fine art</i> photography cannot really advance as an art form.</div>
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All photographs taken with an iPhone 5S or 4S</div>
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©2015 Egmont van Dyck - All Rights Reserved</div>
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Anonymoushttp://www.blogger.com/profile/15115370601212216654noreply@blogger.com0tag:blogger.com,1999:blog-4594629163928852681.post-29421017491217007942015-03-11T10:00:00.000-07:002015-03-11T10:00:02.142-07:00Searching for Answers and Meaning on Mobile Photography<div dir="ltr" style="text-align: left;" trbidi="on">
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The last six to eight weeks I have been reading on the subject of photography, considering I have started to question the future of photography and especially mobile photography and what it represents as a whole as a photographic medium.</div>
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While many recently published books on photography finally addressing the time period between 2000 to 2005, I have yet to come across a book dealing with mobile photography, other then just being an artists’ picture book or ‘How To’ manipulate mobile images. Even photographic magazines have not addressed mobile photography impact on social, political or anthropological issues or the general influences of mobile photography on photography as a medium.</div>
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Yes, these are academic questions and concerns which the greater majority of photographers are not interested in learning about or even discussing, but I find that mobile photography is having a major impact on our daily lives, that we need to have this discussion. We especially need to discuss mobile photography as a medium and the various directions it is taking on as an artistic platform, in order to properly educate individuals interested in using mobile as a personal artistic form of expressing a though or an idea.</div>
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Currently mobile photography is more than just a way to capture something one sees, for it is not only a still camera, it is also a video camera, but it does not end there, especially since one is able to alter digitally either form into a personal expression of art. </div>
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Like all forms of art, mobile photography has not been defined or categorized into the various artistic mediums, as most mobile photographers blindly lunge forward having no idea as to the foundation and fundamentals of a specific diversion of the photographic medium. </div>
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Mobile photography is ground braking in so many ways it can easily compare to one of the greatest upsets in paintings history, when Impressionists took on the establishment and altered our perception of the medium and from that point on opened up an entire artistic revolution that continued into the 1950s.</div>
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We are now revolutionising photography as a medium, branching off into various groups with no real consensus, especially whether an altered photograph is still a photograph or becomes a collage, or even a multi-medium art form.</div>
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At the moment I am only raising questions, while I search through the many layers of history and opinions on photography in general, therefore not offering any answers. Even if I produce in the near future some of my findings as possible answers, they are only opinions, since no discussions have taken place with other individuals interested in establishing guidelines for mobile future and a genuine foundation on which one can build on and thereby securing mobile art as a true and viable artistic medium.</div>
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For now I remain singular in my quest but I sincerely hope that very soon others will begin to question mobile photography and it’s relationship with fine art photography, including that as a social medium.</div>
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All photographs taken with an iPhone 5S</div>
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©2015 Egmont van Dyck - All Rights Reserved</div>
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Anonymoushttp://www.blogger.com/profile/15115370601212216654noreply@blogger.com0tag:blogger.com,1999:blog-4594629163928852681.post-70842359554249756972015-03-07T10:00:00.000-08:002015-03-07T10:00:00.591-08:00The American Flag Project<div dir="ltr" style="text-align: left;" trbidi="on">
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Like all projects, they are born from an idea, allowed to percolate a little, then given enough time to build over months and even years, so it is with the American flag. </div>
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Though I am not a citizen of the United States, I have adopted this nation and cared for the direction it is heading. While I cannot vote, I still participated in political issues and grass roots campaigns. This connection has also caused me to feel something for the American flag, including the men and women serving in the military on behalf of the people of this country.</div>
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Back in 2008 I began collecting American flags with the intention of using them in the development as art. That very same year, I mounted the red, white and blue flag on canvas, painting over it and adding political statements made by then President Bush. A short time later, I came across a building by the railroad tracks in Berkeley, California, displaying a huge American flag. </div>
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<i>Berkeley, California — Sony camera</i></div>
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I was emotionally compelled to take a photograph, just like I was this last Thursday, while on board a vessel, the USS LCS (L) (3) 102 “<i>Mighty Midget</i>” docked at Mare Island Naval shipyard, Vallejo, California.</div>
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That day I was with a few friends on a photo outing, exploring this former military base, when we came across the Landing Craft Services “<i>Mighty Midget</i>” vessel. After boarding her, we met a number of ‘old timers’ who volunteered restoring the last remaining USS LCS and sharing her most interesting history with us. </div>
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<i>Unknown volunteer aboard the USS LCS (L) (3) 102 “Mighty Midget”</i> </div>
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Three of the volunteers sat, resting and having their lunch in the enlisted men’s dinning room, where was hung a large American flag. While trying to position myself in order to photograph the flag, we all engaged in conversation and the three men shared with me a few more tales, when the discussion came around to the American flag, that I told them about my project. </div>
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Taking only one exposure to simply record the setting, it was not until viewing the photograph on the laptop that I was pleased with the results. I now had image two for my American flag series.</div>
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I remain very optimistic that over the next several years, I shall have the opportunity to photograph other American flags in unique and interesting settings.</div>
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LINKs</div>
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<span style="color: black;">USS LCS (L) (3) 102 </span>“<i>Mighty Midget</i>” <i><a href="http://www.mightymidgets.org/" target="_blank">website</a></i></div>
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All photographs taken with an iPhone 5S unless otherwise noted</div>
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©2015 Egmont van Dyck - All Rights Reserved</div>
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Anonymoushttp://www.blogger.com/profile/15115370601212216654noreply@blogger.com0tag:blogger.com,1999:blog-4594629163928852681.post-83320432130141964882015-02-21T10:00:00.000-08:002015-02-21T10:23:22.079-08:00First Friday of the Month - Brushwick HipstaPak<div dir="ltr" style="text-align: left;" trbidi="on">
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I am getting very tired repeating myself these last several months as to the direction of recent lens and film releases from Hisptamatic. Since nothing has really chanced, I will simply proceed to share my test results with you on the Brushwisk HipstaPak with Hanna lens and accompanying Otto film.</div>
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Hipstamatic would like you to believe that this combo is well suited for portraiture witht he examples they provide, I have to strongly disagree. Brushwick over-sharpens what ever is photographed, and is not only contrasty, it holds no detail in the highlights, it desaturates certain colors and saturates others, as you will see in the following examples. A true portrait film and lens combo produces nature colors with a little touch of warmth and while sharp, there is no over sharpening and no contrast.</div>
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When I first viewed a few results on the iPhone 5S, I felt we had a wonderful clean color film and a sharp lens similar to the Lowry, which is Hipstamatic’s sharpest lens to date. Yet after uploading the images to the laptop and seeing them on a larger screen, my hopes were dashed. Even now, I simply do not know what to make of this combination.</div>
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Let’s look at the positive side of the Brushwick HipstaPak. Because of the extra over sharpening capabilities of the combo, city images take on an interesting look and when you view at the sidewalk image among the examples, you can see how the asphalt and concrete’s textures just pop, yet the color of the curb that is to be orange, ends up being yellow.</div>
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In order to see how Brushwick HipstaPak combo renders a scene, I have also provided an example in which I used the camera application 6x6, as it displays the scene naturally. </div>
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<i>Left example, 6x6 — right image, Brushwick</i></div>
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You can see that the red brick is more saturated, as is the blue typography in the left sign. There is less detail in darker shadow areas and a slight greenish color shift on the signage above the gate. We also see this greenish color shift when we look at the three examples of the cityscapes above, but also note that, that which is white, remains white.</div>
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It is clear the numerous colors are not only saturated but they also pop right of the image, while any detail in the white flowers is lost.</div>
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In the remaining examples, you can see I applied this combo not only to natural daylight, but also to various artificial light conditions in order to see how the colors reacted to the Brushwisk HipstaPak. </div>
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In the last example above, I do like the results, since all the metal parts are clearly defined and rendered accurately and only that the many white variations of tones are lost.</div>
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In the end, there are a few fine points to the Brushwick HipstaPak under certain conditions. Yet I have also found this film to be unpredictable now and then, making for surprises, a Hipstamatic trademark.</div>
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In general the combo Brushwick HipstaPak is limited as to what it offers the photographer and in the end, I cannot with good conscience recommend this months HipstaPak release, but then you will have to decide if you see any value worth your money.</div>
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All photographs taken with an iPhone 5S by</div>
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©2015 Egmont van Dyck - All Rights Reserved</div>
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Anonymoushttp://www.blogger.com/profile/15115370601212216654noreply@blogger.com0tag:blogger.com,1999:blog-4594629163928852681.post-88572289631706469742015-02-18T10:00:00.000-08:002015-02-18T10:00:03.618-08:00iPrep Tablet Holder Review<div dir="ltr" style="text-align: left;" trbidi="on">
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Ever since the 2014 MacWorld Conference, where many iPad holders and stands were unveiled, with prices ranging above the one-hundred Dollar mark, this little gem, the ‘iPrep’ from Prepara - a US company - has them all beat by a mile.</div>
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A few days ago I discovered the iPrep of all places at a bookstore, especially when you considers the company, Prepara specializes in kitchen gadgets.</div>
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The unit is perfect for many different situations, from watching a movie, reading a book in bed or handy as the products box shows in the kitchen, or as I do, using the iPad when editing and post processing my photographs.</div>
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The iPrep is light weight, folds up nicely, it has a non-slip grip base, which keeps the iPrep stand planted in place, and the stylus is very useful and keeps the screen clean during use and when not used, it stores in the iPrep’s base.</div>
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Their websites claims it has four viewing angles, I say it has three, as for the fourth position, it could be considered that when the iPrep is completed folded back and leaned against an upright surface. The product measures 6.69” deep x 5.76” wide x 1.2” high when folded and weighs 0.54 ounces. It is made of BPE free plastic. The three positions lock in and there is an auto hinge lock release button on the left side of the base. One needs to use a little pressure in order to change the iPrep’s position or to fold it back for storage, but at least you know it won’t accidentally fold back when the stand is in use, especially while using the stylus.</div>
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The design of the iPrep is clean, functional and easy to clean. It will let you use your iPad mini or Air or other tablet in a portrait or landscape mode, with three different tablet viewing positions and comes with a stylus for basic tablet functions. It iPrep in white or black, though currently the black version is sold out. Best part, it is affordable at $24.99 US Dollar and comes with a TiPA recommendation.</div>
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LINKs</div>
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Prepara <i><a href="http://prepara.com/" target="_blank">website</a></i></div>
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Prepara <i><a href="http://prepara.com/products/iprep" target="_blank">iPrep stand</a></i></div>
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All photographs taken with an iPhone 5S</div>
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©2015 Egmont van Dyck - All Rights Reserved</div>
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Anonymoushttp://www.blogger.com/profile/15115370601212216654noreply@blogger.com0tag:blogger.com,1999:blog-4594629163928852681.post-81960077597464777792015-02-07T10:00:00.000-08:002015-02-07T10:00:02.239-08:00Turning Your Photograph into a Painting<div dir="ltr" style="text-align: left;" trbidi="on">
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With the recent release of JixiPix’s Artisto Imresso, along with any other paint programs already available like BrushSroke 2; Glaze; Waterlogue; PhotoViva; and many more, it is important to prepare ones photograph before introducing it to a paint program for best results. While it is not essential to pre-post edit a photograph, you will still get satisfactory results, but doing so will only make you image appear more custom.</div>
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One of the programs I like using in preparation for turning the photograph into a painting is Stackables, but there is also AFilter; Alayer; Mextures; ColorThief; DistressedFX; SnappSeed; and PhotoCopier. All of which will alter the coloration of the image, including adding texture.</div>
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When you introduce your photograph into any the aforementioned applications, you control the coloration and by adding numerous layers in the post program of your choice, the results will only assist in the emulation as how the paint program converts your creation. </div>
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<i>Original photograph - no post edits were applied</i></div>
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<i>All four examples were edited using Stackables</i></div>
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<i>Please click on the individual images to view larger</i></div>
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<i>Edited in Artista Impresso, En Plein Air</i></div>
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<i>Edited in Artista Impresso, En Plein Air</i></div>
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<i>Edited in BrushStroke 2</i></div>
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Due to the increase of subtle multi-color layering prior to final post production, a paint program will only have more information to work with. This is important since an artists uses a layering of multi paint strokes of subtle color changes in order to build depth in a painting.</div>
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If you are interested in a more realism style painting but still want an underlying paint effect, consider the following method of achieving this. </div>
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<i>Original photograph - no post edits were applied</i></div>
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<i>Both examples were edited using Stackables</i></div>
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<i>Please click on the individual images to view larger</i></div>
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<i>Edited in BrushStroke 2 </i></div>
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<i>Edited in Artista Impresso, Alla Prima</i></div>
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<i>Edited in</i> Glaze</div>
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First, you will want your results in the paint program of your choice to be from subtle to normal results for that specific applications, then import the results, along with the original photograph into a program like ImageBlender; Layover; Juxtaposer; or SuperImposer to accomplish this.</div>
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By introducing your photograph and the converted emulation photograph of a painting to the aforementioned applications, you then blend the two together. Sometimes placing the original photograph on top of the painted version works best, other times, the reverse order. This is something you will have to try out and see what results you prefer, that which works bests for what you are trying to achieve.</div>
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I personally believe that a good number of mobile photographers over app’ their photographs, rather than to limit the effects they introduce on an image. You want the photograph to be enhanced and not have the effects be a distraction. </div>
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Regardless of our camera, we all become very excited when we return home and find that one image that stands out, the one that makes our heart beat just a little faster, only to rush in and start post production editing. While there is nothing wrong about this, it is equally important to revisit an image after a brief time and try an alternative post production edit, just to see what kind of different versions one can come up with.</div>
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Here are a few more examples, which show an image post edited in Stackables and then introduced in various in three different paint programs.</div>
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<i>Original photograph - no post edits were applied</i></div>
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<i>All four examples were edited using Stackables</i></div>
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<i>Please click on the individual images to view larger</i></div>
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<i>Edited in BrushStroke 2</i></div>
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<i>Edited in Glaze</i></div>
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<i>Edited </i><i>in Artista Impresso, En Plein Air</i></div>
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Do not limit your imagination, be willing to venture into the unknown and try something new, simply by experimenting. Just remember that children have no fear of exploration. Be willing to make make mistakes, for we learn from our failures, only to try again, until we do succeed. </div>
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Anonymoushttp://www.blogger.com/profile/15115370601212216654noreply@blogger.com0tag:blogger.com,1999:blog-4594629163928852681.post-59132004555845291812015-01-24T10:00:00.000-08:002015-01-24T10:00:02.798-08:00Passport to My Neighborhood - Loosing a Friend<div dir="ltr" style="text-align: left;" trbidi="on">
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When last year I posted about a grove of California Buckeye Chestnut trees I accidentally discovered in 2013 and how this small piece of land, one square acre among the fields of vineyards, felt like stepping back to when Pterosaurs’ ruled the sky and Dinosaurs roamed the landscape. So when the opportunity arose last weekend I returned for a visit to observe the seasonal changes of a magical plot of land I had been in love with and to see my friend.</div>
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Walking softly on new ground cover soaked in the night’s dew which loomed amidst last autumn leaves thickly covering the ground, I made my way past low hanging branches and those that had fallen and scattered throughout the place. </div>
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<i>The Nature Conservatory Lyman Memorial marker</i></div>
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Even though the trees still had no new growth, it was still a mysterious and magical place as when I was here the first time. Momentarily patches of golden light dappled the ground with warm golden sunlight which had broken through the mist still lingered amid the trees.</div>
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I had returned not only to see the changes but also stand before a majestic California oak tree I called my friend. It may be hard for some to understand that I call a tree my friend.</div>
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<i>My friend, the majestic California Oak tree</i></div>
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As I make my way through the random maze of trees, I came to stand before the great one, only to discover, he no longer stood proud and tall, reaching for the sky. </div>
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Now before me lay the fragmented pieces of what is left of the trees upper right side that shattered upon impact with the ground. Even now, the remains gracefully lay in an abstract pattern amidst other fallen pieces, creating an incomplete maze. I take a few more pictures, as if documenting a crime scene. </div>
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Though very saddened at the loss of my friend, who much older then myself, for had seen the valley’s fields around him cleared of trees and rock, and replaced with countless rows of grapes for wine. </div>
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Soon I shall return to sit among the fallen limbs and branches and let time pass slowly, listen to nature.</div>
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Anonymoushttp://www.blogger.com/profile/15115370601212216654noreply@blogger.com0tag:blogger.com,1999:blog-4594629163928852681.post-29194425173330515392015-01-21T10:00:00.000-08:002015-01-21T10:00:01.388-08:00The Markham Vineyards’ iPhone Exhibit<div dir="ltr" style="text-align: left;" trbidi="on">
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I am please to announce that I am taking part in the Pixels iPhone exhibit, along with sixty other entrees, being held at the Markham Gallery, located within the Markham Winery, St. Helena. There will be an artists’ reception on Saturday, April 18, 1 PM, with many artists’ coming from various parts of Europe and America. The exhibit will be up from January 17 thru the end of December, 2015.</div>
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<i>Preparations underway at the Markham Winery’s Gallery</i></div>
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In preparations for the exhibit, Knox Bronson, iPhoneographer and curator of <i>Pixels at an Exhibition</i> website, has been working endless hours since learning of this wonderful opportunity only three weeks ago, which was brought about through Baron Wolman intervention. In less than two days all available exhibit slots were spoken for, once Knox announced <i>Call for Art</i> .<br />
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Before the agreed date of arriving with the art works, Knox had been working endless hours bringing it all together, so that last week Candace Nirvana, Marie Smith, and myself have been helping with matting and framing the art. On Saturday, the day hanging the show, Heather from Markham Vineyards, along with Yoni Mayeri joined us assisting to hang the show.</div>
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<i>The Markham Wiinery</i></div>
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Should you find yourself in Northern California, please consider stopping by and do not forget to also check out some of the wonderful wines offered at the Markham Vineyards, which was established in 1879.</div>
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Markham Vineyards <i><a href="http://markhamvineyards.com/" target="_blank">website</a></i></div>
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2812 Saint Helena North Highway, </div>
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Saint Helena, CA 94574</div>
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(707) 963-5292</div>
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Pixels at an Exhibition <i><a href="http://www.pixelsatanexhibition.com/" target="_blank">website</a></i></div>
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Anonymoushttp://www.blogger.com/profile/15115370601212216654noreply@blogger.com0tag:blogger.com,1999:blog-4594629163928852681.post-6601626511511420412015-01-07T10:00:00.000-08:002015-01-07T10:00:01.566-08:00First Friday of the Month - Toronto HipstaPak<div dir="ltr" style="text-align: left;" trbidi="on">
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After uploading the Toronto Hipstapak to the Hipstamatic Classic camera and shooting my first handful of images, I reacted to the results of what I was seeing, no different then The Kingston Trio 1958 lyrics Tom Dooley; “<i>Hang down your head Tom Dooley, Hang down your head and cry</i>.” But judging a book by its cover without further investigating it’s content, will mean that we will never discover a treasure that is hidden within. </div>
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<i>Toronto combo: Le Allan lens with Queen West</i></div>
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<a href="http://2.bp.blogspot.com/-6wIpGVlMMl0/VKz5hdFI2ZI/AAAAAAAAOGA/bXL4mJ1XnmI/s640/toronto-packaging.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-6wIpGVlMMl0/VKz5hdFI2ZI/AAAAAAAAOGA/bXL4mJ1XnmI/s640/toronto-packaging.jpg" height="200" width="400" /></a></div>
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While we certainly were given more with the Toronto Hipstapak then just a lens and film, with an additional three new flashes with geometric patterns, it was the Queen West film I was disappointed in when combined with the lens it was paired with. Many of the Hipstamatic community mobile photographers were waiting very long for a Black & White film, I cannot help but wonder if this is what they wished, a washed out Black & White film that has too many similarities to another HipstaPak, The District combo. The similarity to The District combo is a washed-out Black & White but the difference is that The District has a blueish duotone and the Toronto does not, but this is where my disappointment ends.</div>
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<i>All image above are Le Allan lens with Queen West</i></div>
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I also discovered that the Le Allan lens with Queen West film produces a special effect that is subtle but still noticeable. I’m referring to the double exposure effect that acts like the Tinto 1884 or Sergio lens, by being only evident in the outer circumference of the area that remains unaffected, as you can see in the following images.</div>
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<i><span style="color: #040404; font-family: Verdana;"><span style="font-size: 12px;">See upper left, lower left and right where it more noticeable </span></span></i></div>
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<i style="color: #040404; font-family: Verdana; font-size: 12px;">Upper left store window and shadow of car, including rear </i><span style="color: #040404; font-family: Verdana;"><span style="font-size: 12px;"><i>bumper</i></span></span></div>
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<i>Telephone pole and roof of building</i></div>
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When the Queen West film is paired with other lenses, like Lowy or Helga Viking, we have a beautiful Black & White image with no side effects. Matter-a-fact, most lenses combined with Queen West are a good combination with moderate style differences between them, which we expect.</div>
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<i>Non-Hipstamatic image converted in Oggl to show</i></div>
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<i>Queen West paired with Lowy lens</i></div>
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It is the Le Allan lens that produces the faded tones and when combined with other films in the Hipstamatic collection, we are in for a pleasant surprise. With the Rasputin film the lens produces a nice faded warm tone, representing an old photograph. The Le Allan lens is also very good when paired with the C-Type film, Blanko BL4, or Uchitel 20, as with about 30 other films of the 50 that are currently available.</div>
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<i>Non-Hipstamatic image converted in Oggl to show</i></div>
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<i>C-Type Color film paired with Le Allan lens</i></div>
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The three flashes, Spiro Gel; Cubic Gel; and Triad Gel create geometric patterns when used to capture the image. Of the three, two, the Cubic and Triad Gel randomly rotate when applied. </div>
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<i>Le Allan lens with Queen West without flash</i></div>
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<i>Le Allan lens with Queen West with Cubic Gel flash</i></div>
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<i>Le Allan lens with Queen West with Spiro Gel flash</i></div>
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<i>Le Allan lens with Queen West with Triad Gel flash</i></div>
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These three flashes with their geometric treatment will work for those into special effects, as for me personally, they are no more then a gimmick. </div>
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<i>Final thoughts</i></div>
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Both the lens and film from the Toronto Hipstapak are worth considering, when paired with other lenses and films. As to the three geometric flashes that are included in the HipstaPak, I can only say that some will like them and others not.</div>
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Bottom line, if you desire a lens that produces washed-out tones and a film with good Black & White contrast, then the Toronto combo is a good investment.</div>
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<i style="color: #040404;">Le Allan lens with Queen West</i></div>
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<i>Notes</i></div>
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All photographs were taken with the Classic Hipstamatic Camera and there was NO post processing was applied to any of the images featured in this review.</div>
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All photographs taken with an iPhone 5S by</div>
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©2015 Egmont van Dyck - All Rights Reserved</div>
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Anonymoushttp://www.blogger.com/profile/15115370601212216654noreply@blogger.com1tag:blogger.com,1999:blog-4594629163928852681.post-2497495621519897032015-01-03T10:00:00.000-08:002015-01-03T10:00:02.585-08:00Another Path and No New Years Resolution<div dir="ltr" style="text-align: left;" trbidi="on">
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At my age, a New Year Resolutions has little meaning and really serves no purpose than an act of amusement. Resolutions tend to limit ones broader vision into a narrow one, for one sees the goal as a single path to achieving it and being blind to the road less traveled offering other possibilities that lead to the same conclusion. </div>
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Resolutions are merely sets of goals we hope to achieve before the end of a year and unfortunately most resolutions are created in haste with little regard to the success in attaining it, therefore most fail before having even reached mid-year.</div>
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As an alternative, consider living each day with open eyes and arms, embracing what life offers and to live each day to the fullest, for once the day is gone, it is gone.</div>
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<i>Magical Forest</i></div>
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If you would like me to suggest a New Years Resolution, here it is. <i>To remain true to ones creative belief and vision</i>.</div>
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It is imperative for creative individuals not to loose sight of ones creative direction, yet at the same time it is also very important to remain open to new ideas. For incorporating a different concept with ones’s vision does reveal artistic growth, but one must first explore the various possibilities and how they can be incorporated in ones current work before embarking on a new path and discarding one’s belief and vision.</div>
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All photographs taken with an iPhone 4S or 5S by</div>
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Anonymoushttp://www.blogger.com/profile/15115370601212216654noreply@blogger.com0tag:blogger.com,1999:blog-4594629163928852681.post-39518562997421851752014-12-06T10:00:00.000-08:002014-12-06T10:52:00.865-08:00First Friday of the Month - Oakland HipstaPak<div dir="ltr" style="text-align: left;" trbidi="on">
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<i>Oakland Hipstapak - Jack London lens and Telegraph film</i></div>
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After making my purchase of the Oakland HipstaPak and taking my first picture, there was a long silence. While my first reaction was sadness, I still went on a 3½ hour trip, taking a number of photographs with the new combo pack.</div>
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I wished I had the same weather conditions as the previous day, I accepted a most cloudy day, with a rare moment in which the sun crept through the cloud layer for a brief moment. While shooting with the Oakland HipstaPak, had a quick look from time to time at my camera roll, only to feel disappointed by the results with the Jack London lens and Telegraph film. For it appears once again Hipstamatic has released another HipstaPak which is nothing more than a cyan color filter we already available find in many other applications like VSCOcam, AFilter, and many other applications.</div>
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<i>Oakland Hipstapak - Jack London lens and Telegraph film</i></div>
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When I look at Oakland and Yosemite HiptaPak and compare the two, there is little difference between them. There is also no difference when using Helga Viking of Jack London lens, when compared with the Telegraph film. Now to be fair, lenses are usually the weaker part of a HipstaPak and films achieve a greater range when the lens is combined with other films. No other lens then the Lowy stood out as being acceptable for the Telegraph film.</div>
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<i>Oakland Hipstapak - Jack London lens and Telegraph film</i></div>
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<i>Left image: Jack London lens and Telegraph film</i></div>
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<i>Right image: Lowy lens and Sussex film</i></div>
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<i>You can see the rosy color shift with the Oakland HipstaPak</i></div>
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Before I had ventured out to test the Oakland HipstaPak combo, I normally do a primarily a test using Oggl, by selecting other lenses and films in combination with a new HipstaPak, but that was not possible this time, as our Internet was down, so all photographs taken were with the Oakland HipstaPak on an iPhone 5S.</div>
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<i>Oakland Hipstapak - Jack London lens and Telegraph film</i></div>
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<i>Again notice the rose-pink color shift on the white walls</i></div>
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<i>Oakland Hipstapak - Jack London lens and Telegraph film</i></div>
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Once back home I had a hard look at all the image, then had a quick look using Oggle with a non-Hipstamatic photograph to see how the image converts when applying a lens or film from the Oakland HipstaPak with another film/lens combination.</div>
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After testing the Jack London lens with all other films, my findings is that the lens renders all films mostly accurately, as if one were using the Lowy lens, just that Jack London also slightly lightens all images, resulting in faded colors, Lowy does not do this.</div>
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<i>Left image: Jack London lens and Telegraph film</i></div>
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<i>Right image: camera - PureShot, normal</i></div>
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<i>Look at how Oakland renders the building and sky with the Oakland HipstaPak</i></div>
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<i>when compared </i><i>with a non-Hipstamatic photograph rendering the image normal</i></div>
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<i>Left image: Jack London lens and Telegraph film</i></div>
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<i>Right image: Lowy lens and Sussex film</i></div>
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<i>Notice the shifting of the colors brought on by the bluish-rose tone</i></div>
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<i>Left image: Jack London lens and Telegraph film</i></div>
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<i>Right image: camera - 6x6, normal</i></div>
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As for the film Telegraph, it too was disappointing as its lens, Jack London. Now last month the Dalston HipstaPak with the Hackney film, produced a large range of variations when combined with other lenses and therefore made the Dalston HiptaPak a better purchase.</div>
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<i>Left image: Jack London lens and Telegraph film</i></div>
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<i>Right image: Lowy lens and Sussex film</i></div>
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<i>Top left image: Jack London lens and Telegraph film</i></div>
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<i>Top right image: Lowy lens and Sussex film</i></div>
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<i>Bottom image: camera - PureShot, rendering the colors normal</i></div>
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<i>Top left image: Jack London lens and Telegraph film</i></div>
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<i>Top right image: Lowy lens and Sussex film</i></div>
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<i>Please look at the clouds and how they are rendered and look</i></div>
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<i>unnatural especially how the colors shift from one tone to another.</i></div>
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<i> Final thoughts</i></div>
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I do not like having to say a product is not worthy of your attention and money as in this case, and while these words are my personal opinion, I have done my very best to remain objective.</div>
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Several times before I stated that Hipstamatic is intellectually adrift, having lost their creative edge. While they could not continue down the road developing anomalies of special effects as in earlier years, they had to make a change, unfortunately what they produced in 2014 remains mostly uneventful.</div>
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Recently Hipstamatic reached out to the Hipsta-Community and asked for suggestions, all I can recommend is that Hipstamatic has a look at the history of photography and the photographers, their equipment and methods for inspiration. I wish Hipstamatic to succeed. I hope that 2015 will find the year the crew will find its creative vision and regain the trust with its customers. </div>
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All photographs taken with an iPhone 5S by</div>
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©2014 Egmont van Dyck - All Rights Reserved</div>
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Anonymoushttp://www.blogger.com/profile/15115370601212216654noreply@blogger.com0tag:blogger.com,1999:blog-4594629163928852681.post-87613270249798188442014-11-22T10:00:00.000-08:002014-11-22T10:00:03.327-08:00BrushStroke 2 Tutorial - Part 2 of 2 and GiveAway<div dir="ltr" style="text-align: left;" trbidi="on">
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In the previous two posts, we have reviewed and discussed in a tutorial how to achieve the most from using the new version of BrushStroke 2. Now we will focus on achieving different modes and time of day by using the <i>Adjustment</i> layer category dealing with temperature. The last example in this post features how the <i>Tone</i> layer category can completely alter the look of an image.</div>
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When one clicks on <i>Temperature</i>, the programs default setting is 50% percent and with just a five percent in one direction or the other begins to alter the light value to either warm or cold. This is evident in the following example of a still-life with books.</div>
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<i>Temperature Plus 5% </i></div>
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<i>Temperature Minus 5%</i> </div>
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The warmer version clearly feels like there is a late afternoon sunlight coming through the window and the second version gives the appearance that outside is a cloudy day, possible even raining. This makes <i>Temperature</i> a very powerful influencer on the over-all results how the converted photograph.</div>
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The next image taken in San Francisco Chinatown through a window, of a place which was mostly dark and a little grungy, were only a couple of neon light tubes illuminated the facilities, made it feel cold. By decreasing the percentage to 30, the image may have appeared just right when I was took the picture, yet by increasing 10 to 40% percent, I did achieve a balance more appropriate.</div>
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<i>Temperature setting at 40%</i> </div>
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In the alternative version I went to the other extreme and tried 70% percent, but just like the cooler version at 30% was too much and so was seventy percent. Call it poetic licence or artistic interpretation, a warmer setting with an increase to sixty percent made the scene more pleasant and this is my preferred version.</div>
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<i>Temperature setting at 60%</i> </div>
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In the next series of images, I will illustrate what just 10% percent incremental adjustments can effect how ones artwork will feel. While eighty percent may feel as an extreme, it can represent Arizona or New Mexico where temperatures can easily rich over 100° degrees, but for a more harmonious and artistic representation, 70% percent certainly is more balanced.</div>
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<i>Temperature setting at 80%</i> </div>
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<i>Temperature setting at 70%</i> </div>
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<i>Temperature setting at 60%</i> </div>
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<i>Temperature setting at 50% - program default</i></div>
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With a properly exposed photograph a setting of 50% percent will mostly be right, as we see in the converted image above. There is balance and harmony between the colors and their strengths to each other, yet there still comes artistic interpretation which changes everything.</div>
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<i>Temperature setting at 40%</i> </div>
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Once certain can consider that even at 40% percent warmth, this image looks normal and that a setting of 30% percent (next image) truly begins to alter the art work from realistic to probable. </div>
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<i>Temperature setting at 30%</i> </div>
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In my earlier tutorial, I spoke of <i>Density</i> being another one of my favorite controls that is available in the <i>Adjustment</i> layer category, as it develops a little more drama by creating depth through darkening the colors. While I like the 40% percent version in this series, I decided to go with the neutral adjustment and apply some <i>Density</i> for a more dramatic look. Another purpose for readjusting the <i>Density</i> was to intensify the red cloth hanging in the campers window.</div>
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<i>Temperature setting at 50% with Density increased to 90%</i></div>
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Personally I am drawn between two versions, the 40% percent with a more intense blue sky or a more grungier look for a place right by the railroad tracks that had the <i>Density</i> increased to 90% percent.</div>
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In our next example I will not be using <i>Temperature</i> to adjust the over-all appearance and feel of the converted photograph, rather the focus is on the <i>Tone</i> layer category. A category where the filters can have a variety of results from converting ones painting into a watercolor, a <span style="color: #333233;">Conté drawing or simply re-adjust all the colors. </span></div>
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Of course it all depends on the type of subject matter is depicted in ones photograph. In the following example I am using torn fliers found on telephone poles in the city of Berkeley. A subject matter I have been documenting since 2005, because of their abstract nature.</div>
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<span style="color: #333233;">What I am hopping to have illustrated here and with my other images in this post, is that one most not settle for just the first best results, rather go through most, if not all filters</span> to discover what pleases one’s artistic senses. We must also think about how to best utilize other programs in the preparations of a photograph before importing it into BrushStroke 2, including exporting an image treated in BrushStroke 2 into yet another program for final adjustments. </div>
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As we can see from these seven examples were just a different tone filter has been applied, we are able to achieve results that in shifting the color values as did the <i>Temperature</i> adjust meant filter. </div>
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<i>BrushStroke 2 image and combined with matching photograph in ImageBlender</i></div>
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In our last example I re-used one of the previous abstract images of the telephone pole fliers and introduce it into ImageBlender, along with the original photograph. The settings in ImageBlender were 50% percent and the layer set at Multiple. </div>
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The goal was not to end with a realistic painting, for that the painting setting in ImageBlender would have had to be more towards the painted version and not the photograph. The intent was to maintain the look of a photograph but achieved a much richer tones within each piece of paper without using programs like Stackables or Afilter or even VSCOcam, because those programs simply overlay their filter over the entire image. By using a photograph treated in BrushStroke 2 and then introduced to ImageBlender, with proper setting will result in a photograph with more subtle coloration, producing more interest. </div>
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Final results of blended BrushStroke image with photograph</div>
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Remember, any software program has limitations but we should not be confined by any of those limitations, rather we need to explore what other possibilities there are within these confines. </div>
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Shifting perspective for a moment, I like BrushStroke 2 because it offers me the opportunity as a painter to see other possible executions for approaching a blank canvas and the palettes various color combinations in achieving the look I prefer to paint. </div>
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Give BrushStroke 2 a try and see how far your imagination will take you.</div>
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All photographs taken with an iPhone 4S by</div>
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©2014 Egmont van Dyck - All Rights Reserved</div>
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Anonymoushttp://www.blogger.com/profile/15115370601212216654noreply@blogger.com0tag:blogger.com,1999:blog-4594629163928852681.post-7545513173718644212014-11-19T10:00:00.000-08:002014-11-20T22:10:08.321-08:00BrushStroke 2 Tutorial - Part 1 of 2 and GiveAway<div dir="ltr" style="text-align: left;" trbidi="on">
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In my previous <i><a href="http://www.theiphonearts.com/2014/11/brushstroke-v2-review.html" target="_blank">post</a></i> I reviewed the new version of BrushStroke 2 and now I will demonstrate how to get the most out of BrushStroke 2, including how to combine the application with others and announce another GiveAway for BrushStroke 2.</div>
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While the new version of BrushStroke has been given many new filters, including more control over these filters, it should be noted that in preparing a file prior to introducing it to BrushStroke 2, can and will have an impact as to the outcome of how the image appears after post processing in BrushStroke 2 or any other special effect post processing program. It also should be noted that since BrushStroke 2 is a special effect program with a distinctive purpose, the image itself needs to be considered, along with what the users intentions are in what the images final appearance is like.</div>
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Prior to introducing ones photograph into BrushStroke 2, adjusting ones image over all appearance should be done. Making sure there are details in the highlight areas, as well as in the shadows, along with a good over-all exposure balance. Consider any possible retouching should this be an issue along with sharpening or blurring the image any. </div>
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The iOS purists believe that only an iOS post processed image qualifies as an iPhoneography image, other may wish to use PhotoShop to simply improve the images over all appearance. If you do stay within the iOS system, there are a number of programs like SnapSeed, Photogene, iPhoto, PS Touch, Handy Photo, Leonardo, and a number of other programs. No matter how you go about it, the better the image prior to introducing into BrushStroke 2, the better the results.</div>
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You may even divide to go a step further and enhance your photograph with layers of textures with programs like Stackables, Mextures, VSCOcam, AFilter or ALayer. Even a program like ColorThief, which alters the colors of a photograph with the introduction of another could be considered helpful in the preparations of ones image before introducing it into BrushStroke 2. </div>
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Now that we have prepared our photograph for BrushStroke 2, let’s have a look at the following various steps within the program. In order to remain truthful as to the results achieved with BrushStroke 2, I have made no alteration to the original image prior to introducing with in BrushStroke 2.</div>
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Once an image has been selected and introduced to BrushStroke 2, the program will apply a default paint style, which is <i>Oil #01</i>. From here the user then chooses from a variety of paint filters.</div>
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After trying a number of various filters and settings, I have selected <i>Oil #05</i> and tried these at different strengths from zero to 50 and then 100%. This is to see how much effect the filter has upon the photograph and have chosen the strongest strength in order to maintain greater detail.</div>
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The next step in the process is the <i>Tone</i> layer category and it is here we can add a color mood or in addition change the appearance of the altered photograph from a painting towards a watercolor or drawing.</div>
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After trying a number of different categories as <i>Tones</i>, filter <i>Fulton</i>. From there I tried category <i>Heavy</i> with filter <i>Amber</i>; and in the next screen shots, two filters in category <i>Varied</i>, with <i>Willow</i>, then <i>Amaranth</i>. </div>
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I finally settle on <i>Themes</i> and filter <i>Scream</i>. For the look I am going after is an early morning light in which the rising sun has little to no affect upon the color of the light, therefore a moderate shift towards the blue tones. When the filter is applied at 100%, it is too much blue and the scene appears more like late even after the sun has set. When the setting is changed to 30%, we see that the leaves change from a bluish tone to more its natural color, green and still yet having the feel of early morning.</div>
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The <i>3D </i>category layer deals with canvas textures, various types of paper and color, and the last category consist of different hard surfaces. The default for this category layer is <i>Auto</i>. </div>
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Because of the subject matter and what I’m trying to be achieve, I try to use the <i>Primed</i> filter in the <i>Canvas </i>category, then one of the colored papers. We see that the selection of <i>Blue</i> now colors in the sky, while also pronouncing the area undesirable. In the end, my choice is to select <i>None</i>. </div>
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We now head into a very powerful layer category where we are given the opportunity to make final changes as to the appearance of our converted photograph. </div>
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The first of many adjustments is <i>Brightness</i> and the default setting here is 50%. Since the goal I am trying to achieve is early morning and a little more brightness in the highlights which will cause a slight blur, I move the slider to 70%.</div>
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Brightness is followed by <i>Contrast</i>. The default setting here is also 50%, which I bumped to 65%. </div>
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Saturation default setting is 50% and here I make no adjustments at all, but may come back after I completed with this <i>Adjustment</i> layer category. Now we come to one of my favorite controls in this category, <i>Density</i>. This is one of the few filters that does not default at 50%, but rather 39%. I normally like to bump up <i>Density</i> to over 50% and in this case I settle for 75%.</div>
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Though I like using <i>Vibrance</i> from time to time, I decided to bypass this filter because early morning colors are cool and so if I would apply some degree of vibrancy, the color of light shifts and would now appear more like morning then early morning.</div>
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Because increase in <i>Density</i> rendered the scene darker, I now need to alter the exposure to retain my earlier editing. The default <i>Exposure</i> setting is 50%, which I then increased to 66%.</div>
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The <i>Shadow </i>filter is another one that does not default at 50%, rather 0%. Since there are going to be no adjustments made here, the next filter, <i>Highlights</i>, defaults at !00% and once again I make no adjustments.</div>
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Last Saturday, when I reviewed BrushStoke 2, I said that of all the adjustment filters, <i>Density</i> and especially<i> Temperature</i> were my favorite ones<i>.</i> In the next tutorial, we will look at the awesome power of <i>Temperature </i>with a variety of images. As you can see that a slight shift from the default setting of 50% to only 45%, the scene takes on a more cool morning appearance.</div>
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As we come to the last two filters in the <i>Adjustment</i> category, one is given the option to alter the thickness of the painting’s brushstroke surface . The default setting for <i>Thickness</i> is 50% and I elect to reduce the amount to 35%, as this softens the edges of the brushstrokes.</div>
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The last adjustment available in this category is <i>Sharpness</i>, with a default setting of 0%. Again I elect not to make any changes here, especially since I lowered the thickness in the previous filter. While we are given the opportunity to sharpen the image, we are not provided with a <i>Blur</i> filter and this I have mentioned in my review of BrushStroke 2 and asked the developers to consider adding this to future updates.</div>
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We now have arrived to the final category layer, <i>Signature</i> and this one has also been updated in version 2 of BrushStroke. We are now able rotate our signature and even add a shade of color. Of the five colors, two are default and these are white and black. The remaining colors are sampled form the transformed photograph and in this case, a dark green, then a cool shade of blue, with the fifth color sample being picked up from the leaves on the ground and rendering this sample camel color.</div>
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After resizing the signature and moving it around on the bottom of the image, I felt it was lost and since I did not wish to have it any larger, the decision was made to leave it out from the final art work.</div>
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As we come to the end of our post work efforts, it is time to save our new art work. The first options we are given is to either <i>Save</i>, <i>Share</i>, or <i>Ship</i>. Obviously one will choose <i>Save</i> first before deciding to move on to either <i>Share</i> or <i>Ship</i>.</div>
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The sharing options are to Twitter, FaceBook,Instagram, eMail and to add the image as a text message. What one is not given is a link to Pinterest, which I already remarked on in my review.</div>
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Our last option is to have the item printed as a poster, made into a canvas print or have the artwork professionally framed. The developers of BrushStroke have teamed up with CanvasPop.</div>
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Here is the final version of our transformed photograph into a BrushStroke 2 painting. In our next tutorial we will look at using specific tools in the <i>Adjustment</i> category layer as <i>Density</i> and <i>Temperature</i>, to achieve a variety of moods from a single image.</div>
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BrushStroke 2 and more GiveAway Announcement</div>
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The people at Code Organa are going to provide me with a number of redemption codes for there newly updated program BrushStroke, including ToonCamera.</div>
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ToonCamera is an amazing video and photography app that turns your world into a live cartoon. Apply real-time cartoon and art effects to your camera feed, record video, snap photos, and convert existing video and photos from your albums to create instant works of art. See the ToonCamera video at <i><a href="http://youtube.com/watch?v=Mo7OAQGDGsQ" target="_blank">YouTube</a></i>.</div>
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Here is how you can get you copy of BrushStroke 2 and ToonCamera. Leave a comment on this post and make sure I am able to reach you when winners are announced. </div>
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Contest ends on Sunday, November 23 at midnight Pacific Time. Drawing will be random and winners are announce on Monday, November 24. Good Luck !</div>
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iOS software programs and vendor mentioned:</div>
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<i><a href="https://itunes.apple.com/us/app/brushstroke/id824421012?mt=8" target="_blank">BrushStroke 2</a></i></div>
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<i><a href="https://itunes.apple.com/us/app/tooncamera/id392538848?mt=8" target="_blank">ToonCamera</a></i></div>
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<i><a href="http://youtube.com/watch?v=Mo7OAQGDGsQ" target="_blank">ToonCamera video</a></i></div>
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<i><a href="http://www.canvaspop.com/" target="_blank">CanvasPop</a></i></div>
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<i><a href="https://itunes.apple.com/us/app/snapseed/id439438619?mt=8" target="_blank">SnapSeed</a></i></div>
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<i><a href="https://itunes.apple.com/us/app/photogene-4/id363448251?mt=8" target="_blank">Photogene</a></i></div>
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<i><a href="https://itunes.apple.com/us/app/adobe-photoshop-touch-for/id589440659?mt=8" target="_blank">PS Touch</a></i></div>
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<i><a href="https://itunes.apple.com/us/app/handy-photo-mobile-photo-editing/id598565205?mt=8" target="_blank">Handy Photo</a></i></div>
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<i><a href="https://itunes.apple.com/us/app/leonardo-photo-editor-layer/id656090065?mt=8" target="_blank">Leonardo</a></i></div>
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<i><a href="https://itunes.apple.com/us/app/stackables-layered-textures/id704236938?mt=8" target="_blank">Stackables</a></i></div>
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<i><a href="https://itunes.apple.com/us/app/mextures/id650415564?mt=8" target="_blank">Mextures</a></i></div>
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<i><a href="https://itunes.apple.com/us/app/vsco-cam/id588013838?mt=8" target="_blank">VSCOcam</a></i></div>
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<i><a href="https://itunes.apple.com/us/app/afilter/id873881416?mt=8" target="_blank">AFilter</a></i></div>
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<i><a href="https://itunes.apple.com/us/app/alayer/id719462225?mt=8" target="_blank">ALayer</a></i></div>
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<i><a href="https://itunes.apple.com/us/app/color-thief/id580674843?mt=8" target="_blank">ColorThief</a></i></div>
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All photographs taken with an iPhone 4S. Srceen shots on an iPad 4 by</div>
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©2014 Egmont van Dyck - All Rights Reserved</div>
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Anonymoushttp://www.blogger.com/profile/15115370601212216654noreply@blogger.com0tag:blogger.com,1999:blog-4594629163928852681.post-25063415091757366022014-11-15T10:00:00.000-08:002014-11-15T11:09:06.061-08:00BrushStroke v2 Review<div dir="ltr" style="text-align: left;" trbidi="on">
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A few weeks ago, Code Organa significantly updated BrushStroke into a powerful and meaningful application for the iPhone and iPad. Version 2 is certainly a significant update all around and a great step forward in being able to emulate a variety of painting and medium styles, including a few drawing techniques.</div>
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The program works on the principle of automatically converting a photograph into a painting based upon the user selecting from a variety of presets and then applying a percentage via a slider control. The slider is available throughout each category and filter and is operated simply by sliding ones finger from the left to the right and back again, which then adjust the strength or weakness of the style or filter numerically.</div>
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<i>Selecting your photograph</i></div>
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When you open the application, you are prompted to select an image from your library and once you have done this, BrushStroke 2 then uses the default setting to convert you photograph into an oil painting. This of course can be changed or even bypassed for another category and filter effect, however the majority of the time one will start by selecting a painting style and then a filter before proceeding to the next layer category.</div>
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<i>Paint layer category</i></div>
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In the first layer category Paint, there are 13 paint styles with various filter styles each, from which the artist can select from. The original version had 38 filter styles, which has now been increased to 73, almost doubling the number of painting variations at disposal to the mobile artist. </div>
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01: Oil<span class="Apple-tab-span" style="white-space: pre;"> </span>6</div>
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02: Washed<span class="Apple-tab-span" style="white-space: pre;"> </span>10</div>
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03: Medium<span class="Apple-tab-span" style="white-space: pre;"> </span>5</div>
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04: Natural<span class="Apple-tab-span" style="white-space: pre;"> </span>7<span class="Apple-tab-span" style="white-space: pre;"> </span></div>
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05: Hatched<span class="Apple-tab-span" style="white-space: pre;"> </span>4</div>
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06: Simple<span class="Apple-tab-span" style="white-space: pre;"> </span> 8</div>
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07: Frayed<span class="Apple-tab-span" style="white-space: pre;"> </span> 4</div>
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08: Gloss<span style="white-space: pre;"> </span>3</div>
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09: Lead<span style="white-space: pre;"> </span>2</div>
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10: Bold<span class="Apple-tab-span" style="white-space: pre;"> </span>5</div>
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11: Abstract<span class="Apple-tab-span" style="white-space: pre;"> </span>5</div>
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12: Prominent<span class="Apple-tab-span" style="white-space: pre;"> </span> 6</div>
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13: Experimental<span class="Apple-tab-span" style="white-space: pre;"> </span>7</div>
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During the editing process, you can double tap the image or use two fingers touching the screen while going in the opposite direction, you are able to enlarge and see how your style and filter are having an effect on the image. Still using two fingers and moving across the screen in one direction, you can move the image around.</div>
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<i>Palette layer category </i></div>
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Once you have completed selecting a painting style, the next layer category available has 9 different tone categories with 56 filters. This layer category too has been expanded from the original first release of BrushStroke.</div>
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01: Tones<span class="Apple-tab-span" style="white-space: pre;"> </span>4</div>
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02: Heavy<span style="white-space: pre;"> </span>5</div>
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03: Shades<span class="Apple-tab-span" style="white-space: pre;"> </span>4</div>
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04: Segment <span class="Apple-tab-span" style="white-space: pre;"> </span>3</div>
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05: Saturation<span class="Apple-tab-span" style="white-space: pre;"> </span>4</div>
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06: Varied<span class="Apple-tab-span" style="white-space: pre;"> </span>13</div>
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06: Threes<span class="Apple-tab-span" style="white-space: pre;"> </span>10</div>
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07: Twos<span class="Apple-tab-span" style="white-space: pre;"> </span>9</div>
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08: Ones<span class="Apple-tab-span" style="white-space: pre;"> </span>3</div>
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Now some of these filters actually have the ability to overpower the painting style that has just been applied and turn ones image into a Grisaille, an image consisting of only monochromatic color. This type of painting is also considered an undercoating, which allows for greater depth and richness when colors are applied over it. However with BrushStroke 2, some of these filters not only alter the shades of the painting, but depending on the filter applied, actually turn ones painted first layer category <i>Paint</i> alteration into a <span style="color: #333233;">Conté</span> or pastel drawing. While these drawing effects are certainly desired as an alternative medium, I am suggesting that the developers have another look at the second layer category, since these styles and filters can either enhance the painting, turn it into a drawing, or a monochrome Grisaille. </div>
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By splitting this layer category into three separate divisions, one layer would serve as the underpainting and offer the user a number of monochromatic tones to select from and these would in effect deepen and enrich the colors of the painting. They would also add a slight over-all tint of the color that was selected to serve as the underpainting over the entire image, which would be user controlled by shifting the numerical slider.</div>
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The second part of this layer category would simply convert the effects of the first painting style into a monochromatic painting, by converting all colors into monochromatic shades of the user selected color. This would also prepare the image for the third part of this layer category.</div>
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The finally division, we come to the drawing layer, were the painting is converted into a <span style="color: #333233;">Conté</span> or <span style="color: #333233;">pastel</span> drawing. This will over time, permit Code Organa to add more specific filters with subsequent updates in which the user can select from several strengths of pencil and charcoal. </div>
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While pencil and charcoal may seem out of place in a painting program, let us not forget in the very first category layer we are given 8 various filters which emulate watercolor and some artists like to use pencil to strengthen the image before colors are applied. As for charcoal, some painters use it to sketch out the scene on the canvas, before oils, acrylic or other medium is applied.</div>
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<i>3D Canvas layer category</i></div>
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The next layer category <i>3D</i> is a selection of various surfaces. You have <i>Auto</i> and <i>None</i> before choosing from three categories, <i>Canvas</i>, <i>Papers</i>, and <i>Surfaces</i>.</div>
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01: Canvas<span class="Apple-tab-span" style="white-space: pre;"> </span>5</div>
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02: Papers<span class="Apple-tab-span" style="white-space: pre;"> </span>8</div>
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03: Surfaces <span class="Apple-tab-span" style="white-space: pre;"> </span>6</div>
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From the various textures of canvas, we find included <i>Cold Press</i>, which I am suggesting should be moved to papers, as Bristol Board comes in either cold or hot press and is used for illustration. The <i>Hard Grain</i> represents a painters board, were a thin but medium textured canvas is glued to stiff cardboard that has also primed. All other canvases are stretched to a wooden frame and fastened with heavy duty staples or in the past nailed.</div>
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The paper selection ranges from <i>Natural Unbleached</i>, <i>White</i>, <i>Vintage</i> and <i>Grey</i>, while the remaining 4 styles are toned papers, useful for pastel and <span style="color: #333233;">Conté</span> drawings, but can be applied to a painting in order to achieve a specific feel and look that one is after.</div>
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Artist not only use canvas or paper to paint and draw upon, but also alternative surfaces as <i>Burlap</i> and <i>Wood</i> are used and these are available in BrushStroke 2. However they have also included <i>Particle Board</i>, <i>Rock</i>, <i>Stone</i> and <i>Stucco</i>. While <i>Stucco</i> may seem out of place, it should be considered when ones photograph is of a wall covered in graffiti or simply when one desires more textures in their paint style.</div>
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We have now completed the conversion from a photograph into a painting, watercolor or drawing and our attention will now focuses on fine tuning the over-all look of our image. While the 4th layer category had very good controls in the previous version of BrushStroke, it has been made even better with the additions of a few more controls. </div>
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<i>Adjustment layer category</i></div>
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This last layer category <i>Adjustment</i> can be considered to be the most powerful, as it can seriously alter the appearance and mood of ones work. Of the 10 different settings, I have my personal favorite, <i>Density</i> and especially <i>Temperature</i>. Most of these settings in category 4 are automatically at 50%, a number of these are set to zero, 39 or 100%. Remember by sliding one’s finger across from left to right, one can adjust the strength or weakness of these settings.</div>
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The adjustment category consists of:</div>
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Brightness</div>
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Contrast</div>
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Saturation</div>
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Density</div>
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Vibrance</div>
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Exposure</div>
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Shadows</div>
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Highlights</div>
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Highlights</div>
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Temperature</div>
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Thickness</div>
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Sharpness</div>
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Reset</div>
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After using BrushStroke 2 for a while, one will notice that some these settings hardly require much of an adjustment because of their default settings. Still, the adjustment layer category should not be taken lightly or even dismissed.</div>
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<i>Returning to the Paint layer category in order to try another filter</i></div>
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<i>Now that a new paint filter was selected, now trying a new tone filter</i></div>
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<i>Because of the changes, adjustments need to be further fine-tuned</i></div>
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Since using BrushStroke 2, I find that once I have taken my photograph through all of the layered categories, I often go back and not only make further adjustment as to the strength or weakness of a certain filter, but may also try another a different paint style as demonstrated in the three screen shot samples above. This going back and forth to try alternative settings does come at a price. </div>
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While the user is able to save the converted photograph and then return to further edit the painting and save another version, at the moment BrushStroke 2 does not offer the ability to save ones settings before making any alternative adjustments. </div>
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Being able to save or import individual settings, then exporting one or all settings as a single document file is something most application lack and it is my wish that the developers at Code Organa would address this feature updates.</div>
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<i>Signing ones name</i></div>
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Now that the converted photograph appears as a painting, watercolor or drawing, it deserves to be signed. Layer category <i>Signature</i> permits the user to sign their work, as well as to resize and adjust the angle of the signature. Then place the users signature anywhere on the final art work.</div>
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<i>Sample colors for ones signature</i></div>
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In order to make the signature compatible with the painting, BrushStroke 2 samples the main colors of the painting and then offers the user 5 colors with which to tone their signature. Once the user has signed and made their color selection, BrushStroke 2 remembers the signature and its position. However the user has the option to clear the signature and create a new. If one decides not to change the signature, a new color sample can be applied that is based on the new painting.</div>
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Now that one is finished and ready to export the painting, there are further options given the user, you can <i>Save</i>, <i>Share</i> or <i>Ship</i>. After saving the artwork to the Photo Album, you can share to the following social media <i>Twitter</i>, <i>FaceBook</i>, <i>Instagram</i> or <i>eMail</i>, even attach your image to a <i>Text </i>message.</div>
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<i>Framed Print version</i></div>
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<i>Canvas version</i></div>
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<i>Poster version</i></div>
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<i>Selecting ones size</i></div>
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If you wish to have your painting professionally printed, you first select a <i>Product</i>, then the style of <i>Frame</i> and finally the <i>Size</i>. When choosing <i>Product</i>, there are further three options, a <i>Framed Print</i>, <i>Canvas</i>, or <i>Poster</i>. The price for each is seen in the very top of the screen. I would suggest that first one select the size then the product and frame, as size obviously impacts the price. <span style="color: #232323; font-family: Arial; font-size: 13px;">When on the <i>Ship</i> screen, there is a details button (or arrow on iPhone), that allows one to get a price breakdown and other information on the product one is ordering.</span></div>
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<i>Final Thoughts</i></div>
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When BrushStroke was first released earlier this year, there were also a number of other painting apps released. While some of these received some updates, none of them was given the significant treatment as BrushStroke 2 has received.</div>
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The advancements made in this version provide more options and greater control over ones image as it is being converted then in the previous version of BrushStroke. Still one must not forget that there will be some images whose outcome will not be too satisfactory and this is not the fault of BrushStroke 2.</div>
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Only after using BrushStroke 2 repeatedly and by carefully paying attention to the resulting effects, can ones outcome become more successful. It should also be noted that preparing ones photograph before importing into BrushStroke 2, will only improve the results. In a subsequent BrushStroke 2 tutorial post, I will be covering preparations of ones photograph and the various ways BrushStroke 2 can be combined with other programs for some exceptional results. This will also include a demonstration of my two favorite adjustment settings options, <i>Density</i> and <i>Temperature</i>, with plenty of examples.</div>
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Though I have giving BrushStroke 2 glowing marks, there are a few items not found in the program. When selecting a photo from the Photo Album within BrushStroke 2 prior to importing for treatment, it would be nice to be given the choice if one wants to process the image as a JPG, TIFF or PNG.</div>
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The reason why I feel this matters is that now many mobile photographers shot with camera applications that permits on to save the image as TIFF. Therefore it should go without saying, programs need to begin to allow the user to select TIFF as their option to save the photograph/art work.</div>
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As BrushStroke 2 becomes so much better, one item also missing is the capability to choose from a number of brush strokes sizes and widths, including a number of palette knife techniques that in turn would affect the selected filter in the <i>Paint</i> layer category.</div>
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In the adjustment category we have sharpening, but not a blur function. Sometimes the textured edge has too much harshness and a touch of blur to soften this, is one task not to be overlooked.</div>
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When a filter is applied, the variation between zero to 100% only alters the filtration from marginally to minimum. I had hoped that when it is less than 50%, a little of the original photograph would appear through the painting and increase as the number is reduced further. This resetting of the function could act as a blender and make some paintings appear more life like and realistic.</div>
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I have already mentioned the need to save ones filter combinations as a single file, including being able to import previous settings. What I did not mention is that there should be a category layer dedicated to users previous preferences. Therefore it is important that users combinations be saved as a single and as a group file.</div>
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One last recommendation I have for the developers, is that the meta data imbed all the filters and there settings. This will allow users to easily repeat any of their work when the combination was not saved.</div>
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While in communication with one of the developers of Code Organa, in BrushStroke 2 there are some hidden items users most likely will not be aware of and I would like to share these with you now.</div>
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In addition to the undo and redo buttons, tapping on the title of the adjustment (for instance, "Paint +100") will reset that adjustment back to it's default value. Holding down on the undo button will also prompt to reset everything back to it's default state.</div>
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To collapse the toolbar in the main interface in order to see more of the image that one is working on, all you have to do is swipe down on the toolbar that contains all the icons that let you switch between all the layer categories. To bring the toolbar back up, swipe up on it, or tap any of the icons on the toolbar.</div>
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While Code Organa has produced a good program and followed up with a wonderful update, they are already thinking about what to do next. They are very receptive to suggestions and ideas users might have, including detailed notes if there are any issues, they will want to know. You can reach Code Organa at: <a href="mailto:Support@CodeOrgana.com">Support@CodeOrgana.com</a>.</div>
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BrushStroke 2 is designed for both iPhone and iPad and runs on iOS 8 and is 64-bit support. Last updated was Oct 30, 2014, Version 2. Optimized for iPhone 5, 6 and 6 Plus. The price of BrushStroke 2 is $2.99 US Dollar and there are no in-app purchases.</div>
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Next Wednesday’s post will be the first of two BrushStroke 2 tutorials and the announcement of a BrushStroke 2 GiveAway. </div>
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LINKs</div>
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BrushStrock at <i><a href="https://itunes.apple.com/us/app/brushstroke/id824421012?mt=8" target="_blank">iTunes</a></i></div>
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Previous <i><a href="http://www.theiphonearts.com/2014/03/another-tipa-giveaway-brushstroke.html" target="_blank">TiPA post</a></i> on BrushStroke</div>
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Canvas Pop <i><a href="http://www.canvaspop.com/" target="_blank">website</a></i></div>
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Technical Notes: </div>
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All photographs were taken using 6x6 as its camera. Most images were post processed before being introduced into BrushStroke 2.</div>
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All photographs taken with an iPhone 4S by</div>
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©2014 Egmont van Dyck - All Rights Reserved</div>
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Anonymoushttp://www.blogger.com/profile/15115370601212216654noreply@blogger.com0tag:blogger.com,1999:blog-4594629163928852681.post-14181132991922538402014-11-12T10:00:00.000-08:002014-11-12T10:00:02.466-08:00Why do so many app developers abandon their work <div dir="ltr" style="text-align: left;" trbidi="on">
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There are many good applications that have come onto the market place, but since then have had only minor updates since their first release. This is an issue for me, when a developer lets their invention just slip away.</div>
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As a consumer, I have invested in their product like many other mobile photographers. We praised their invention in words and samples of our work on FaceBook and other social media for days and weeks, certainly increasing the sales of the application for the developer. </div>
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Varies websites specialising in mobile art have written reviews and sponsored GiveAways, further promoting the product, including published tutorials so that the user may take advantage of the applications full potential.</div>
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So when a developer neglects their own product, even when giving it minor updates or making it available for a new iOS system, they have in my views, abandoned their product and broken trust with the consumer who purchased the product. </div>
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I can list a very large number of applications that have gone this route, but this posting is not to shame any of the developers, only to bring to their attention and you the reader, that the investment and trust we have placed in their product has been broken. </div>
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At the same time, I concede that there are also a good number of applications that can go no further, because in the first place, it was developed with a limited usage in mind to the mobile photographer.</div>
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I understand that the profit margin needs to be also addressed with the longevity of an application. It can cost too much to develop an application further, but then I also ask, what about additional sales garnered by those who did not own the item before or what about any new user of a mobile device. Besides, whenever there is a major update, not only do mobile reviewers and mobile artists mention the update on social media, just as when the item was first released.</div>
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A couple of developers have even decided to release a fully redesigned and brand new version of their old application and charge a full price. This means owners of the previous version need to pay the full price if they wish to update to the newer version. But why not permit users who already own the older version be permitted to update to the completely new application through an in-app purchase at a discount in the old app. </div>
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I know that in-app purchases are mostly frowned upon by users, but that is not a subject at discussion here and now. I was simply suggesting that when a totally new application of the previous version is released, original users should be offered the new version at a discount then having to pay for it at a full price and this should be done through a special in-app link in the old version.</div>
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Of course it is all a gamble for the developer, even for an item that is still in develop and one that has not been released to the public. So what is the answer to this problem and do users share in the responsibility for an application not to be further developed.</div>
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My response is “Yes.” We consumers bear some of the responsibility for the lack of an application not being developed further and here is why.</div>
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How many of you have actually taken the time to write a review on iTunes, let alone write the developer. If a user were to take a more pro-active roll and engage the developer into a discussion with suggestions for improvements, I feel we would see more developers change their tune. They would start to give their applications attention and further develop advancements, which only results in a prolongation shelf-life of the application.</div>
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We also need to remember that when users write a review on iTunes or the developer, to keep it professional and not rant because you are not happy because something may not be working. Constructive criticism in which the issues are clearly defined and explained, will be more receptively accepted and dealt with in correcting any issues.</div>
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Remember that developers need us just as much as we need them and by understanding this, forming a partnership with them, will only benefit all of us in the end. What are your thought on this subject.</div>
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Anonymoushttp://www.blogger.com/profile/15115370601212216654noreply@blogger.com0tag:blogger.com,1999:blog-4594629163928852681.post-121270499807228172014-11-08T10:00:00.000-08:002014-11-08T10:00:02.163-08:00First Friday of the Month - Dalston HipstaPak<div dir="ltr" style="text-align: left;" trbidi="on">
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Previously I have always been anxiously awaiting the new release but with so many similarities between the last several releases, I approached the Dalston HipstaPak with a little trepidation.</div>
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As with the previous review, I select my alternative lenses and films by importing an a couple of images into Oggl, in order to see the possible results I might achieve when using the Classic version of Hipstamatic. I also decided that upon my return from the field test, I would run a few images through Oggl and share these results with you also.</div>
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Also for the first time, there will be a selection of three images in one row, where the first image will have been captured with the 6x6 application, followed by Hipstamatic Lowy with Sussex and Lowy and Rock BW-11 combination.</div>
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The purpose for this is to show a natural capture with the 6x6, followed by a most neutral Hipstamatic combination and a Black and White version to show how the image relates to blacks, greys, and white. This way other factors can be assets in the variable between all the combinations and that of the Dalston HipstaPak. </div>
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Here are lenses and films selected and their order as they appear in the review:</div>
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01: Benedict<i> </i>+ Hackney</div>
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02: Benedict + <i>DC</i></div>
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03: Hackney + <i>Sussex</i></div>
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04: Benedict + <i>W40</i></div>
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05: Benedict + <i>Blanko</i></div>
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07: <i>GSquad</i> + Hackney</div>
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08: <i>Kaimal Mark II</i>+ Hackney</div>
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09: <i>Helga Viking</i> + Hackney</div>
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10: <i>Lowy</i> + Hackney</div>
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<i>6x6 - Lowy & Sussex - Lowy & Rock BW-11</i></div>
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<i>Benedict lens and Hackney film - Classic Camera</i></div>
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With the last several HipstaPak that have been released, we see the direction that Hipstamatic is definitely going. These films have all been borderless, which certainly is a good thing, but these HipstaPaks are generally tone generators. By this I mean that depending on the HipstaPak, we will see a dominant color filter that shifts the overall color properties of the image towards a different spectrom, as is also the case with Dalston HipstaPak.</div>
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This is evident in the above 4 examples, in which the main color filter is red, resulting in a more intense red, stronger blues and greens. It also leaves behind a purplish tone, mostly evident in the greys and medium blacks, as in the concrete.</div>
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<i>Benedict lens and Hackney film - Classic Camera</i></div>
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There are certain anomalies that re-accure based on the direction of the light. One is the annoying circular light flares that appear at random throughout, including in images that have been introduced into Oggl. There is also the strong darkening of the sky in an arch gradating from the top down to a lighter and more natural sky. The center photograph was to show how Dalston combo reacts when shooting towards the sun, something that we should not be doing in general.</div>
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I will say that depending on the light condition, the direction of the sun and the over-all composition and color of the scene, Dalston’s ability to saturate the colors to a point were they appear to replicate a CibaChrome print, is a most welcome addition of the HipstaPak.</div>
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<i>Benedict lens and Hackney film - Classic Camera</i></div>
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While the above example is limited in color, we do see that there is the reddish tinting and the asphalt in the sunny area is definitely shifting towards the purple spectrum. The sky is not as, but that could be because the amount captured is not enough to be as dramatic as in other examples.</div>
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<i>6x6 - Lowy & Sussex - Lowy & Rock BW-11</i></div>
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<i>Benedict lens and Sussex film - Classic Camera</i></div>
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The following examples are all shot using the Dalston’s Benedict lens and alternative films. Please note how varied the sky is being interpreted, especially the bottom left image.</div>
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<i>Benedict lens and W40 film - Classic Camera</i></div>
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Strong saturation throughout and circular vignetting can also be seem in all four photographs, due to the nature of the W40 film.</div>
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<i>Benedict lens and Blanko film - Classic Camera</i></div>
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It is clearly represented in these four photographs how light interprets the combination one decides to use and that some of it can be anticipated and other times not. While mostly saturated, the bottom right image appears overwhelmed by the amount of non-reflected light and so appears lighter then the other three.</div>
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<i>Benedict lens and Hackney film - Classic Camera</i></div>
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<i>6x6 - Lowy & Sussex - Lowy & Rock BW-11</i></div>
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<i>GSquad lens and Hackney film - Classic Camera</i></div>
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These next examples are different lens combinations with the Hackney film. As you will see, the Hackney film provides us with a larger variety of differences then if we were using the Benedict lens with other film combinations.</div>
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The example above illustrated the strength of the GSquad lens rendering the scene with confidence and shifting the tones towards the green, while the Hackney film retains the its strength in the blue sky and over all saturation of the colors.</div>
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<i>Kaimal Mark II lens and Hackney film - Classic Camera</i></div>
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This next combination of the Kaimal Mark II lens reveals a very different kind of response between the lens and film. Clearly the colors are more washed in appearance and the over-all projection of the colors towards a little yellow.</div>
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<i>Benedict lens and Hackney film - Classic Camera</i></div>
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As mentioned earlier, the over saturation of this combination Dalston HipstaPak can be desirable under the right circumstances, even thought I wished the concrete would retain more of its natural color then shift towards purple.</div>
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<i>6x6 - Lowy & Sussex - Lowy & Rock BW-11</i></div>
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<i>Helga Viking lens and Hackney film - Classic Camera</i></div>
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In the days when we dropped of a roll of film to be processed and printed, the prints might have a dominating bluish tonal shift and the Helga Viking lens paired with the Hackney film reflects this 70-80s automated print process rather well. Because of the blue filtration, the reddish appearance is considerable less evident, except for the black and grey asphalt and concrete.</div>
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<i>Lowy lens and Hackney film - Classic Camera</i></div>
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This may be the most neutral representing combination in which the Hackney lens is used. The Lowy lens retains the natural colors of the scene, while Hackney film controls the density and richness of the colors. We also see that the asphalt and concrete retain their normal appearance. This is certainly a combination that would be favored when one does not want to use Sussex film due to its border and yet have somewhat an accurate rendition with moderate saturation. </div>
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The next couple of images are stray captures of the Dalston HipstaPak and due note the variation in lens flare.</div>
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<i>Benedict lens and Hackney film - Classic Camera</i></div>
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In this third part of the review, we come to photographs shot with 6x6 and introduced to Oggl. The representation of the Dalston HipstaPak within Oggl is accurate as if shot with the Hipstamatic Classic camera. </div>
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<i>Benedict lens and Hackney film - Oggl post processed</i></div>
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Due note the circular three ring lens flare that appears in all three images above, including in the next photograph, were these flares appear not as three circular color rings, but as white circles. </div>
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<i>Benedict lens and Hackney film - Oggl post processed</i></div>
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In this next example we are treated to a surprise and see that the Benedict lens is totally over powered by the Blanko C16 film, rendering this photograph as an image which has lost its colors or having the appearance as it it was given a soft sepia tone.</div>
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<i>Benedict lens and Blanco C16 film - Oggl post processed</i></div>
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The remaining images were all photographed using 6x6 before being introduced into Oggl, but then having only the Hackney film applied in all images, with only various lenses as described beneath each image.</div>
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While I did test each image with all lenses in Oggl, the following were my favorite combinations using Hackney film. I hope you will agree there are some wonderful possibilities here.</div>
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<i>Salvador 84 lens and Hackney film - Oggl post processed</i></div>
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<i>Sergio lens and Hackney film - Oggl post processed</i></div>
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<i>Yoona lens and Hackney film - Oggl post processed</i></div>
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<i>Vincent lens and Hackney film - Oggl post processed</i></div>
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Final thoughts</div>
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While there are certainly more options with the Hackney film when paired with other Hipstamatic lenses, then with Benedict lens and other films, I cannot help but wish for Hipstamatic to shift directions as to where they have been heading. </div>
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I certainly do like a number of the combinations that are possible, yet I care less for the randomness of the three circular lens random flares. There are other applications that permit the addition of various types of lens flares, that we really do not need it here in the Dalston HipstaPak.</div>
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Though at first I felt we had just another filtration HipstaPak, I will say, we certainly do have more options, more choices in our endeavors for creative expression. </div>
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It is therefore up to you and what it is you like to do in achieving what Hipstamatic has to offer and ultimately you will decide if the Dalston HipstaPakis for you. However I would be curious as to your thoughts about the new HipstaPak release and how it compares to what I have written here. Also please consider sharing this article with your friends.</div>
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All photographs taken with an iPhone 4S by</div>
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©2014 Egmont van Dyck - All Rights Reserved</div>
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