Final Image Edited With Viveza: Times Square Glass & Steel

I am often asked about my digital photography post-processing tools and methods. I want to share with my fellow photography enthusiasts a Photoshop plug-in that has quickly taken a key role in my post-processing workflow. Viveza, by Nik Software, is a wonderful tool that provides an easy, but highly effective way to selectively edit and control the two most important elements in any photo, color and light. With Viveza (currently in version 2), you simply click on the portion of the image you want to edit, and make changes to brightness, contrast, and saturation. You also decide what portion of your image those changes will affect. To do this in Photoshop would require creating masks, working with layers, etc., a process that requires much more time and skill. With Viveza, all of those difficult steps are eliminated. Photographers at any level can post-process their photos in much the same way that the pros do, and get polished results.

Here is a recent example: The second image shows the converted default raw image open in the Viveza Plug-In in Photoshop CS5. The default image is underexposed (I usually underexpose my images to preserve highlight detail). You add a control point by clicking on the portion of the image you want to edit (see the enlarged portion of the image), and a small control appears that allows you to edit the color and light in the selected portion of the image. By using Viveza, I was able to bring rich color out of the darkened areas of the image and leave the sky unedited. Typically, I now do 85% or more of my color and light edits in Viveza. The top image shows the final results. Other than resizing and sharpening for final output, all edits on this image were done in Viveza.

Using Viveza has streamlined my digital photography post-processing workflow, and reduced the time needed to create polished images. While I use this plug-in within Photoshop CS5, for most of us that is a needlessly expensive purchase (I use Photoshop extensively in my web design business). If you are on a budget, the combination of Adobe Photoshop Elements 9 (Win/Mac) (which is compatible with Viveza) and Viveza 2 can be a powerful, low cost way to post-process your photos. The price of Viveza 2 is currently $199.00. However, if you “Google” “Viveza deals” you may find vendors or coupons that bring the price down to around $150.00. Adobe Photoshop Elements 9 (Win/Mac) can generally be purchased for well under $100.00. These tools together will give you a low cost combination that will be all the power you need for creating beautiful digital photos!

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Jemez Mountain Red Rock Landscape

I am yearning for the wide open spaces and rugged landscapes of the southwestern United States! Getting my fill of natural vistas here in New York City is a real challenge. Trying to find photo-worthy landscapes in this urban setting can be a painstaking process. How I have been spoiled by Jemez Mountain red rock landscapes in New Mexico!

If you are a photographer who yearns for sweeping landscapes and light filled vistas, you may enjoy viewing “Seeing Scotland” a television series from Scotland that features the world renowned landscape photographer Charlie Waite. It provides a relaxed portrait of the working process of this accomplished photographer.  This series is viewable online on youtube.com.

Lenox Lounge, Harlem, New York City, Edited in SilkyPix 3.0

I love color! I revel in it, bask in it, and feel its heat! Even a cursory glance at my photography will tell you that. Exuberant color best expresses who I am and how I feel. However, I am often accused of over-saturating the color in my photos by photographers who feel that I should “tone it down just a bit, make it more realistic.” Well, reality comes in various color and shades . . .I want it hot and spicy, I want it in color!

More than decade or so ago, I devoted a few years to spending all of my disposable income (do you remember disposable income?) on audiophile quality stereo equipment. Electrostatic, phase aligned, time delayed . . . speakers, subwoofers, tube amplifiers . . . whatever . . . I spent every penny I could in search of perfect sound (my favorite purchase: Celestion SL6 speakers). And yet, here too, there were distinct differences in what was considered “proper” sound quality. The British preferred a flatter, nuanced sound quality more suitable for classical music, while American ears wanted to hear more bass and treble sizzle in the balance. What is true in music reproduction is also true in photography. Often, tastes and preferences will be skewed by cultural backgrounds.

That’s a good thing. Variety and nuance in art makes life interesting. But back to photography. When I switched from film to digital (DSLR) cameras, I sought tools that could reproduce the vivid colors rendered by Fuji Velvia, Kodak Ultracolor, and other vivid film stock I’ve used in the past. I found that a raw photo editing software from Japan names SilkyPix could meet that need. SilkyPix is similar to Adobe Lightroom, Capture One, and other popular photo editing software in function. It allows you to create final images from raw digital camera files. However, SilkyPix has a distinct color signature that reflects an unabashed love for color. It has default “color tastes” that can be applied to photos that veer from the neutral with joyful, unapologetic, boldness. SilkyPix is primarily a Japanese product designed for the Japanese market. Japanese popular culture loves bright, vivid colors, something I learned in a profound way during a gig I had designing web sites that sold American goods to the Japanese market. Silkypix has developed somewhat of a small cult following among photographic enthusiasts precisely for the way it renders color. Because it is primarily a Japanese product, it departs from the typical language and style of western products. The translation of the manual into English can feel a bit cryptic at times. Therefore, its takes a bit of effort to understand all of its features and how to use them. However, Silkypix has an excellent online forum that provides support from enthusiastic Silkypix users around the worlds.

While I can extract more detail, and more technically perfect images with industry standard raw photo editing software (ie. Adobe Lightroom and Capture One), I tend to constantly drift back toward SilkyPix ( I currently use version 3.0E) for one simple truth. It produces the most gorgeous color. It spices up my images in a way that makes me happy. Have been shooting digital for a while but feel that your images seem to lack a certain ‘pop’ and vivdness? If you lean toward the bold and colorful in your photographic style, you may find a common soul in SilkyPix!

The photograph seen above shows the historic Harlem, New York City jazz club, Lenox Lounge. Its attention-grabbing red facade is the focal point of this photo. I converted the raw photo (Canon Rebel XS camera, 18-55mm EF-S IS kit lens) with SilkyPix 3.0, choosing its Film Color V2 for vivid Velvia film-like color. I opened the image in Photoshop, and added a subtle Topaz Plug-In Filter Effect (Topaz Clean 3, CrispStyle Preset) to smooth out detail and enhance contrast for a more graphic feel. Finally, I did a small amount of dodging and burning in Photoshop to taste and sharpened the image. This is my kind of color!

Cherry Blossom Art - Soft Blurred Background Bokeh

This photo of cherry blossom blooms was captured in Branch Brook Park, Essex County, NJ, during the Essex County Cherry Blossom Festival. The beautiful background coloring in this scene is the blurred combination of brown tree branches, white cherry blossoms and green grass. That smooth, creamy background blur effect is what the Japanese call bokeh, or “background blur quality.” To achieve this color palette, I first focused on the foreground blooms and angled my camera to get the right balance of background elements. The background elements are far enough from the in-focus blooms that they became fully blurred, blending their colors.

Modestly priced zoom telephoto lenses can easily achieve this effect with a combination of careful focusing and zoom magnification. With a bit of practice, most low-priced 50-200mm, 55-250mm, 70-300mm zoom telephoto lenses can be used to achieve this effect. I look for blooms (and flowers) that are at least a foot or more away from any background elements. This allows for a very pleasing background blur (or bokeh) while keeping the up-front blooms in sharp focus. Typically, focusing as close as possible to the subject at or near maximum lens magnification creates the smoothest bokeh, or background blur. If you are shooting with Canon DSLR camera,, the low cost Canon 55-250mm IS EF-S lens is very capable for this type of photography. I used this lens for most of my cherry blossom photography. This lens is available for a great price at the trusted online retailer Amazon.com (follow this link): Canon EF-S 55-250mm f/4.0-5.6 IS Telephoto Zoom Lens for Canon Digital SLR Cameras

Camera info for this photo: Canon Rebel XS, Canon 55-250mm lens. ISO 200, F8.0, 125mm, 1/500 sec., handheld. -Photo by Don Peterson, Business-to-Consumer Web Design Consultant

Pink Cherry Blossoms, Branch Brook Park

This delightful scene shows pink cherry blossom blooms in Branch Brook Park, Newark, NJ during the 2011 Essex County Cherry Blossom Festival. The backdrop of a powder blue sky enhances the beautiful color palette in this setting. The softly blurred cherry blossom blooms in the background adds an interesting element as well.

How To Create Softly Blurred Backgrounds In Your Cherry Blossom Photos

You may wonder how to create a soft background blur as seen in this photo. A DSLR type camera with interchangeable lens capability is best suited for this type of image (see my camera tips for photographing cherry blossoms). The standard kit lens that comes with your DSLR camera will not produce a soft background blur in conditions like this. A modestly priced 50-200mm, 50-250mm or 70-300mm telephoto zoom lens can produce this effect. I used a budget-priced Canon 50-250mm lens for this photo.

Once you have a telephoto zoom lens mounted to your DSLR camera, do the following: Select maximum, or near maximum lens aperture ( such as f2.8. f3.5, f4.0 …etc) and get close to the foreground cherry blossoms, without exceeding the minimum distance needed to keep your subject in sharp focus. The more you enlarge your subject using the zoom feature of your lens, the blurrier the background will become. Plus, the greater the distance between your foreground subject and background elements, the blurrier those elements will appear. In this photo, the background cherry blossoms were a good two feet or more from the sharp foreground blooms.

It may require a bit of experimentation at first as you adjust your distance from the subject and play with focusing and zooming. I look for cherry blossoms that have no no close distracting elements in the background. Often, I will shoot so that softly blurred green grass appears in the background, or some other distant background that adds a complimentary color to the overall photo.

New York City's Times Square, Canon 10D, Tamron 19-35mm Lens

I shoot with a small collection of digital cameras, most of which are of some vintage. Often, I will chance upon fellow photography enthusiasts when I am out and about shooting. We may smile and strike up a brief conversation. Our dialogue quickly separates into one of two camps. We may discuss the quality of light or subjects we’re capturing. Or, I will get this: So what are you shooting? Oh? How many megapixels does it have? If the camera I’m shooting with has fewer megapixels than theirs, (which is most often the case) they will, with barely contained smugness, devote the rest of the conversation to their newly acquired mega-tech DSLR and how much money they spent on the lens. Often, they will insist on talking rather than shooting as the most beautiful light of the day slips away.

To each his own. I must admit that I had the same focus for a number of years. I pored over online camera reviews trying to discern the minute differences between makes and models of digital cameras. I spent lots of disposable income (remember that) buying the latest gear and gadgets. In hindsight, it made the hobby of photography less enjoyable, and more a source of angst. It distracted me from the craft of shooting good photos. Now, I know better.

The photo above, recorded in Times Square, New York City, was shot with one of my favorite vintage digital cameras. Introduced in 2003, the 6 megapixel Canon 10D is ancient by digital standards. And, the lens I used for this shot, a Tamron 19-35mm f3.5-4.5 is at least 15 years old, and discontinued by the manufacturer. I purchased this camera and lens used for less than $230 (US) total. Yet, they are still very usable tools that can produce great results under most conditions. Indeed, some of the best buys can be found in used cameras sold by photographers who constantly feel the need to upgrade.

Focus on what and when and how you shoot, not on the equipment. The Internet has in some ways, made us far more materialistic, and fueled the empty notion that better photos are only an upgrade away. Good photos come from gaining expertise in making a good image. Once your equipment meets a certain modest level of technical requirements, it becomes less important to the quality of your images.

One of my favorite cameras to date, made by Olympus in 2004 (Olympus E-300), received rather lukewarm reviews in online media. Yet, some of my best photos were shot with this model, and I still consider it a highly useful photographic tool. What mattered most was the incredible places and experiences I recorded with this camera. The camera did its job of recording what I saw (see my review of the Olympus E-300 as a used camera purchase here). It was up to me to learn to use that tool skillfully. Once I learned how to worj with the strengths and weaknesses of this camera, I focused on producing enjoyable images.

I’ve heard it said that women make better photographers because they tend to focus more on the matter at hand, not the gear used to record it. There may be more than a grain of truth to that. Some of the most memorable images I’ve seen were recorded decades ago. What makes them worthy is the compelling merger of light and subject, not the equipment used to capture it. Focus on the light before you and you will find more pleasure in this craft. Even the learning curve one must travel to become a better photographer becomes more enjoyable when it is not cluttered with lots of stuff. It’s all about the light, not the camera!

Photo by Don Peterson. When I am not out and about with a camera, I create web design with emotion for small businesses.

Canon EF-S 55-250mm Lens Hand-held, 60mm, 1/8 second shutter speed. NYC Street at Night.

It’s a very nice surprise to find a lens that is both bargain-priced and a stellar performer! The Canon EF-S 55-250mm f/4-5.6 IS Autofocus Lens lowest priced telephoto zoom lens Canon makes. It is designed to be a budget stable-mate to the Canon EF-S 18-55mm f/3.5-5.6 IS lens., the kit lens typically bundled with Canon’s consumer-priced Rebel line of DSLR cameras. As intense competition has nipped at Canon’s heels, particularly in the consumer budget DSLR market, it has improved the quality of its cheapest consumer lenses. Hooray for competition!

After using this lens for two weeks, I can happily say that is is not only a bargain, but a stellar performer by any standard. The IS (Image Stabilization) feature makes this telephoto lens hand holdable in a wider range of shooting conditions. The lens is sharp and focuses speedily and quietly. Although it has a plastic lens mount and shows it budget heritage in its build quality, the results its produces are first rate. The only thing I found somewhat annoying was the fact that the front of the lens rotates when focusing, necessitating constant adjustment when using a polarizer filter. However, for the price (typically around $200) I happily bear that minor flaw.

I enjoy walking around New York City neighborhoods like Times Square at twilight capturing colorful low-light images with the light, hand-held combo of the lightweight Rebel XS and this lens. The resulting images are sharp and have beautiful color. If you are looking for a low-priced telephoto-zoom for your Canon Rebel, the 55-250mm is a clear winner.

Times Square, NYC. See the over-exposed billboard with the Chase Bank Logo?

Get Better Colors In Your Times Square Photos

Recently, I provided 8 Tips for Great Times Square Photos. But I left out one of my most important techniques! One of the challenges of photographing Times Square at sunset, twilight, or in the evening, is choosing a camera exposure that captures the full range of colors seen before you. The range of lighting in Times Square is extreme, from softly lit signs to mega-wattage electronic billboards. Capturing the extreme range of light with your digital camera sensor can be a challenge. Usually, when you photograph a night scene in Times Square, some colorful billboards appear as pure white (or overexposed) in your photos because your camera’s sensor could not capture the full range of light. Here is an easy technique to minimize that exposure problem.

Times Square: The Chase Logo sign is now blue and easier for the camera's meter to record accurately.

Typically, when a large electronic Times Square billboard shows a scene with lots of white and light colors, its brightness may overpower everything else in the street scene you want to record. Try this: Wait for the colors in the billboard to change to a scene or graphic showing mostly darker tones Generally the darker reds, greens, and blues and earthtones are easier for the camera’s sensor to record than the bright pastels and pure whites. Most of the electronic billboards in Times Square show a wide variety of scenes. Take a couple of minutes and observe the range of advertisements that the largest electronic billboards display. Be ready to shoot, and wait for a scene that has a greater range of darker hues. Those colors will, most likely, be easier for the camera to meter, and more faithfully recorded by your camera.

In addition, the histogram, and lcd preview of your digital camera are invaluable in letting you know if the majority of colors in the scene you captured are properly exposed. Look for large areas of pure white in the image you shot. If it is a “blown out” electronic billboard, try shooting it again when the billboard changes to darker colors. You should see a more accurate capture of the colors in your photo.

Visiting New York City? If you do not photograph the street scenes and people of New York City, then you are missing one of its most vibrant attractions! The faces, attitudes and cultures that make up New York City are every bit as photogenic as its landmarks. If you plan to spend your vacation in New York City you want your photographs to include the faces that made the trip memorable as well.

Most people are hesitant about photographing strangers on the street. However, New York City is one of the best places in the world for photographing people and local culture. Why? New Yorkers make it so. Unlike most cities I have visited, New Yorkers are generally very natural in front of a camera. The photos I’ve captured on New York City streets most often show people that are true to the moment, rather than reacting to the camera. Perhaps that comes with living in one of the most photographed cities on earth.

I love to walk the neighborhoods of NYC capturing the flow of life with a backdrop of vivid color. I have discovered a few simple strategies that work best for my style of street photography in this most urbane of cities. These tips have nothing to do with your camera or photographic style. Rather, they are ways to capture authentic moments and emotions as you shoot in “The Big Apple.” You may find them helpful in your street photography when visiting New York City:

1. Be neatly dressed. New Yorkers respect style. You don’t need to be a fashion plate. However, how you dress plays a big part in how others respond to you in New York. Being presentable elicits a positive response and relaxes the person(s) you may be shooting at the moment. I have a standard outfit for street photography. It is usually well pressed khakis, a starched white shirt, a Panama hat, and comfortable shoes. That is my personal style. It is appropriate in any part of the city and gives me a respectable and modestly stylish look that is well received.

2. Have a pleasant countenance. You can, by your own presence, determine how people react to your camera. Greet people as circumstances allow. Smile, acknowledge the person you are shooting with a smile if you make eye contact. If the circumstance allows for it, have a brief, cheerful, conversation. If others are comfortable in your presence, it will show in your photos. You may find that meeting new people is a pleasant side effect of street photography.

3. Respect personal space. Don’t get too close to someone with your camera without an invitation. Typically, I am no closer than 8-10 feet away from the persons I photograph. Get any closer without permission, and the discomfort in the face of your subject will make for a bad photo. If for any reason a person does not want to be photographed, simply apologize, respect their wishes and move on. No photo is worth a confrontation.

4. Use the camera that works for you. Some photographers recommend using the most unobtrusive camera possible. That advice is not nearly as important in NYC. New Yorkers are used to seeing everything from high end DSLR’s to disposable cameras on a daily basis. It is more important that the camera be responsive to capture the great moments around you. I do recommend choosing a lens that will allow you to get the sort of shot you prefer without being too close to your subject. I like to use a sharp Canon 50mm F:1.8 lens on a Canon 10D body. The lens is fast and small and does not appear intimidating. However, because it is the equivalent of a 75mm when used with a DSLR, I can get tight compositions while keeping a respectable distance.

5. Shoot confidently. If you appear hesitant and uncomfortable when shooting strangers in the street, so will your subjects. Your confidence will relax people, whereas any trepidation will make them wonder what you are up to. Carry yourself like you know what you’re doing. If you do, your subjects will be less inclined to have that worried “deer in the headlights” look so often seen in impromptu photos captured on the street.

Finally, do your thing. Shoot what you like. While I enjoy the gritty black and white images that are usually associated with street photography, that is not my style. I am drawn irresistibly to color and light. So that’s what you will often see in my street photography. Learn from the best but don’t try to copy them. Relax, be friendly and confident. Have fun shooting!

This video provides a fascinating account of Vivian Maier, a photographic talent whose body of work was discovered after her death. She was a Chicago nanny who took more than 100,000 photos in her lifetime, and may be one of the greatest street photographers of the Twentieth Century. From seeing her work in this video alone, I would heartily agree with that assessment of her talents. Charming story. I hope an exhibition of her work makes it to New York City!

A blog has been started by the John Maloof, who is archiving Vivian Maier’s photos.