The Turquoise Trail

The Madrid fire department!
Camera: Canon EOS 7D | Lens: EF-S15-85mm f/3.5-5.6 IS USM | Date: 02-10-2012 11:39 | ISO: 100 | Exp. bias: -1 EV | Exp. Time: 1/125s | Aperture: 8.0 | Focal Length: 27.0mm (~43.7mm) | See map | Lens: Canon EF-S 15-85mm f3.5-5.6 IS USM

Day 3

We drove the Turquoise Trail from Albuquerque to Santa Fe via Madrid (pronounced with the accent on the first syllable to avoid confusion with that other place in Spain). A pleasant drive although with some boring stretches.

First stop was the Sandia Mountain Crest, which overlooks the whole Albuquerque area from 10,678 feet. A bit of a challenge for photography, but the view certainly blew the cobwebs off. On the way down, tried playing my collection of “Albuquerque Songs”, but was stymied by the fact that the latest Mustangs can’t play files in WMA format, so we had to settle for Prefab Sprout 3 times in succession!

The next stop was in the village of Golden, where the tiny Church of San Franciso is being rebuilt as a labour of love by the local plasterer. He’s making a lovely job of it, and was only too pleased to show us around and let us take some pictures.

Madrid is very friendly and pretty, but basically just a collective of arty shops and a mining museum. Unusually films (like the excellent Wild Hogs) make it look more modern and industrious than it actually is.

We both latched onto a stunning piece of art – a “spirit maiden” sculpture in coloured copper – and then realised we could afford it. Now the only challenge is getting it back to the UK…

Bought some shirts at the Van Huesen outlook store in Santa Fe, then took the freeway back to Albuquerque. Dinner at rather nice steak house. No ID required.

Shopping 9/10
Photography 6/10
Food 7/10

 

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Back in the US of A

Shop Front in Albuquerque Historic Area
Camera: Canon EOS 7D | Lens: EF-S15-85mm f/3.5-5.6 IS USM | Date: 01-10-2012 16:33 | ISO: 100 | Exp. bias: -2/3 EV | Exp. Time: 1/200s | Aperture: 8.0 | Focal Length: 50.0mm (~81.0mm) | Lens: Canon EF-S 15-85mm f3.5-5.6 IS USM

For 2012 we decided on a return to the American Southwest, but following a more easterly route exploring Northern New Mexico and Southern Colorado, ending up at the Albuquerque Balloon Fiesta. Once again our main guide was Laurent Martres’ excellent Photographing the Southwest, this time volume 3 which covers our target states. This is how we got on…

Day 1

23 hours travelling from home to Albuquerque. However, apart from a short delay at Dallas before the second leg of the flight everything worked fine. Seats remained firmly attached to plane, which apparently is not guaranteed with American Airlines, but food moderately disgusting.

Got through US immigration with only a few minutes wait, although it would have been different if we hadn’t found out about the new visa system two days before flying! Customs confiscated ham sandwich, and biscuits set off wheat detector, but they were very good about it…

The Albuquerque freeway is very complicated, with effectively 7 lanes each way past hotel, but we got in on second attempt.

Hotel very comfortable, food and beer at brewery next door fine.

Travel 7/10
Food 5/10
Photography 0/10

Day 2

Awake at 5! By 9.15 were at the mall ready to start shopping, but nothing open before 10, even coffee shops! Local McDonalds doing roaring trade in coffee…

Morning spent on practical shopping and other initiation rites, then moved to much more photogenic Albuquerque historic area for lunch and browsing old buildings and multiple arty shops. Some good photo opportunities, but a bit limited by parked vehicles and harsh lighting.

At dinner had to prove my age, but apparently only the expiry date of my ID is important!

Shopping 9/10
Photography 3/10
Food 7/10

 

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Review: I Do Solemnly Swear

By D M Annechino

Pedestrian Thriller

The bar for this sort of thriller has been set very high by the likes of Tom Clancy, “24” and the brilliant play “The Last Confession” about the death of and succession to Pope John Paul 1. This book fails to reach that standard, and left me feeling very dissatisfied.

Ultimately this is a conspiracy plot which involves almost everyone in the White House except the central character, and feels like a tired reworking as a result. Furthermore that conspiracy is not really credible, with Aryan supremacists who have presumably just quietly ignored Barack Obama, Colin Powell and the many Jewish members of recent US administrations. Many characters know much more than would be realistic in a successful conspiracy, which fundamentally requires secrecy.

Although the book inhabits the real world of current Middle Eastern politics and players, other realities are ignored. For example early on there are several misogynistic “a woman can’t do this job” challenges to the new president, but no one thinks to mention Margaret Thatcher, Angela Merkel or any of the US’s successful female Secretaries of State.

The writing fails to be either intriguing or suspenseful. With only one main exception the main characters remain true to the new president’s initial assessment of their personalities and loyalties. The chief of staff and housekeeper behave suspiciously, but the reason is immediately disclosed, rather than the disclosure being deferred for a page or two.

Many of the details are simply laughable. Apparently the head of the Secret Service is a dwarf of 4ft 10. The villain is a Nazi who refers to “Capitalist Pigs”. The president is a long-standing career politician, but apparently has no advisors except those inherited from her predecessor, and although she has a country to run, the president is worrying about her biological clock, despite being about 50.

On a practical level my pre-release review copy of the book had a number of oddities of grammar, typography and layout. While these may be rectified before publication and were not critical, they were suggestive that the work has not received a great deal of review before printing.

It’s a shame, because the premise of this book is a good one, but the execution does not deliver a worthy read.

Categories: Reviews. Content Types: Book, Crime / mystery, and Fiction.
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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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Sunset and Swirling Sea

Sunset and swirling sea, Dubrovnik
Camera: Canon EOS 7D | Lens: EF-S17-85mm f/4-5.6 IS USM | Date: 01-10-2011 16:17 | ISO: 100 | Exp. bias: -2/3 EV | Exp. Time: 1/5s | Aperture: 14.0 | Focal Length: 30.0mm (~48.6mm) | Lens: Canon EF-S 17-85mm f4-5.6 IS USM

Too many of my recent posts have been technical ones, especially with trying to get the “Micro Four Thirds Lens Correction Project” off the ground, so here’s a nice picture to address the balance.

This is from our short trip to Dubrovnik, just about this time last year. The rocks were lit by the last rays of the setting sun, and while I normally go for short exposures of moving water, this subject demanded a slower speed to really capture the swirls of the crashing waves. I’m pleased by the sharpness, given that this was taken at 1/5s hand held! Thank <insert deity of choice here> for image stabilisation!

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MFT: Formula, What Formula?

In a discussion with Phil Harvey of exiftool fame, it became apparent that the first problem I have to solve in respect of Micro Four Thirds lens correction is to understand the formula, or formulae, being used to apply the correction.

Most image processing software supports geometric correction via three parameters labelled a, b and c. These are the parameters in the following formula:

Ru = scale*(Rd + a*Rd^3 + b*Rd^5 + c*Rd^7)

In this Rd is the distance of a point in the image from the centre in the distorted image, and Ru is the distance it was in the undistorted image. The model is that distortion is radially symmetric, and has the effect that concentric circles of image points move either closer to or further from the centre than they should be. This translates into the more recognisable types of distortion when straight lines in the image cut across these imaginary concentric circles.

There’s a couple of useful pictures here.

There are several variants on this formula. Wikipedia has a much more complex looking version which appears completely different, as it allows for the effects of off-centre lens elements and different profiles in different directions, but if you ignore these effects then with a little bit of factoring it boils down to exactly the same equation. Bibble, for example, switches the labels a and c, and other versions factor “scale” into the individual parameters, but the basic formula is the same.

The problem is that if this is the formula used in MFT in-camera corrections, then the data isn’t the right shape. We should just see three or maybe four fractional values, and the rest should be zeros, or maybe constants for a given lens/camera combination. While in some cases you can select values from the MFT data which work, it’s inconsistent and there’s no explanation for all the other data.

We know that MFT cameras also correct in-camera for chromatic aberrations. Maybe this could explain the other data points? The trouble is that this doesn’t work either. CA correction formulae work in one of two ways. They either provide a pair of shifts for the different colour channels (requiring two further parameters in addition to the three or four for geometric correction), or you get three sets of geometric correction parameters, one for each colour channel, as per the following taken from a DNG file using one of Raphael Rigo’s tools:

r : 1.000168 -0.128185 0.052356 -0.005116 0.000000 0.000000
g : 0.999694 -0.127995 0.052335 -0.004995 0.000000 0.000000
b : 0.999967 -0.127973 0.052642 -0.005050 0.000000 0.000000

While this might explain the number of values, you’d expect to see three sets of very similar values in the MFT data, and that doesn’t happen.

There are other ways of doing geometric correction. There are other formulae, but they don’t seem to be in common use. There’s also a non-linear approach (see http://paulbourke.net/miscellaneous/lenscorrection/ again), but this would need either a series of small values with the same sign (for a cumulative curve), or a progressive sequence (for an explicit curve). Of course, there could be some sort of complex differential version, but that’s cheating!

I have to assume that the model is capable of interpretation, especially since for some lenses a simple mapping works pretty well. However, it’s clearly not as simple as we’d hoped.

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It’s Not Over…

You know how they say “it’s not over till the fat lady sings”? Well, if the fat lady starts singing along to her iPod in the gym it’s definitely over. I’ve never seen a gym empty that fast! 🙂

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The Micro Four Thirds Lens Correction Project

Although most Micro Four Thirds (MFT) lenses are tiny,  the cameras produce great JPG files with apparently little or no geometric distortion. They do this by applying corrections in camera,  and the correction parameter data is also stored with the RAW file. Unfortunately this data is only useful if you can read it,  and most RAW processors can’t.

Although there’s no obvious reason why not,  Panasonic and Olympus have not published the specification for this data.  That leaves those of us who want to use a RAW processor other than LightRoom or SilkyPix struggling to get decent results with our MFT images.

Building on some excellent work done by “Matze”  (thinkfat.blogspot.co.uk/2009/02/dissecting-panasonic-rw2-files.html)and Raphael Rigo (syscall.eu/#pana) I decided to have a go at implementing a parser in my CAQuest plug-in for Bibble/AfterShotPro. However although getting the raw data is fairly straightforward I have discovered that the algorithm is more complex than we thought,  and seems to vary from lens to lens.

I have therefore decided to open up the exercise to a “crowd-sourcing” model to try and get several eyes on the problem. As we uncover algorithms which work well for one lens or another I’ll publish them here,  and also build them into CAQuest.  Over time we may come to completely understand the complete MFT algorithm,  and our work will then be done.  Of course,  if one of the MFT partners wants to help by publishing the algorithm,  that would also be perfectly acceptable :).

The project pages are here: www.andrewj.com/mft/mftproject.asp, with a discussion hosted at the Corel AfterShotPro forum.

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The VMWare Disk IO Problem – Fixed At Last

Regular readers will know that I’m a great fan of VMWare desktop virtualisation, but my enthusiasm has for a long time been muted by an odd problem. After shutting down or suspending a VM my laptop was thrashing its disks for 5-10 minutes, for no apparent reason, making the system almost unusable in the interim. I’d tried all sorts of variations on disk arrangements but to no avail.

Finally today in desperation I tried googling, which hadn’t worked previously, and I lucked on the solution. The following site wasn’t the first reference I found, but it probably offers the best explanation:
http://olafd.wordpress.com/2010/12/12/heavy-disk-io-after-shutdown-in-vmware-workstation/

The solution seems to be to simply add the following to each vmx file:
mainMem.useNamedFile = "false"

The difference is little short of miraculous. Not only has the disk IO problem vanished, but I can now attempt operations such as starting or shutting down two VMs simultaneously, which would previously have rendered the system completely unusable, or even crashed it.

It’s early days, but so far the only downside seems to be that the visible time to suspend or resume a VM has gone up from a couple of seconds to about 15, but that’s a tiny price to pay.

What annoys me is that if this fix is known, and its effect so dramatic (even if not for every user), then why don’t VMWare make it more visible on their own sites, and provide it as an option in the WorkStation UI?

Addendum

Interesting little “gotcha” on this, recently uncovered. If you have a VM with a lot of RAM, and/or your working files are on a slow disk it can take some time for saved state to write completely to disk after VMWare says that saving is complete. If you power the host down while this is happening you will corrupt the saved state and have to completely reboot the VM. I assume that if you wait for the disk to quiesce before powering down the host then things will be OK. Just be careful out there!

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Re-Use Achieved with Elegance

Portal to the Kruisherenhotel, Maastricht
Camera: Canon EOS 7D | Lens: EF-S15-85mm f/3.5-5.6 IS USM | Date: 24-07-2011 11:38 | ISO: 200 | Exp. bias: -1 EV | Exp. Time: 1/40s | Aperture: 10.0 | Focal Length: 18.0mm (~29.2mm) | Location: Derlon Hotel Maastricht | State/Province: Limburg | See map | Lens: Canon EF-S 15-85mm f3.5-5.6 IS USM

I just realised I haven’t posted anything for a week or two, so I thought you might like to see one of my photos. We had a great trip last year to Maastricht, enjoying not only the wandering around a beautiful European city and great shopping, but also an Andre Rieu concert. We’d never heard of this musician and showman before, and now you can hardly move without him popping up somewhere!

Steadily reducing church congregations are a common problem in many European countries, and like elsewhere Maastricht has the challenge of what to do with churches which are no longer viable in their original use. It’s criminal if they are destroyed, and a great shame if their architectural value is degraded by any conversion. In Maastricht they seem to have this tapped, having developed several old churches very sensitively, with the new structures “floating” inside the old shell. The Selexyz bookstore is a prime example, where you can visibly see how the bookstore and coffee shop just “sit” inside the old building, which could easily be re-adapted to its original use, or a different new one. However our favourite was the Kruisherenhotel, pictured here. From the copper entrance portal and throughout they have filled it with fantastic sculptural elements using very modern materials, set against the backdrop of the original painted ceilings and stained glass windows, again with the majority of the original architecture preserved. This is how it should be done.

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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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A Case for Extreme HDR?

Interior of The Church of St Lawrence, Ludlow
Camera: Canon EOS 550D | Lens: EF-S17-85mm f/4-5.6 IS USM | Date: 11-06-2011 17:25 | Resolution: 4968 x 3427 | ISO: 800 | Exp. bias: 0 EV | Exp. Time: 1/50s | Aperture: 6.3 | Focal Length: 28.0mm (~45.4mm) | Location: River Corve | State/Province: England | See map | Lens: Canon EF-S 17-85mm f4-5.6 IS USM

I’ve just been processing the shots from my steam train trip to Ludlow last year. Most are quite disappointing: the light was very poor, and you actually can’t get many pictures of a train if you’re travelling on it, and getting on and off at any stop other than the final one.

However, I was quite pleased by this shot of the interior of Ludlow’s St. Lawrence’s Church, an HDR combination of three originals. What was interesting was that I normally make strenuous efforts to achieve as natural as possible a result when I have to use HDR to overcome lighting challenges, but here for the second time in a couple of months I’ve tried subtle, and then gone for something more extreme. (See here for my attempt to emulate the great Dutch masters!) This was generated using some of the most extreme settings in Photomatix Pro, but I think they produce a good result.

I was also pleased to find that my geotagging process had worked. I wasn’t sure of the church’s name, but from my image browser I opened a Google Map at the geotagged coordinates, and could immediately confirm the location as St. Lawrence’s.

Sometimes things work better than you expect!

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