Category : ArtStart Diary

Well, a bit of a big week. I went and bought my new Gossen Digisky meter. It’s a nifty bit of kit, and seems to work ok. Unfortunately the build quality is that of a cheap 2005 era cellphone. It’s made of lightweight plastic, which feels cheap and weak. I’ll do a full review later, but to sum up – it’s exactly the sort of device a company who will eventually be driven out of business by apps and accessories on smartphones would build.

Something really cool that happened this week, the arrival of my coffee-table book. This is one I created in Apple’s Aperture software, and catalogues all the images from my 2010 Nervous Spaces exhibition.

This week also saw my last photography class. The focus was that each of us would suggest a shoot we wanted to create, and the group would set it up. Since we had a section of venetian blind window lattice in the studio, I decided to try a Film Noir lighting effect with the light through the blind, creating alternating light & dark stripes on the model. The shots worked out pretty well, the only processing here is conversion to black & white, and a blackpoint adjustment.

Next week should see the studio setup consult session, and with that, primary photography of The Metaning.

This week was spent largely on the search for a light meter. I know that sounds a bit silly, but the problem is that the particular combination of features (and price) I’m after, is almost perfectly embodied in the Sekonic L-358, however this has been discontinued, and replaced with a new model, which has more features, but bundles them with a mediocre laggy resistive touchscreen.

See, here’s the thing – a touchscreen which doesn’t have zero lag as its primary goal, is a failure. You can’t make an on-screen slider control useful to the user, if the slider doesn’t track where the user’s finger is touching. That Sekonic doesn’t appreciate this, bodes ill for the company, since all anyone is going to think while using the meter is “this is SO much worse than my smartphone”. This is especially true given that numerous startups are creating lightmeter accessories for smartphones.

In an effort to get the older meter, I’ve been scouring eBay, I’ve even phoned a shop in Hong Kong. The problem is that all these shops list them as for sale or in stock, but don’t actually have them on the shelves, instead they operate on the “get an order, make an order” method. The problems are compounded by the fact that there are two versions of this meter, one for the American and one for the European (and Australian) markets. There’s numerous American versions for sale on eBay, very few of the Euro model. There are a couple of unopened new ones from Japan selling for over twice what they should cost new. It’s getting to the stage where I’m looking at buying the next model up in the range, just to get the features I want from the 358.

UPDATE: I’ve looked around some more at meters, and it turns out Gossen, a German brand who’ve been around for ever, make a meter that is able to command my lights directly. It’s a fair bit more expensive than I’d planned on buying at just under $600, but being able to command the lights directly means I can stand up next to whatever I’m metering when I’m by myself in the studio, and get the lighting correct, without having to prop the meter up, and walk back to the camera or lights to fire it off, then head back to the meter to get the reading etc.

Anyway, better news – after a 15 minute phone call to the IRS, I have my EIN, and can begin the 2 week wait for it to filter through the system so I can sign up my paid books account for the iBooks store.

Second-last week of photography saw us dabble in product and food…

A week of small triumphs so far. The lighting class went outdoors, to learn about using flash in ambient light.

The first 4 are from an experiment in creating a dark, overcast look on a bright sunny day if there’s a bit of cloud. You take an ambient light meter reading, then meter for the flash & shoot the model. Then you crank up the shutter speed, underexposing the background. Since the model is effectively painted by the flash, the shutter speed really only effects the exposure of the background.

Another thing we tried was rear curtain synchronised flash. So you set an exposure for say 3 seconds, and when someone moves through the frame they leave a movement trail. The rear curtain sync causes the flash to go off at the end of the exposure, rather than the beginning, painting a frozen moment of the moving subject at the end of a movement trail. The final image is the use of flash at the start of a long exposure, combined with light painting using a torch for the rest of the time.

The other news of the week was that I discovered I didn’t need the ITIN IRS form I’d read was necessary in order to get onto the iBooks store. Instead, there’s a method for getting something called an EIS, which can be done over the phone. It takes about 2 weeks to be enabled, vs 6 weeks for an ITIN form. A shame to have blown $280 on a redundant passport, but I guess I can travel in the next decade.

Week 9 saw my second lighting class, during which we worked with studio flashes. This is the really interesting meat of why I’m studying lighting, as it directly relates to the Elinchrom monoblocs I bought.

These are a selection of the setups, experimenting with different attachments for modelling the light.

The downside of this is I’ve realised I need to buy an incident / flash meter. Something I wish I’d known about earlier. There’s a good one available for $180 or so, or $300+ if you buy what’s probably not grey market stock.

The other major development was that my passport finally arrived. So next week, I’ll send it to the American embassy to get a copy verified which can go to the IRS, and get the ball rolling for setting up my iBooks merchant accounts.

Not directly related to ArtStart, but Sculpture By The Sea has changed its crowdfunding rules, so that crowdfunding projects are able to mention SbtS on their pages. The other major bit of news is that it looks like I’m going to be able to buy all the plumbing parts for my SbtS entry direct from China, for substantially less than local retail – under $2k rather than over $9k. This is good, because frankly, the large hardware chains which sell this stuff retail haven’t been too forthcoming in replying to requests for sponsorship.

This week saw the start of my Lighting Intensive course. It’s a really interesting and practical programme. Here’s a selection of shots with hot lights and an example of light painting.

In other news, I had a meeting with an organisation about the possibility of offering a recycled materials sculpture course I developed. I also took a trip out to the University of Western Sydney Campbelltown campus to get some location photos for a possible entry for their 2014 show. The quickrelease plate for my Velbon tripod finally arrived, as well.

One of the major tasks this week was getting the hardcover coffee table book for my 2010 photography exhibition organised. As a minor administrative task, I set up a todo list from my 1 year accomplishments section the ArtStart application. It’s good to keep it in mind, and start checking stuff off.

Oh my, trauma does seem to be overly represented in this diary so far. Then again, it’s been said that trauma is the overarching theme for the current (post-post-Modern?) era, so perhaps it’s apt.

The week started nicely – Monday I put in my passport application so I can get my ITIN for the iBooks store, and Tuesday I went to do some photography around Mosman Bay, a place I frequented in my youth as a local go-to fishing spot. While I got some interesting photos, the trauma came when I came home and discovered the reality of detachable lens cameras and sensor dust. Long story short, I spent Wednesday at Nikon taking advantage of their first free sensor clean service. While they made the situation better, it’s still not perfect. What I’m resigned to is that anything shot over about f/16 is going to have a number of little black dots I’ll have to fix in post. For a 162 shot panorama, that’s a fair bit of work.

It’s an issue for shooting panoramas when I want something going off into the distance to be sharp all the way into the foreground, but I can work around it. Demoralising in a way to find a problem with a 3 grand bit of kit, but survivable. Aperture has compensated for the dust problem pretty well, in that you can retouch all the spots, and then make that adjustment a preset you can apply to any image. It takes a bit of processing time, but produces a pretty successful result.

Here’s some images from the photo shoot. I tried two sets of adjustments, one amps up the colour…

… and the other is my “Fish Noir” setting.

These images marked the end of my Camera Craft 2 course at ACP. Next week, Lighting Intensive begins.

It’s been a long hard week of cramming new information into my brain. Monday to Wednesday was spent at a training course in SketchUp – an architectural drawing / modelling package. I’ve been using SU for quite a few years, but never really clicked with it the way I’d wanted to. One of the things I learned during this course is that some of the idiosyncrasies which had acted as a kind of barrier to understanding the logic of the app’s interface and experience weren’t just me being clueless, but are actual issues that need to be worked around.

Anyway, the other thing I learned is what a demoralisingly large amount of time I’ve wasted in the past, doing things that can be automated with a more disciplined workflow. What’s actually been an interesting cognitive leap is realising that a lot of how you use the program is to think of it like web design, and CSS – you set up chains of dependencies between objects, that allow you to make edits to a single one, and alter many aspects of the model at once.

The three days of the course were in North Sydney, and held during normal business hours. I’ll be honest, I haven’t experienced Sydney public transport in rush hour times for a number of years, but jebus, it’s a freaking nightmare. Granted, I was able to make my trip reasonably quickly, but the crowds…

Anyway, once that was done with, and I had my nice certificates, I was able to tackle this week’s photography exercise.

This was an attempt to experiment with geometry, shooting through a venetian blind at the riot of shapes outside. The weather was windy, and I was hoping to capture motion blur on the palms of my balcony, while also getting maximum depth of field. To do this, I was using 15-30 second exposures and f32 aperture, which required setting the ISO to about 50 and -5 stops of exposure compensation. That was still too bright, so I held a sunglasses lens over the camera, which seemed to work.

The last one (and its colour corrected version) really got something interesting happening. The blind ends up looking like a backing paper, and the gaps like strips of image, with drop shadows falling on the backdrop. Something I need to try is exposing for the sky to get the blinds really dark, and lighting the balcony outside so the dark bands are clearly visible all the way down. Perhaps a night shoot is called for.

I ended the week with a visit to the Australian Maritime Museum, where there’s an Ansel Adams exhibition on at the moment.

Feels like time is flying, and here we have yet another week of what feels like administration. While the Apple DevForums were still offline for most of the week, I spent days seemingly on research. What I discovered was that in order to sell books on the iBookstore I need to have an ITIN from the IRS in America. The IRS’ website says that these can be obtained through a worldwide network of accountancy firms, but when I contacted one, I got a call back to tell me the programme had been cancelled. Further research with the Australian US Consulate website revealed that I can obtain one of these directly, but I need to have a copy of my passport (which I have to mail to them along with the photocopy) verified by them in order to meet the necessary identification requirements.

This of course means I have to have a current passport. Mine expired a couple of years ago, so a big new expense just popped up. I’m applying with the ArtStart administrators to modify my funding agreement in order to shift some funding away from a couple of things that aren’t so necessary in order to cover this.

The DevForums finally came back online halfway through the week, so I was able to ask some questions I had, and I’ve been working on my second exercise for my photography course. The primary lesson for this week was white balance, so I ended up doing 3 sets of images – shooting the same subject and going through all the white balance options on the camera under 3 different light settings. It was a good way to get a handle on what colour light from various sources is, and how cameras attempt to compensate for it.

The week has ended with finally locating a good, plain english, no assumed prior knowledge guide to constructing EPUB ebooks. It’s astoundingly difficult to find this sort of information – everyone seems to either assume too much, or parrot some specs, or be trying to get you to buy their book on the subject. So, I’m now starting to get a handle on how I can most easily translate my comics to the EPUB format, and once that’s done, I can get The Metaning out as a saleable product.

A lot of sculpture focus this week. I created the mockups for a new sculpture, or rather a remaking and reworking of an old sculpture, which I’ve entered into the Woollahra small sculpture competition. The eventual idea is that it’ll be made with perspex rod, and I’m currently investigating options for lighting it internally.

The photography side of this week involved an exercise as a part of the Camera Craft 2 class. The project was to just move a single light and experiment with setting different types of shadow – revealing and hiding detail etc.

These samples from the shoot exercise were my first attempt at working within a RAW workflow. RAW is a bit of a revelation – the ability to arbitrarily set the white balance in post-production allows a bit of a rethink of the whole chain of shooting.

One thing I will say, I’m absolutely in LOVE with this camera (Nikon D800). It’s a colossal tank of a piece of kit, but once it’s locked down on a tripod, it’s such a joy to use. I’ve got an order in for a cable remote release. Nikon’s official one is something like $50, but you can get one on eBay for $2.99, which all the reviews I’ve read seem to rate pretty highly.

On the comics front, nothing much has been happening as the Apple developer portal has been down for a week after a security issue. Unfortunately I’m just at that stage where I need questions answered, so without access to that resource, my options are limited. My thinking at the moment is that I can probably figure out how to do ePub versions of everything, and make those the plain standard just for reading edition. Then also make iBooks enhanced versions that allow the reader to flip the art back to sketch versions etc. The upside is that I definitely know how to make the iBooks versions – I can do it all in HTML, if I ditch the skeuomorphic rage turn effect, and go with a simple crossfade. I’m coming around to the idea that a slab of glass doesn’t need the page turning visual metaphor, which appeals to the capital “M” Modernist in me.

Week 3 has been one of late nights, and difficult code. Harking back to my web design days, I was eventually awake until 7am as I tried to work out a way to make Apple’s iBooks Author present my graphic novels in a way I wanted – full screen, and able to zoom images larger than full screen in order to see detail.

It may sound bizarre, but there’s no facility within the authoring program to do this natively, rather one has to mess around with HTML widgets to get it to work. Even then, having found a javascript system which gave me the pan and zoom I wanted, it still didn’t quite work. The solution was pretty neat, if I do say so myself. If I don’t go with this for the immediate term of getting The Metaning published, it will be a solid foundation for a collected edition of Surfing The Deathline, as it will let me provide the ability for the reader switch the view to the original sketches, or different revisions of the script.

At the end of the week, I’m now exploring the “fixed layout” option for Epub2 format. It may give me the specific implementation I’m after, but it’s also possibly an ugly one.

I had my first class of the artstart programme, Camera Craft 2 at the Australian Centre for Photography. I’m not sure how to feel about it to be honest. It’s a required class for the Lighting class I’ve booked through them, but there’s no actual camera instruction involved, indeed, we don’t even need our cameras for the class. I think I’m going to have to be a bit more insistent with them about getting a complete course breakdown for lighting, because if it turns out to be predominantly theory, rather than a practical instruction in the setting up & use of studio lights, and if we’re not using our own cameras for it, then I suspect I’ll have more value in using the money for in-studio consulting.