Thursday, 31 May 2012

The Nikon 1 V1 In Operation



My first blog post about the Nikon 1 V1 was written after a few hours of owning it and described how I made sure to capture some shots I was very happy with as my introduction to the camera. Once I felt it was a machine I could use in a day to day sense the next task was to configure it so that it would most readily bend to my will, without the need to be constantly fiddling on with menu selections etc.

I’ll not run through the various controls as though the user manual were inadequate or the internet did not exist, rather I’ll talk through the personal selections that I’ve made – my priority is to ensure the camera is ready to capture an image without the need to pour over its various control options when ‘in the field’.

The V1 is a modern camera – which is to say its user interface is a hotchpotch of hardware and software compromises. Expensive but very convenient switches and dials and the likes along side cheap but fiddly soft menus. The mark of a good camera is balancing these approaches within the target budget in a way that means day to day operation is convenient. The trade-off is that less frequent tasks become more complex as you struggle to navigate through the adaptive options.

The camera operates in one of five major modes, 4 capture modes plus Review. The capture mode is selected on the master mode dial and review is accessed by the ‘Play’ button. The actions related to reviewing are pretty much the same irrespective of which capture mode you happened to use last – which is why they separate out the controls like this. Some cameras have a mode dial that includes a ‘play back’ setting, I don’t like that arrangement as it means constantly switching out of your current capture mode – so ‘plus 1’ to the V1 on this front for me.

In terms of capture camera needs to be configured at 3 levels:
-       Initial (out-of-box) set-up, i.e. once when you buy it
-       ‘Normal’ (for you) pre-setting, i.e. once at the start of a given shoot
-       Per-shot tuning, i.e. prior to tripping the shutter for a given capture.

Getting the second of these right for your personal shooting style is critical to ensure the third is as swift and simple as possible.

Initial set-up is performed entirely by menu (the Settings menu). This has 21 entries and the settings can be made no matter what capture mode the camera is in (or will be in when you use it).
Actually, 2 of these items (Assign AE/AF-L button and Shutter Button AE lock) cannot be set if you happen to be in Smart Shot mode. If you set the camera up when in Smart Shot mode you wont be able to set these options. This is actually just dumb and is, I suspect, a bug in the configuration of the menu system in the firmware – maybes Nikon will fix this, but it’s not a big worry. It does demonstrate though how the contents of the menus (and the actions of the hardware buttons and switches) change depending on the mode.

The full list of options and how (and why) I have set them is:

Menu->Settings->Reset Setup Options
This is one of those get out of jail free cards that fortunately I have never had use, ever, on any digital device. God help you if you ever find this useful.

Menu->Settings->Format Memory Card
I always format memory cards in the camera (never on a PC). I generally move individual images from the cards and so only reformat them every few months.

Menu->Settings->Slot Empty release lock
Set to LOCK and never changed. The shutters in cameras do not have an infinite life, there’s little point allowing the shutter to fire if I do not have a card in the camera.

Menu->Settings->Welcome Screen
Set to OFF, displaying this just shows a meaningless graphic when I turn the camera on. What is the point of that? The thing is already plastered with Nikon iconography, enough is enough.

Menu->Settings->Display Brightness
Left at 0 for both monitor and viewfinder as I have no trouble with the contrast of either. Maybes I’ll use this if/as/when the cataracts develop.

Menu->Settings->Grid Display
Set to ON and left ON. A bit disconcerting at first but you quickly get used to the grid lines which I find really useful in ensuring my shots are suitably square. Much better to get this right at the point of capture than to throw pixels away in a perspective correction during post. I think it’s a shame there are 4 grid lines not 3 though since I’m mostly interested in composing against the cardinal points.

Menu->Settings->Sound Settings
Turned them all off. A camera should behave discretely, the less noise the better.

Menu->Settings->Auto Power Off
Set to 5 minutes, why encourage the thing to go to sleep in the middle of a shot?

Menu->Settings->Remote on duration
I’ve left it at default since I don’t have a remote.

Menu->Settings->Assign AE/AF-L button
I don’t use the AE/AF-L lock button. I regain focus/exposure on every shot, it’s just how I work. So I don’t care about this setting.

Menu->Settings->Shutter button AE lock
I set this OFF, the last thing I want is for the camera to change its mind about exposure just as I decide everything is right and I press the release. I’d rather screw up a shot than miss one because the camera thought it knew better.

Menu->Settings->Video Mode
Set to PAL, of course – I’m in the UK

Menu->Settings->HDMI device control
I’m not connecting via HDMI so I haven’t st this. Turn it on or off depending on your set-up (Hey, I know that’s not exactly helpful advice…)

Menu->Settings->Flicker Reduction
Set to 60Hz, set it to whatever your mains runs at.

Menu->Settings->Reset file numbering
Never! The scope for confusion is immense – I do not want raw file name clashes when I’m shuffling images around.

Menu->Settings->Time zone and date
Set to home location values and never changed. I do use daylight saving as I want the actual time, as I understand it, to be recorded. I don’t change it when on holiday though… perhaps I should…

Menu->Settings->Language
Set it to something you can understand.

Menu->Settings->Auto image rotation
I set this ON, it does mean portrait images are quite small on review but I prefer that to swivelling the camera around.

Menu->Settings->Battery Info
Read only, check it from time to time especially if the camera loses charge too quickly.

Menu->Settings->Pixel Mapping
This so sounds like a hack. I’m not doing this unless I get some serious image issues.

Menu->Settings->Firmware Version
Check against latest versions from time to time, in case an update is useful.

Normal set-up is a combination of entering menu presets and also making sure the default behaviour on various buttons has been set, so you always know how a button will react. If you change a setting for a specific shot it’s a good idea to change it back straight after, that way the camera will always behave in the same way when you come to it. If you’re forever changing a button setting, perhaps you’ve chosen the wrong preset…

There are 28 menu settings and 5 button settings related to shooting, but not all of them are available in every mode. If you work through the modes to establish the defaults then switching modes will be a lot easier, you will know how the camera is going to behave. For each setting I show which modes that can access the setting (VPSM=Video, Photo, Smart and Motion Image modes), and also the pre-set value that I am using.

VPSM|Menu->Shooting->Reset Shooting Options: As needed
Another get out of jail free opportunity, never use this in the field! You’ll spend the next hour struggling to set the camera back up.

VP-M|Menu->Shooting->Exposure Mode: Aperture Priority
I always shoot Aperture priority with exposure compensation – it’s very convenient and I can readily set the aperture to get the shutter speed I want – which is shown in the viewfinder. Things get a little tricky sometimes with AutoISO - which can take away control of the selected shutter speed – but if I feel that’s causing me trouble I will turn AuoISO off (see later).

V---|Menu->Shooting->Frame Rate: 400fps (F Button Slow Motion)
You can only set this in video mode with SloMo selected by the F Button… I.e. this will be a fiddly set-up whatever you do, but hey, how often do you want to shoot a 2 second slow motion movie?

V---|Menu->Shooting->Movie Settings: 1080/60i
I keep this set to something that matches my Video processing workflow, I can’t imagine ever having to change his – but video is just a toy for me really.

-PS-|Menu->Shooting->Image Quality: RAW+Fine
For me, the job of the camera is to get the best possible RAW recording. If I have a good histogram and a large file then I have maximum freedom in post processing. So I must shoot RAW. Capturing Fine JPG is really just a backup, but with cheap storage why wouldn’t I?

-PS-|Menu->Shooting->Image Size: Large
As above. Why let the camera use less than it’s full sensor size? If I want to crop I’ll make that decision in post processing, not in the field. After all, every pixel has been paid for…

-P--|Menu->Shooting->Continuous: Single Frame
I rarely use continuous shooting so I set this to single. If I want to continuous shoot I’ll just have to dip in to the menus.

-P--|Menu->Shooting->Shutter Type: Mechanical
There’s not a lot to choose here. Electronic shutter allows faster flash synch and I may switch to that as the default. This is a pretty odd config though I doubt I’ll touch it often.

VP-M|Menu->Shooting->Metering: Matrix
If the exposure is wrong I will see it in the histogram and adjust – so I want the camera to just have it’s best chance of getting the exposure right itself. So I default to it’s most informed mode, Matrix. Rather than change that I’d just adjust the exposure bias. I doubt I’ll ever need to change this. In the old days of film I would always spot meter against the zone system – but now we have hostogram review I tend to shoot and (if needed) adjust exposure compensation.

VP-M|Menu->Shooting->White Balance: Auto
The auto white balance is really good. I leave it on auto and will only fiddle with this if I get into trouble. I spend a lot of time fiddling with white balance on the D2x, but the V1 performs well here.

VP-M|Menu->Shooting->ISO Sensitivity: A400
This is critical. In exposing a shot there are 3 controls: Aperture, Shutter Speed and ISO. The V1 gives you one convenient control method (the Zoom button) that can handle Aperture OR Shutter speed. And other inconvenient controls, either the command dial or the menu system. If you try to manually control all three parameters every shot will take a very long time. So I put some of the controls into the hands of the camera.

By using Aperture Priority with AutoISO in the range 100-400 I get pretty predictable shutter speed and ISO selections by the camera when I use the zoom button to set the aperture. If conditions are tough I may hop into the menu system to set a fixed specific ISO.

When I’m shooting without flash this is the ONLY menu setting I need to tweak shot by shot. Which means when I press the menu button I am already at the right setting, so changing ISO is fast.

However, if I am shooting both with and without flash I will also want to use the menus to change the flash compensation. So I do occasionally find myself shuffling between the ISO and Flash Compensation menu items – which is fiddly, but that is the worse case scenario. (If I’m shooting consistently with flash I will fix the ISO and then I only need to access the Flash Compensation setting in the menus, so again I find the setting is already selected when I press the menu button).

VP-M|Menu->Shooting->Picture Control: Neutral AND
VP-M|Menu->Shooting->Custom Picture Control: As Needed
These control how the camera generates JPGs from the RAW capture. Since I work exclusively with RAW I don’t much care about the JPG rendition, so I just leave these at neutral. If I ever need to use the JPG it should at least not have been over processed by the camera.

-PS-|Menu->Shooting->Colo(u)r space: sRGB
sRGB is sometimes needed for publications so I stick with it rather than having to remember to change the colour space later.

-P--|Menu->Shooting->Active D-Lighting: On
Nikon does a good job with it’s D-Lighting feature, so I enable this.

-P--|Menu->Shooting->Long Exposure N(oise) R(eduction): On AND
VPSM|Menu->Shooting->High ISO Noise Reduction: On
I suspect the device housing the sensor will know best how to do severe noise reduction, so here I am trusting Nikon and setting these on.

V---|Menu->Shooting->Fade in/fade out: OFF
Video setting, but if I wanted fades I would add them in post.

VP--|Menu->Shooting->Movie Sound Options->Microphone->Auto Sens.
VP--|Menu->Shooting->Movie Sound Options->Wind Noise Reduction->On
Again, video is not key for me so I accept the defaults here.

-P--|Menu->Shooting->Interval Timer Shooting: As Needed
Haven’t played with this yet, but this is not so much a setting as a separate shooting mode. It’s all pretty self-explanatory.

VPSM|Menu->Shooting->Vibration Reduction: Active
Nikon VR is great so I leave these active I might change it for a given shot if I want a really close macro but honestly I’m going to drag the D2x out for those shots.

VP-M|Menu->Shooting->AF-Area Mode: Single Point
My main drive is to have a camera that is no fuss. Although on the D2x I switch focus modes often, on this little thing I’m happy to select really simple focussing. So I use single point and mostly acquire focus at the centre, then compose then complete the shutter release. Occasionally I use the OK button to shift the focus point, but it’s not often I need to do that. You’ll want to experiment with this if action photography is your thing.

VP-M|Menu->Shooting->Face-Priority AF: OFF
This irritates me, I already know where the face in the shot is and I do my own focussing on it. So I quickly came to turn this off.

-PSM|Menu->Shooting->Built-in AF assist: ON
The V1 is slow to focus to my mind so I give it all the help I can, even though the focus assist makes the camera less discrete.

-P--|Menu->Shooting->Flash Mode: Fill Flash AND
-P--|Menu->Shooting->Flash Control TTL
My standard settings for using flash.

-P--|Menu->Shooting->Flash Compensation: -3.0
If using flash I will dip into the menu to adjust this. Usually this is the only menu related function I need so it is at least a fast adjustment. The only problem comes when I am switching between flash and no flash and therefore find I need to switch between ISO setting and Flash compensation setting in the menus. This mode of shooing is the only time I find the diminutive V1 fiddly. If only Nikon had put flash compensation on to the body of the SB-N5…

V---|Button->F: HD Movie
-P--|Button->F: Shutter Mechanical
---M|Button->F: Any Theme
I ensure I have preset the F button behaviour for each mode, I then hardly have to worry about it. I wish Nikon had allowed the F button to modify the zoom button function – then I could have quickly set Aperture and either shutter or ISO without resorting to menus.

VP-M|Button->Zoom: Set Aperture
I shoot aperture priority so this, the most convenient control, sets the aperture for me.

VP-M|Button->Command Dial->+/-: Exposure Bias 0.0
This is also a very convenient control and I use it a lot while shooting.

VP-M|Button->Command Dial->AE-l/AF-L: Momentary Lock
My style of shooting doesn’t need this, would have preferred fast access to ISO setting here.

VP--|Button->Command Dial->Self Timer: OFF
Used as needed of course, nice and convenient but possibly more convenient than I need.

V---|Button->Command Dial->AF: AF-C AND
-P--|Button->Command Dial->AF: AF-F
My preferred Autofocus settings.

VP-M|Button->Command Dial->OK: AF Point Centre
A very convenient means to shuffle the AF point, which I use occassionally. Good that it is convenient for when I do need it.

Having made all of the above settings I’m ready to use the camera in the field. It may seem like there’s a lot to deal with (21 initial and 35 shooting settings), but most of the complexity/flexibility has been dealt with, so my typical shooting operation goes something like:

-       Zoom Button: Set aperture
-       +/- Button/Dial/OK: Set exposure compensation
-       Shutter Release Half press: Acquire focus/exposure
-       Compose
-       Shutter Release Full Press

And my trickiest shooting is typically:

-       Zoom Button: Set aperture
-       +/- Button/Dial/OK: Set exposure compensation
-       Menu Button/Right/Right/Dial/OK/Menu/Menu: Set ISO
-       OK/Dial/OK: Set focus point
-       Shutter Release Half press: Acquire focus/exposure
-       Compose
-       Shutter Release Full Press

I very rarely have to navigate through menus and I have a lot of control over aperture, shutter seed, ISO, and Focus – everything you need to control a shot in fact.

The V1 interface is quite well thought out. The only changes I would like would be to have similar control over ISO and Flash compensation that I get with Exposure compensation. A firmware update allowing more functions on the command dial to be soft assigned could easily achieve that IF Nikon were to care to give us that kind of flexibility. Unfortunately, I doubt they will.


Saturday, 5 May 2012

On buying the Nikon 1 V1


Garlic - daytime window light, Nikon 1 V1

There are certainly times when I decide not to lug my D2x and second lens and flashgun with me. So when I found I had a budget of up to £700 (at a push) I started toying with the idea of buying a digital compact to complement the full kit. My wife also mentioned the idea of a smaller camera to me, I think sometimes I overwhelm her with my magnificent pair of prime Nikkors. So I started considering a compact in the context of all of the other things that money could buy. 

I had also previously, some twenty years ago, dabbled with a film compact – precisely because I felt the need for a small camera. I bought a Canon Powershot, and I was bitterly disappointed.
So it transpired, that if I was going to do this, my expectations were to be excessively high. It's my money, why shouldn't they be?

I believe it is important to feel physically good about your equipment. Artists' brushes, musicians' instruments, photographers' cameras – in every case the equipment is a defining factor in the result. It is imperative that one can forge an emotional link with the tool of the trade.

The thing that convinced me to acquire a compact was remembering the impact that my old Leica IIIb had on me. I have a single prime lens for it, a summitar 35mm. I had always wanted to try out the famed Leica optics, to experience the so called 'bokeh' (I was not disappointed, but that's another story…). With a purchase like that I was not going to compromise on quality. So I was forced to limit the camera's flexibility, if I were to remain in budget. What I found though, was that those very limits focussed my work and revealed a whole new world of exploration (that was my black and white street photography phase).

So, in my search I had two starting constraints
  • ·        The kit has got to be lovable
  • ·        The quality cannot be compromised, the flexibility certainly can

Since I'm a committed Nikon user in the DSLR range the new Nikon 1 series was already on my mind as a serious contender. If I were to go down that route I had to decide if I wanted a J1 or a V1. Feature wise there's not a massive difference, for a price delta of around £150. How much do I need an electronic viewfinder (EVF)? Ergonomically speaking, I feel it is vital. Now that I have the camera the visual oddity of an EVF (compared to an optical viewfinder) is not so bad, just a little disconcerting like those LED based traffic signals that flick from greed to red at a startling speed. 

Other than the viewfinder though I was turned against the J1 by the fact that it is available in pink. I don't buy my cameras as fashion accessories, and I don't trust those cameras that act so. I also feel that Nikon produce a marked difference between their (quite horrible) enthusiast and (remarkable) professional ranges. The J1 I felt would be in the former bracket. Before buying (online) I popped in to Jessops to handle them both. The pop-up flash alone on the J1 was enough for me to say 'no, not now, not ever'.  Flimsy and unidirectional.

My conclusions about the J1 made me question my view of the V1. From an understanding of Nikon product ranges through the ages (well from the 1970s to date) I intellectually believed that Nikon would have positioned the V1 at users of their serious DSLR kits wanting something other than a Canon G12. I had a belief that the V1 could be a great camera.

But I was uncomfortable about making this commitment wholly on the basis of feeling. I had to consider that the Nikon 1 range was a series – and I was not at all sure that I wanted to be buying a range of kit for the compact, whose point is to be ultra-portable. So thinking about none interchangeable lens compacts I took a look at the Canon G12 and G1X. Although my first compact had been a Canon the reputation of the G series is very significant. I had used a G9 at one point, and found it to produce remarkable results.
I tortured myself over this aspect of the decision for days. Finally, it was the realisation that the Nikon had a similar zoom range (and option to add other lenses) and was of a comparable price, which made the decision. In effect, the interchangeable lens feature may not have been a priority, but it was not costing me very much either.

Finally, I placed my trust in Nikon on this one –but I was yet trepidatious about the purchase.

The cheapest online price was with what appeared to be some Skype associated trader – chatandvision.com. From them, for the budget I could acquire the V1 with both the 10-30mm and 30-110mm lenses. I was within a whisker of finalising payment when I thought "I don't know where this is coming from, will I have a warranty?". Digging deeper with the help of Google I found a stream of complaints and an average customer rating of only 70% (98% is my usual minimum). I was sure if I ordered from them I would be waiting months until they were able to acquire the stock. 

I decided to buy the V1 from Amazon with just the 10-30mm lens, leaving a little headroom in the budget for other bits and pieces.

I ordered late on Thursday night and it arrived early on bank holiday weekend Saturday morning. What joy.

And does it live up to the trust I placed in it? Does it excite me in the same way that my Leica IIIb did? So far (after about 10 hours), yes it does.

 Fanny strikes a stately pose - tungsten, High ISO, Nikon 1 V1

Monday, 17 October 2011

How I Upgraded My Photography Kit

Photographing around the London music scene takes it’s toll. Especially when you’re also a performer. And a drinker. It’s a rigorous environment with camera passing from hand to bag to comrade to hand and back. Where lenses perch on damp drinks shelves while you swap to some other focal length. Where things have a habit of spilling. My D200 lasted just about 5 years. I had to upgrade on a starting budget of absolute zero.

I still split my time between film and digital, so to this point lenses that work happily on both were a priority. I was of the opinion that the majority of AFs were darker than their manual counterparts and that the AF systems were sluggish and unreliable. But wondered if the latest innovations of Silent Wave Motors, Vibration Reduction and nano-coating might add up to something significantly better than my old, but much respected, manual focus AIs lenses.

It seemed time to make a major change.

First I had to sort the budget. I decided the way to go was to sell some kit. Some hard decisions were needed as most of it has been collected over years and each piece was associated with particular shots I’d taken. First I decided to sacrifice the 300mm f/2.8 AIs Nikkor with TC-301 matched 2x converter. A really specialist piece of kit that I had given £400 pounds for about 4 years prior. Then there was my exceptionally ugly 35mm PC-Nikkor, not a general purpose lens by any sense. These were pieces of kit that meant I could create images that were utterly unique as very, very few people were using these in their arsenals. That said neither had seen active service in well over 6 months and I hoped the day to day use I would get from the upgraded kit would make up for the loss.

The combined reserve prices would give me a budget of £650 to cover selling fees and a replacement body for the D200.

For a while I was distracted by flirtations with bodies like the D7000, but I played hard ball with my rule of thumb – do not buy from Nikon’s ‘hobbyist’ ranges. So realistically that limited me to the D300 in Nikon’s current range. But I knew I wanted something more rugged, considering the D200’s fate, so I investigated the D2x – top of the range, last generation. This felt like a solid compromise.

I tracked the D2x sales on eBay while my auctions were progressing. My first thought was to buy with the lowest possible shutter actuation count. D2x shutters are designed to be good for 250,000 actuations at least.  Shutter actuation count is a great indication of the work the camera has been put through. It became apparent that the shutter count to price equation was non-linear. Very low-counts cost disproportionally more. I then realised that if I took account of the number of shots I’m likely to add to the camera I can get a sense of the resale value of a camera in say 2 to 3 years time. The market value will depress anyway but it's still better to think of selling a car that hasn’t been around the clock than one that has... I spent a fortnight dogging eBay sellers with questions about shutter count until I was able to draw a graph:

This graph told me that at around 50,000 actuations (20% of the shutter life) I could get a good compromise between price and controlling devaluation. The auctions had fetched me £620. The body I bought had 55,000 actuations and cost me £550. I fell instantly in love with it.

So much so I wanted to buy it pretty things. Flushed with my eBay success I decided it was time to upgrade my 105mm AIs f/2.8 Micro-Nikkor.

I’d bought this for £150 and I have always been stunned by its clarity. It sported a filter ring from a UV protection filter that had long ago been smashed. I’d had to pick the broken glass out with tweezers and the damaged filter ring had never been removable since. It was a real workhorse of a lens and still had plenty of life left in it for anyone on a budget. This was the lens I decided to upgrade. I wanted a 105mm Micro-Nikkor AF-S IF-ED f/2.8G VR N.

When you buy any f/2.8 Nikkor you know you’re getting a very decent lens. But not all of them, and I had always considered gelding a lens to be a cost cutting exercise that may well signify a less than professional specification and build quality. I was highly dubious of the G series of lenses.  Everything else in the lens specification though told me that this was Nikon at the top of their game. I wouldn’t sell the AIs version until I was totally happy with it.

To fund this lens I decided I didn’t really need two film cameras. I have a Leica IIIb which again is a relatively unique piece of kit, meaning images I form with it will implicitly hold my own signature. It was time to sell the FM3a, and with it my 50mm f/1.2 AIs. The 50mm, as opposed to the 55mm variant, is a great optic design and this is a relatively uncommon lens. But at f/1.2 it is damn near impossible to focus on the lively subjects on stage, and its optical geometry meant that in most venues it just wasn’t often useful. I much more commonly swap between 24mm and 105mm. Since I was transitioning to very modern, high tech, Nikon kit I also decided my quirky PB-4 bellows extension can go. These together brought me £900.

With that I bought the 105mm VR, and I can say it has more than lived up to the promise. I even had change to buy an SB-600 flash gun. I considered the SB-800, but preferred the shorter recycle time of the SB-600 on 4 batteries. I kind of hate flash, it creates a lot of post-processing work, but there are times in the basement venues of London when the choice is flash or don’t shoot. So I was glad to plug this gap, since the D2x wasn’t so undignified as to house a pentaprism pop-up flash unit, like the D200.

The new kit is delivering a really clear step-up in the technical quality of the shots and the novelty has totally re-invigorated my approach to photography. Now I can’t believe I have been letting quality expensive kit sit on my shelf for months on end when I could have re-invested in the kit I now have. Not one piece of that hard won equipment is now missed, good luck to those on tighter budgets who have come to inherit them.

I’m on a journey now, having just returned from a 2 hour round trip to pick up a 17-55mm f/2.8 G DX – a gelded zoom, and DX designed! 6 months ago the very thought would have been sacrilege to me, but I guess the technicians have finally delivered something to beat the ground breaking optics of the 1970s Nikkors.

In all this trading I have lost the equipment that allowed me to shoot long and dark (300mm f/2.8) and to get macro close (PB-4 bellows) but these are infrequent concerns for me, the greatest part of my day to day photography is much improved – not so much a compromise, more of an all round win.

Sunday, 6 March 2011

Lessons Learnt 1 - Henri Cartier-Bresson

Drawing inspiration from past masters and showing contemporary application. Part 1, timing

Lessons Learnt 2 - Edward Weston

Drawing inspiration from past masters and showing contemporary application. Part 2

On Composition and Meaning

First Published Journal of Visual Literacy, Volume 23, Number 2;

Saturday, 11 August 2007

Basic Contrast 2

The previous article on ‘Basic Contrast’ concentrated on fundamental definitions and concepts and considered the effect of a single contrast grade upon the tones of an image. This article explores contrast in greater detail so that it can be used as a creative tool rather than a strict technical requirement.
At a technical level the correct grade for a print is that which most closely matches the contrast gradient of the negative. Knowing the negative contrast gradient however requires an expensive densitometer. It is such equipment that allows automated lab processing to produce acceptable prints. But this is not a route to creating a fine print. It is just another piece of equipment that can help, but has similar limitations to the more humble exposure meter. It is probably a good thing that densitometers are expensive, as this means they are rarely used and so at some point all printers have to come to terms with the principles of contrast grade.
Photography is typically taught as a set of rules, or more usually adages, with the diktat that all rules can – and by inference must – be broken. It is possible to print acceptably by following the ‘expose for shadows, print for highlights’ adage, but this doesn’t provide a basis for understanding. To understand contrast grade it has to be seen in action. Variable contrast (VC) papers are an excellent medium for this, they allow for contrast experimentation while allowing all other factors (negative, exposure, chemicals, temperature, paper batch etc) to be kept absolutely constant.

VC papers are often described as containing two emulsion layers, one being of a soft grade and one of a hard grade. This is slightly confusing as it creates a vision of there being an upper and a lower layer, whereas the two emulsions are in fact an homogenous, single layer, mixture. Soft and hard grade silver-salt grains lying side-by-side throughout. The two grain types are sensitised by different wavelengths (colours) of light, typically blue and green. A high contrast print is achieved by exposure to blue light and a low contrast print by exposure to green light. Intermediate grades are produced by balancing blue and green light in different proportions. Because the emulsions are mixed (not layered) it doesn’t matter if the two exposures are delivered together or sequentially. If the exposures are delivered sequentially it doesn’t matter in what order they are applied. Typically the two exposures are delivered together, through a single filter say. It is possible though to expose only the hard contrast salts with a grade 5 filter and then to expose only the soft contrast salts through a grade 00 filter. The practical impact of this is that a print can be made from two (or more) sequential exposures at different grades. This is the basis of the split-grade printing process.
To build-up an understanding of how contrast grades work the analysis tools within Adobe Photoshop™ will be used. In plate 1 the histograms for two single grade prints are shown.

Plate 1: Print Analysis

For the purpose of comparison the two prints have been made at the same relative exposure (allowing for the different filter factors). Clearly from an artistic viewpoint the grade 0 print is too dark, even though the average (mean) density of the two prints is roughly equivalent – as indicated in the histogram statistics. The median densities are significantly different, due to the change in contrast. The standard deviation (SD) is an expression of how the histogram spreads out from the mean. The high SD at grade 5 states that most of the tones lay a long way from the mean-point, as might be expected from the tonal scales shown in the basic contrast article. Median and SD are convenient measures of contrast and will help in confirming the fine-scale adjustments that split-grade printing can introduce.
Such strict analytical methods are of limited value in day-to-day darkroom work, but do provide a very compelling view of the effect of contrast shifts. It is a worthwhile exercise to produce such a comparison as it clearly reveals the nature of differing contrasts within a particular darkroom process. The method is relatively straightforward:
  • Produce the comparison prints at the same exposures, allowing for any difference in effective paper speed if using filtration for contrast shifts.
  • Scan each print ensuring that any ‘auto tone’ is disabled during the scan and that the black, mid, and white points are set to the same value for both scans.
  • Call up the histogram view for the first print and take a screenshot (Ctrl+PrtScr on a Windows™ machine)
  • Put the screenshot into an image file by selecting File->New in Photoshop, the image shape will default to match the screenshot which is on the clipboard.
  • Select Edit->Paste to place the screen shot into the new image.
  • Crop the screenshot image to include just the histogram. Repeat for the second print so that the two histograms are available in two image windows. These can now be saved as files.
  • To overlay the histograms for better comparison drag the base layer from one histogram image into the second, lining the two histograms up. Set the blend mode for the (new) second layer to ‘Linear Dodge’ and the opacity to 50% so that the two histograms merge in a way that reveals the shape of both.
Now that a means to compare the contrast of two prints has been established it is possible to look at the split-grade method in detail and to demonstrate the effect in a non-subjective way.
The opening image in this article (Snowy Owl) is a good example for showing the application of split-grade printing as it exhibits clear contrast difficulties. Very fine highlight detail exists in the ‘white’ face feathers, but good tonal separation is wanted to emphasise the patterns on the back and wings. The face suggests a very low contrast grade whilst the rest of the image suggests a much higher grade.

The final image was produced with grades 1 and 5. The exposure at grade 5 was chosen such that this grade would not interfere with effect created by the grade 1 print. The grade 5 test strip was made across the face and the last strip at which little or no detail could be discerned was selected for the grade 5 time. The grade 1 test strip was also made across the face, this time the strip selected was that which gave the desired detail without introducing too many greys into the face. Plate 2 shows these two opening exposures.

Plate 2: The Initial Low & High  Grade Exposures

These two exposures were then combined into a single print, as at the head of this article. In this application the split-grade printing method has been used in order to quickly derive the required contrast range.

Instead of deriving the grade by trial and error we have considered how the properties of two, extreme, grades can be mixed to achieve the visualised result. Firstly we asked, what is the maximum exposure at a very low grade that will give the desired highlight exposure? Secondly we asked, what is the minimum exposure at a very high grade that does not interfere with the highlights? Plate 3 shows the histograms for the two exposures overlaid and the minimum interference between the exposures is evident. In effect instead of trying to resolve one complex question (which grade to use) the split-grade method applied in this way has allowed us to approach the print in terms of two simple questions (the exposure questions just stated).

Plate 3: Overlay of low & high exposure histograms

The two exposures were both made for 16 seconds at f/5.6. Due to the difference in the paper speed at the different, filtered, grade levels this means that the print received effective exposures of 16 and 8 seconds for grade 1 and grade 5 – the paper is half the speed when filtered for grade 5 than grade 1. So two-thirds of the exposure was given at grade 1 and one-third of the exposure was given at grade 5. The contrast ranges at these two grades are 130 and 40 respectively (from the manufacturer’s data). The contrast range of the final print then is:


Contrast Range 100 is equivalent to grade 2.5 (again, from the manufacturers data). The final split-grade print then is similar to a single grade print made at grade 2.5 with a 24 second exposure. It is unlikely that the differences between the split and single grade print will be apparent in reproduction, so Plate 4 shows the histograms arising from such prints. The single grade print is to the left and the split-grade print to the right.

Plate 4: Single vs. Split-Grade Histograms

The two prints are remarkably similar, but they are not identical. The peaks in the histogram of the split grade print are slightly more pronounced, indicating that the tonal separation is slightly sharper. It may very well be extremely difficult to look at a print and spot this effect, but that in itself is not reason to discount the method. The finest prints are built up from a series of steps that individually cause difficult to discern differences, but when all the tools at the printer’s disposal are used together the cumulative effect is significant.
It has been shown that the split-grade technique can help to find the appropriate grade by working with the way in which extreme grades can be mixed without interference. It has also been shown that the split-grade technique can yield equivalently graded prints to those made from single step exposures, but the split grade variants can exhibit greater ‘definition’, achieved through enhanced tonal separation.

Other applications of the split-grade printing technique are:
  • Add punch to the very lowest tones of any print by making 10 to 20% of the
    overall exposure at the maximum grade.
  • Add detail to very delicate highlights, without forcing those highlights to weak
    grey, by making 10 to 20% of the print at the minimum grade.
  • If necessary use three exposures to achieve both of the above.
  • Apply an effect selectively. E.g. Diffusing shadows only – adding a print
    diffusion filter during short high-grade exposure will provide focus
    softened shadows with little or no effect on mid and high tones.