Category Archives: Thoughts on the World

Canon EOS 70D: Cynical, Substantial or Stepping Stone?

I am trying to work out what to make of the announcement of Canon’s new 70D. For those of you who haven’t caught up yet, Canon have finally, after four years, upgraded their APS-C sensor technology, yesterday announcing their new “prosumer” model. This will have a 20.2 MP sensor, whose main achievement is innovative autofocus technology in live view or movie mode.

In optical viewfinder mode the camera will fall back to an autofocus scheme based on (but slightly downgraded from) the 7D, and the announcements have been oddly quiet on the topics of image quality and dynamic range, arguably weak spots of the current 18MP sensors.

Now part of me says that any improvement is welcome. I had started mentally drafting a blog post worrying about whether Canon had effectively abandoned the middle ground – at least I don’t have to complete that. I had been waiting for a real upgrade to my 7D and 550D for so long I almost ordered the new camera as a reflex action. And the combination of a feature set similar to the 7D in a smaller and lighter chassis might hit a sweet spot for me in practical terms.

But apart from being lighter and newer, I’m not convinced the camera has anything to offer me. In terms of feature set, it’s still definitely a downgrade from the 7D, and a poor successor to the 40D and 50D. The new autofocus will probably be brilliant for video, but of limited value in the types of photography for which I use the 7D.

I don’t do much video, and on the rare occasion that I might my tool of choice is probably the Panasonic GH2. I do use Live View, but only really to extend my reach (e.g. shooting over crowds), for “sneaky shots” and the occasional tricky manual focus task. 90% or more of my 7D shots are through the viewfinder, ensuring visibility in all lights, and stability down to very low shutter speeds. I suspect the vast majority of stills photographers using Canon DSLRs are similar.

The new generation of Canon cameras may therefore be at best a “stopgap” upgrade, particularly if image quality is no better than now. However, I’m not completely despondent. I think the camera is actually something else altogether – it’s actually a “stepping stone” to something completely different.

Canon have “form” in this area. The 50D was a similar “stepping stone” between the excellent but relatively low-res 40D and the 7D/60D (high resolution, split by functionality). The 70D looks suspiciously like enabling technology for a whole new generation of Canon cameras.

The cameras I think, and really hope, will emerge will look like this:

  • An electronic viewfinder fully replacing the optical one
  • Body shape and size similar to the 7D/70D (which works very well), but hopefully much lighter because of all the moving parts which can be dumped. There will also be at least an XXXD version with its familar control set
  • APS-C sensor, hopefully with a step up in image quality and dynamic range from the 7D’s sensor
  • EF-S lens mount, so we can carry on with all the existing Canon glass

It’s important that the “full size” version is “full functionality” with dual axis level, multiple custom settings, built-in GPS etc. (7D replacement). If necessary for marketing purposes there can be a “reduced functionality” version like the 60D as well.

In other words, I’m now really waiting for something which looks like an APS-C, EF-S mount GH2/OMD. If they’d announced that yesterday I would have bought it sight unseen.

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Improved Capture

Fisherman casting net on Gibb's Beach, Barbados. Developed with Capture One 7
Camera: Canon EOS 40D | Lens: EF-S17-85mm f/4-5.6 IS USM | Date: 23-04-2008 21:58 | Resolution: 3233 x 2155 | ISO: 200 | Exp. bias: -2 EV | Exp. Time: 1/40s | Aperture: 20.0 | Focal Length: 17.0mm (~27.6mm) | Lens: Canon EF-S 17-85mm f4-5.6 IS USM

Following on from the last post, I thought I’d pop up an example to highlight the improvements possible through just the right choice and use of software. The picture above was taken back in 2008, on my old Canon 40D. As soon as I’d taken it I knew that I had a great latent image, but the very high dynamic range was a real struggle. The original in-camera JPEG is long gone, but the following version with no adjustments shows the problem: the sun and its reflections are completely blown out, and the automatic metering has substantially under-exposed the darker parts of the scene:

My original development using Bibble 4 was a partial success. I could recover some of the colour in the sky (although obviously not the sun itself), and I could reveal some of the shadow detail, although the fisherman himself was never much more than a very dark silhouette. However, this was at the cost of substantial colour noise in the mid-tones, such as the breaking waves, and some very odd banding around the sun:

Onscreen this image works fairly well, but I could never get a satisfactory print, and it was rejected for stock use because as a thumbnail it just looks like a dark splodge. Successive versions of Bibble didn’t do much better, so much so that I’ve kept the Bibble 4 version as the best compromise.

Enter Capture One, and with relatively little effort I get the results shown at the top. I much prefer this version: you can see some detail even in the darkest area of the fisherman’s body, and the overall feel is not so markedly “low key”. There’s also very little noise. I haven’t tried printing it yet, but I suspect there won’t be many problems.

Oddly when I showed these to Frances she still preferred the Bibble version, because she felt it portrayed the mood better. However, I’m definitely going for the Capture One version. Which do you prefer?

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What’s More Important: Hardware or Software?

Eric Clapton at the Royal Albert Hall - May 2013
Camera: Canon PowerShot S95 | Date: 17-05-2013 21:55 | Resolution: 2498 x 1405 | ISO: 800 | Exp. bias: 0 EV | Exp. Time: 1/50s | Aperture: 4.9 | Focal Length: 22.5mm | Lens: Canon EF-S 10-22mm f/3.5-4.5 USM

We live, as some of you might have noticed, in a digital age. The displacement of older technologies by digital versions has been accompanied and largely enabled by rapid, substantial advances in technology. Yet a couple of recent experiences suggest to me that we may be reaching a point in many areas where further hardware change is of less importance than improvements to the supporting software.

This has most clearly been brought home to me in respect of cameras. My older, larger, cameras and lenses work by delivering high quality optics coupled with relatively straightforward processing of the captured image from the sensor. The newer, smaller cameras make some dramatic compromises on optical accuracy, and then correct the errors in software. This works surprisingly well, but introduces the challenge that if you want to shoot in RAW format and develop the shots yourself, you need RAW processing software capable of reproducing the same, or better, corrections.

That’s been a problem for me, as the software I was using (the former Bibble, now Aftershot Pro) didn’t have adequate support for my new Panasonic GH2 and its diminutive lenses. Also new owners Corel seem to be determined to kill the software through negligence, which makes the prospect of improvements unlikely. (That’s another story, to follow…)

This week I got a bit disheartened, fearing that I was becoming “locked out” of both new cameras and fully developing my work with the GH2, and finally bit the bullet. I didn’t buy a new camera, I started evaluating alternative RAW processors. After a couple of false starts I have settled on Capture One from Phase One. The results so far are very promising: it not only corrects the distortions of my Micro Four Thirds lenses, but it delivers silky smooth output from my larger Canons at ISO 3200, and does a remarkable job of highlight recovery. The shot above was taken at ISO 800 from the back of the Royal Albert Hall with my tiny Canon S95. (BTW, Eric Clapton was excellent!)

But the big surprise has been applying Capture One to some of my older images. The following was taken on our 2007 visit to the Southwest USA, using my original Canon 350D. I was never really happy with the Bibble version, which struggled both to recover the blown highlights and to pull some usable shadow detail without excessive noise. The difference using Capture One is dramatic. It’s almost like revisiting the scene with a new camera.

Getting back to the original topic of this post, I’ve also seen the same software-led effect elsewhere. Support for a proper stylus aside, there’s not much in hardware terms between an iPad and my 10″ Galaxy Note, and some might prefer the Apple hardware. However the dramatic differences in software capabilities are a real differentiator. (See my various reports for details.)

I don’t want to belittle the impressive work of digital hardware engineers, and we’ll continue to take the benefits of further advances, but we need to recognise that the efforts of frequently unsung software engineers may be just as, or sometimes even more key to the hardware’s exploitation.

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Back to the ‘Fray

Monochrome HDR shot of the "Ugly Pond" and stormy sky beyond
Camera: Canon EOS 7D | Lens: EF-S17-85mm f/4-5.6 IS USM | Date: 24-08-2011 10:43 | ISO: 100 | Exp. Time: 1/250s | Aperture: 10.0 | Focal Length: 30.0mm (~48.6mm) | Location: Einbúi | State/Province: South | See map | Lens: Canon EF-S 17-85mm f4-5.6 IS USM

Oh well… The annual pilgrimage to the sun has come and gone, and it’s back to the ´fray. (I assume that “fray” is a contraction of “affray” – is that correct?)

Updates to my web site are almost complete. As a salutary lesson to others in a similar position, what I had hoped would be a few weeks’ work turned into something which chewed up most of my “development” time for over three months. However I now have a site which works well on almost all devices (although there are a couple of outstanding oddities and the style sheets still need tweaking for phones with relatively low resolution screens, such as older iPhones). I’m hoping my “lessons learned” will make interesting reading to anyone with a similar challenge, and I’m also confident that future changes will be easier to achieve.

I’m also hoping to get back to blogging on other topics, which have been neglected a bit in recent times. If you have any preference on topics then please let me know.

Most of my recent posts have been book reviews, and I thought the blog needed a picture at the top, hence the above. I’ve been processing some outstanding photos from my Iceland trip, and I was rather taken with this one, which is another HDR monochrome development from three originals processed using Photomatix. What do you think?

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Man At Work!

"Fifty Shades of Blue": Iceberg on the Jokullsarlon glacial lake, Iceland
Camera: Canon EOS 7D | Lens: EF70-300mm f/4-5.6 IS USM | Date: 27-08-2011 10:12 | ISO: 100 | Exp. bias: 0 EV | Exp. Time: 1/125s | Aperture: 10.0 | Focal Length: 80.0mm (~129.6mm) | Location: Breiðamerkursandur | State/Province: East | See map | Lens: Canon EF 70-300mm f/4-5.6 IS USM

Apologies to regular readers of my blog for the recent low output. I’m currently working on a major overhaul of my web site which will see it considerably modernised and should enable it to be viewed successfully on all sorts of different devices, but it does mean my time is being taken up with design and programming work rather than “content creation” at the moment… Please watch this space for further announcements.

On a positive note, if, like, me, you’ve embraced Google Currents for keeping up with your blog reading (see Keeping Current) then you may be interested to hear that “Thoughts of the World” is now published as a Google “Edition”. To subscribe and add it to Currents, just click here.

As an architect, I’m used to explaining that the world is not black and white, but has to be appreciated in shades of grey (but maybe not 50! :)). However as a photographer, I’m much more interested in other hues. The picture above is from my Iceland trip, and I call it “50 Shades of Blue”. Enjoy!

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Why the Galaxy Note is a Better Business Tool than the iPad

It seems barely believable that I’ve had the 10″ Galaxy Note in my hands for just four weeks. Like its smaller brother it just feels “right”, in a way the iPad failed to achieve in two years. It’s already delivering value, at a point at which the iPad was just frustrating me.

About a year ago I wrote a piece entitled “Ten Ways to Make Your iPad Work Effectively With Windows”. That was to some extent a tale of frustrations, apologies and work-arounds, and it’s time to contrast how the Android option delivers for business users in a heterogeneous environment.

Continue reading

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Secret State – A Review

We’ve just finished watching Secret State, Channel 4’s latest attempt to capture the conspiracy thriller crown. It was good, but it could have been so much better. Edge of Darkness is safe for another few years…

There were some touches of genius. The plot, based on A Very English Coup cleverly wove in all our current bogeymen in a bang up to date tale featuring drone warfare, Islamic terrorists, toxic bankers, careless and callous petrochemical companies, electronic surveillance and the rest. Technology was exploited to help tell the tale, not as an end in itself. I also admired some of the direction, especially those scenes which placed Charles Dance’s Machiavellian character deliberately lurking in the background.

But ultimately it was all a bit unsatisfying. I’ve identified several reasons why, but the main reason was simply that it was too rushed. There’s clearly an optimum length for a conspiracy thriller on TV, and it’s about 6 hours run time. Edge of Darkness was 6 hour-long episodes, and so was State of Play. The first series of Homeland, was 10 episodes of about 40 minutes each (about 6.5 hours). There’s an upper limit as well: at around 8 hours Hunted was just too bloody complicated, and while a series of 24 runs much longer, at about 17 hours, they religiously change villains and threats twice a day, so we’re back to roughly the 6 hours duration for each “segment”.

By contrast, Secret State ran for less than 3 hours (ignoring adverts and the now mandatory review and preview segments), and it just wasn’t enough to properly develop the story. Instead of slowly developing understanding, you had key plot elements revealed as almost throw-away sound bites. Watching an off-air recording with Channel 4’s longer-than-American commercial breaks just increased the frustration.

In Edge of Darkness there’s a fascinating scene in which three senior policemen are waiting in a hospital for news of a suspect who chose to throw himself out of a window rather than face arrest. It runs for about 2 minutes, but the suspect’s condition, the police officers’ frustration, and the growing despair of the central character are all communicated with almost no dialogue. They act. Secret State had no time for such luxuries.

Secret State also had precious little time for character development. The central characters were all wonderfully cast, but most went nowhere – we learned nothing about them as people and little about their drivers, beliefs and agendas. Most also behaved true to the initial impression, rather than surprising us with unexpected heroism or villainy. Apart from the brilliant opening episode Charles Dance was particularly under-used.

I’m not convinced you need “Previously” segments in a four episode show. If you can’t follow something for four weeks, that’s a rather poor lookout. However it’s the “Next time” segments which really wound me up. These were full of spoilers, and totally un-necessary when the drama was already sufficiently suspenseful to make sure viewers returned. Surely the time would have been better devoted to addressing at least some of the hurried treatment?

A conspiracy thriller doesn’t need a happy ending, but it does need a satisfactory one, in which the dispositions of the main parties and issues is clearly portrayed. Secret State failed in this, with a hurried ending which left a lot of questions unanswered.

By contrast, the BBC’s best effort this year, Line of Duty followed the rules, and while it had a few annoying plot and character flaws, it ended up more satisfactory than the better plotted Secret State.

And finally, Of . It may be just coincidence, it may be the sincerest form of flattery, or an attempt to gain praise by association, but I’ve noticed that the best conspiracy thrillers all seem to have three word titles with a common middle word. I await State of Secrets or Secrets of State with anticipation – remember, you read it here first.

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Just Get on the Train!

I have decided that there are essentially two types of film or play, those which are about whether to get on the train, and those which are about how to get on the train. I don’t really like the former, but I love the latter.

OK, I know that not all films and plays involve trains, but enough do that this is a surprisingly powerful classification system.

A couple of years ago we went to see a performance of Chekhov’s Three Sisters. While I may be oversimplifying things slightly, most of the second act is the sisters talking about getting on a train. I forget the details, I think one wants to move away from the family to Moscow. I can’t even remember whether she actually gets on the train or not. Despite the fact that it was a good performance by several famous British actors, many of whose other work I love, I was bored out of my skull. Frances and I were both so affected by this, that we now have an in-joke reaction to any mention of Chekhov where one of us immediately says “just get on the —— train”.

But then I realised just how many of our favourite films do involve someone getting on a train. The key difference is that there is never any debate whatsoever about the need to do so. The challenge is how.

You may have to drive your Audi off a bridge (Transporter 3), jump from a helicopter (Under Siege 2, Broken Arrow, Unstoppable), shoot lots of bad guys first (3.10 to Yuma), jump from a camel (Sahara), talk the bad guys down (Pelham 123), jump from a car (Unstoppable, Octopussy), quietly murder some of the good guys (From Russia with Love), jump from another train (Unstoppable again, Indiana Jones and the Temple of Doom, Paddington 2, The Lone Ranger), hide in a mailbag (Live and Let Die), jump from a motorbike (Skyfall, Indiana Jones and the Dial of Destiny), run several Manhattan blocks and jump through the subway roof (Die Hard with a Vengeance), beam in (repeatedly) using a time machine (Source Code), jump from a horse (The Lone Ranger), claw into the back of the carriage with a Caterpillar digger (Skyfall again), jump from a hover-board (Back to the Future 3), couple up a car transporter (Fast Five), try and do a retinal scan from outside while the train is moving at speed, and you’re not really tall enough to reach the scanner (Mission Impossible 4), jump from a zipline tethered to the nearest alp (Captain America), lay the track as you go (The Wrong Trousers), jump into a boxcar while shackled to several other members of a chain gang (O Brother, Where Art Thou?), sneak onboard after clinging to the undercarriage (Octopussy again), jump from the subway platform (Safe, Captain Marvel, Skyfall yet again…), swing a ladder from another train (The Lone Ranger), extend a telescopic ladder from another train (Paddington 2), lasso the train while chasing it in a pump handcar (Due South, All the Queen’s Horses), jump from a bridge with a wolf in your arms (ditto), use your magnetic super-powers to latch onto the train as it goes past (X-Men Days of Future Past), leap between mine cars (Journey to the Centre of the Earth), sneak in inside a mine car full of explosive (A View to a Kill), jump from the platform of a picturesque station (Enigma), ride your motorbike off a mountain and then speed-fly with a parachute onto the train (Mission Impossible Dead Reckoning), sneak into a train with the Turkish Nationalist Army (The Water Diviner!).

If you’re undead, you might just jump from trees alongside the track (Abraham Lincoln, Vampire Hunter), but that’s really a getting off the train film, a completely separate genre. You get the picture, and I haven’t mentioned Speed, Batman Begins, UnknownGoldeneye, The Rock

So do you like stories about talking about getting on a train? Or those about doing it?

 

(Published June 2011, updated November 2012, July 2014, September 2014, August 2016, January 2017, April 2018, July 2018, September 2018, March 2019, January 2020, May 2020, June 2020, January 2021, January 2022, December 2023 as the list grows…)

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Keeping Current

One of the great frustrations with the iPad was that although it should have been a great blogging tool, between the limitations of available software and input processes, it just wasn’t. (See An Ideal Blogging Platform for my reflections after a couple of months of iPad ownership.)

The 10″ Note addresses all of those weaknesses, and may well become not only a primary content consumption device but also a primary platform for content creation. The available software is just better: I am writing this with the free WordPress apply for Android which just works, where the iPad version was very frustrating. Text input is quick with SwiftKey, I can multi-task with Chrome to look up previous posts, and I can easily find and add content from other sources, always a challenge in iOS land. This post has taken about 20 minutes, entirely on the Note.

I’d also like to bring your attention to a great app from Google called Currents. This takes RSS or similar feeds and turns them dynamically into an attractive “on-line magazine”. It works brilliantly with photo-rich feeds such as the photography blogs I read. Here’s what it does with “Thoughts on the World”:

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I didn’t have to do anything with my existing feed to get this result. Currents doesn’t work in every case – if a blog starts every post with the same boring advert then it doesn’t have much to work with – but the hit rate is quite high. It is could also do with a way to mark items as read, which is a major omission. However overall Google seem to have another hit, and currently it’s free.

Blogs away!

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Are There More Bricks or Photos?

Recently on The Online Photographer, I saw that in 1976 a leading commentator on photography asserted that “the world now contains more photographs than bricks.”

While I hate to be contrary (no I don’t! :)), I’m not convinced that the assertion about photographs and bricks is correct, even today. Regular readers will know I can’t resist an estimating challenge, so here goes…

Most estimates of the number of photos taken each year comes out somewhere near (but typically a bit below) one trillion, 10^12. As this number is growing exponentially, to get a total number of all photographs ever taken we can focus on recent years, and something in the range 5-10 trillion would probably cover it. However, we don’t retain all our shots. I dump about 50%. I don’t know how typical this is, but let’s use it as an estimating basis. So this gives use a number of “existing photographs” of a few (2-5) trillion.

Now bricks. This is more tricky. I estimate the number of bricks in a typical British family home at around 15-20,000. That provides shelter for an average 4-5 people, but we also spend time in other brick buildings (work, hotels, communal buildings), so let’s say 10,000 bricks per person in a “brick rich” environment like the UK.

But not everyone lives in a “brick rich” environment: for all sorts of economic, environmental and cultural reasons many buildings use other materials. So let’s assume that 10% of the world’s buildings are brick.

10,000 (bricks per person) x 10% & 7 x 10^9 (people) = 7 x 10^12 bricks. That’s still a couple of times greater than my estimate of the number of photos…

Now obviously as the numbers are (surprisingly) so similar and the number of photos is growing exponentially, the roles will soon be reversed. But I don’t think it was true in 1976.

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Action At A Distance

I have just read three cracking thrillers: Nothing to Lose, written by Lee Child in 2008, Zero Day, written by Mark Russinovich in 2011, and Perishable Goods, written by Dornford Yates in 1928. All three are great yarns, and well worth a read. If you would not discover some or all of these any other way, please feel free to take this as a recommendation.
Each book is a child of its time. In Zero Day the heroes battle a devastating Al Quaeda cyber attack on the west. The plot of Nothing to Lose is also about religious extremism and 21st century geo-politics, although from a very different standpoint.
There’s a refreshing lack of religious extremism and geo-politics in Perishable Goods. Chandos & co have to rescue a kidnapped friend from villains who are motivated purely by money and personal revenge. The book wears its 80+ years very well, although some of the writing, attitudes and technology are now amusing. (My favourites, slightly paraphrased, “I was totally alone…, except of course for my manservant” and “after a few minutes the cars were started and ready to move”).
From this you might conclude that the two recent novels are similar, and Yates’ very different, but that’s not correct. It’s actually Zero Day which is the odd one out. The others are both personal battles, largely on a scale where all the protagonists physically interact with one another. Zero Day inhabits a much larger canvas, in which the key players have no such interaction, and portrays a frightening vision in which misfits in odd corners of the world working for small financial rewards can unwittingly create genuine weapons of mass destruction. This anonymous “action at a distance” is genuinely scary, not least because it could really happen, it might even be in progress today.
I enjoyed all three books, but Zero Day really made me think.

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Jon Lord RIP

The late Jon Lord and the very talented Anna Phoebe performing a spine-chilling version of Sarabande at Superjam in the Albert Hall, July 2012
Camera: Canon PowerShot S95 | Date: 08-07-2011 22:45 | ISO: 800 | Exp. bias: -1 EV | Exp. Time: 1/20s | Aperture: 4.9 | Focal Length: 22.5mm | Lens: Canon EF-S 10-22mm f/3.5-4.5 USM

Since I was first old enough to take an interest in “real” (heavy/prog) rock music, my favourite band has been Deep Purple. I can honestly say I’ve studied their music (my relationship with it goes a long way past just listening), and seen them several times. Like the other great bands of the era their music has a unique “fingerprint”, unmistakeable for any other. In Purple’s case, it was the inclusion of a Hammond Organ, driven by a man who was both a great rocker and equally an orchestral composer. That was Jon Lord. I read sadly of his passing yesterday. He was a lovely man, and a great musician, and will be sorely missed.

I saw him in concert only twice, but both provide strong memories. The first time I saw Deep Purple, in 2002, he had already retired and handed the Hammond over to Don Airey. Half way through the first half of the concert, Airey did a long organ solo, which went at one point to a single note, while he was lit by a single lamp fading slowly to black. The note continued, and the lights came up, to reveal Jon Lord at the keyboard instead. The house erupted with admiration, possibly the greatest outpouring of emotion at a single musician’s appearance I have ever experienced.

Then just over a year ago, we attended the Superjam charity concert hosted by Deep Purple at the Royal Albert Hall (see here for my review). Pride of place in the first half was an appearance by Jon Lord. His set included an absolutely chilling rendition of Sarabande with the violinist Anna Phoebe, a couple of duets with Rick Wakeman, and a final ensemble where they were joined by two more keyboard players, including Gary Brooker of Procul Harum fame.

I will play his music tomorrow, and think of him with some sadness, but mainly with great thanks for how his music has enriched my life.

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