[REVIEW:] Nik Software Viveza 2 - Do It With Control.

If you are used to editing your images by making discrete selections and then applying effects or adjustments, then working in this new environment is quite a change. Nik^® Software Viveza^® 2, powered by U Point technology, uses control points to select areas of the image for adjustment.

Nik Software Viveza 2 Interface

To start with, instead of reaching for Photoshop's pen, polygon or magic wand tools to create an area in which to work, in Viveza a control point does the work based on similar color and density regions. This makes sense to me, as most of the time an area I wish to adjust is composed of similar hues within a selection.

So, grabbing a control point instead of a Photoshop tool, you begin by placing it on a area of the image you want to adjust. The initial action is to change the diameter of an on-screen circle to encompass regions of similar hues for adjustment. Even though you may have unwanted colors and textures inside the circle, where you initially placed the control point determines Viveza's targets.

Figure 2: Viveza 2 Control Point (Placement Point at Bottom – Below Hue)

When you place a control point, Viveza shows a root-like menu. While unusual looking, at first, it is really quite intuitive. Off a vertical drop down are controls relating to the size of the selection area, brightness, contrast, saturation, structure, and shadow recovery. All of these adjust the selected area, but there are also controls which affect the image globally (separate from the control point's variables).

I have many years of Photoshop experience, along with other image editing software. All of these, for the most part, use the same method of making selections, tools you manipulate with the mouse or tablet to surround a region to edit. Viveza 2 is not only a change, but a leap into a new paradigm. While it doesn't require a complete undoing of old methods, it does require you to think in different terms. Not so different that it requires hours and hours of learning, but once you start understanding what you can do with comtrol points, you can pretty much skip Photoshop's selection tools.

Figure 3: Beach Sand Adjusted For Brightness and Detail (Structure)

Viveza 2 is not a substitute for what you can do with Photoshop, it's another tool you use to make regional adjustments, as I mentioned previously. You still need an image editing application, such as Photoshop, to clone, patch and generally work on discrete areas of your image. As Viveza 2 works as a non-destructive smart filter, you always have the original image. While you work with a control point, the results are live, giving you immediate feedback.

You can use multiple control points (even overlapping previous editing areas) and you can copy control points to apply the same adjustments to different regions. It's easy to become accustomed to Viveza's workflow and quite quick to grasp most of the details of the plugin. Like most programs and plugins, experience is the best teacher for learning the fine points.

Figure 4: Arrows Show Control Points – Compare w/ Figure1

Nik Software's Viveza 2 is an Adobe Photoshop (7 through CS4), Photoshop Elements (2.0 through 8.0) and Lightroom (2.3 or later) plugin. The target users are professional photographers, prosumers and maybe hobbyists. The $199.95 MSRP ($99.95 Upgrade) price may be a little high for the occasional photographer.

Nik Software has a 15-day free trial and I would recommend downloading it and taking a good look at it. Viveza 2 does have a definite place in an editing arsenal, especially if you frequently make color and tonal adjustments to image regions.

Disclaimer: As a member or the Press, I acquired an advanced NFR copy of Viveza 2 at PhotoPlus Expo East (October 2009). Nik Software has not asked for any consideration for this review and I have been offered no compensation. I am free to come to my own conclusions regarding the efficacy of Nik Software Viveza 2

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Keep Your Cool — and Use Your Smarts — When Dealing with Meddlesome Clients

Some days, everything goes according to plan and the assignment seems relatively easy. The assistants and talent do their jobs and you do yours; and even your coffee mug stays magically full.

Other times, however, working through a shoot is like slogging through thick mud; problems seem to crop up at every available opportunity. Be in the game long enough and you'll have your share of both.

On an assignment for an advertising agency in Florida, I was supposed to document a video commercial shoot and take the collateral stills for regional ads. The early part of the day went quite well, on location at a private residence "rented" for the day. Between some video takes, I brought the actress to a large sunroom to set up for a series of images. The video director ordered his crew to hang blackout drapes and bring any lighting I needed. That part was easy.

Later, the art director took me outside to get some shots of an actor standing about forty feet in front of the house. He demanded I shoot with the actor in bright, midday Florida sun and get the shaded house in the background. The actor couldn't keep his eyes from squinting, but the art director was insistent. I did as he asked.

I didn't want to get in an argument with the art director, so I followed his lead, just as he asked. Afterward, when he left to pester someone else, I took the actor to the side, where there was some shade, spent about ten minutes setting some lights and did the same setup my way, albeit, from a slightly different angle.

I believe it's important not to be negatively influenced by others on assignments. Permitting them to dictate my mood, affects everything I do and the quality of the images. It's always best to find creative ways to ameliorate situations, like the above, rather than acting like a prima donna. It's more important to get the deliverables than to win petty wars.

Weeks later, I was in a large rented studio, setting up a shot for a major client. Their main business was producing the plastic fabric used to shade plants in tropical nurseries. Now, they wanted to open a new line of business, using the fabrics to make portable cabanas and car ports.

I had one of their white carports and borrowed a new white car from a friend, all placed against a seamless white wall and floor. The only real color was a rose in vase on top of a table next to the car port. I had spent the mornign painting the table, chairs and place settings white, when the Director of Marketing showed up unexpectedly to monitor the shoot.

Immediately upon arrival, he became a nuisance, chattering incessantly and wanting to look at the setup on the back of my 4x5, all the while complaining the image was upside down.

So, there I was with this guy getting in my way, questioning everything and suggesting I move the camera this way and that. My stomach started to churn and I could feel my anger rising. I knew if I told him to leave, it cold be unpleasant. Nothing I did or asked stopped him from being a pest. Then, I had an idea.

I went over to him and made it a point to show him how I wasn't getting the right kind of light on top of the car port and asked if he would mind helping me. My assistant brought over a 12 foot light stand with a small monolight attached. I handed it to the Director of Marketing and asked him to hold it over the top of the car port, as high as he could, to get even lighting. Because of the weight and length, he had to lean backwards to hold it in place. Once he had the light positioned correctly and out of the frame, I did my part.

Days later, at a meeting in the company's conference room, with the corporate officers present, we went through the images. They loved them. Near the end of the meeting, the DM told everyone how he was instrumental in getting these tremendous images. I didn't have the heart to tell him I never connected his light.

 

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Do You Create Your Own Reality?

Whatever type of photography you practice and, be it amateur or professional, that which you are shooting, has been shot before. You are the difference. That's right, the only element in this equation is your imagination and technique. If it were not so, then every picture from the same location would be exactly the same.

When you are on location and sizing up the subject matter, you make choices, first your angle and composition, then possible exposures and finally, what lens you want (of course, if you are an amateur photographer and have but a single lens...).

While you may not do it exactly as I described, the basics are the same. Most every item and location has had someone, at some time, take a picture of it. If you've looked through available web sites, such as Flickr, for instance, you will see how images, from different people, look similar.

So, the sixty-four dollar question is: what do you bring that marks you as a photographer? Do you attempt to recreate an image you've seen before or do you look for a unique way of portraying the subject?

There must be a gazillion images taken at the edge of some body of water, where the photographer used a wide-angle lens and a small aperture to put everything into focus, from the rocks near the camera's position, all the way to the horizon. Do you really need to create another image like these? If you were standing at the same location, what would you do that's different?

Sure you could recreate what you've seen before, if, for no other reason than a learning experience, but is it original? Now, I'm not saying don't examine other images; you can learn quite a bit. Besides deconstructing the picture, you also know what's already been done.

Finding something new is what distinguishes a photographer. Stepping out of the ordinary, into the extraordinary is difficult and frightening. You are operating without a safety net and yet, that's exactly where you need to be. You need to be on the edge because that's where you'll find your personal style and bring a unique voice to the community.

 

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[REVIEW:] Sigma 24-70mm F2.8 IF EX DG HSM and Sun-Sniper-Strap

  A few months back I met with some of the organizers of the Help-Portrait project, here in the Albany, New York area. I believe I was one of the first photographers to volunteer. As I've said previously, I believe in giving back to the community, when I can and where the project is worth my time and energy.

Since Sigma Corporation of America had loaned me some lenses, in the past, for reviews, I thought I'd ask them if I could borrow something especially for this shoot. They completely agreed and I asked for the 24-70mm F2.8 IF EX DG HSM lens. I thought the focal length would be perfect for shooting both individuals and families and, with an aperture of f/2.8, I could get the exposure I wanted.

In comparison to some of the other photographers (there were five others), my setup was quite simple. I used a Metz 54 MZ-3 flash, off camera, on a light stand, as my key and I elevated it about six or seven feet and reflected it off a 43-inch white umbrella. I decided to shoot reflected, rather than through the umbrella as I was not going after anything dramatic and wanted a good general purpose light.

My second light, the fill, was to my right (subject left) was another Metz 54 MZ-3, reflected off a 43-inch white umbrella. This one I elevated only four feet and pulled it back some from the subject. Knowing I'd be shooting groups, I set the key so I would have an f/4.0 and the fill minus 1 1/2 to 2 stops.

Using the Sigma lens, I shot a white piece of paper to calibrate a custom white  balance and set my camera for the best JPG, rather than RAW. This was a consensus of both the photographers and organizers as I would not be selecting the final images for delivery.

With my trusty Canon, including a vertical grip holding two batteries and the Sigma lens, I was ready in less than twenty minutes. Oh, and I had a Sun-Sniper-Strap attached to a hand grip on the Canon.

As you can see from the included images, the 24-70mm Sigma was spot on. The zoom range is perfect, as I was able to get closer for individual portraits and wide for groups. The Sigma's HSM (Hyper-Sonic Motor) focus is quick and near silent and I had no problems focusing on someone's eye. This is a hefty lens, weighing 27.9 ounces (790g), nearly two pounds and would have been an effort holding it still, if I had to have it in my hand for the entire day (we shot from 10:00am until 4:00pm, with nary a moment to eat -- someone supplied me with coffee all day; bless her heart). Thanks to the Sun-Sniper-Strap, I could drop the camera, by my side, between shots and while setting poses.

My results were outstanding and, during a brief review with some of the organizers, near the end of the day, were consistent and some of the best of the day. My setup worked as I had planned, with exposure on target and the images quite sharp. I found the Sigma 24-70mm F2.8 IF EX DG HSM to be a lens I would definitely want to have in my kit; consistent performance, exposure agreeing with my Sekonic L-358 light meter, with some tweaking for skin tones throughout the day.

This was also the first time I used a strap, such as the Sun-Sniper and I'll never go back to a neck strap again. I found it also enhances the use of my hand strap and I could easily pick up the camera and be in shooting position in seconds, yet still able to drop the camera, by my side and be out of the way (the lens points backwards and not out to the side like other shoulder straps).

I felt quite comfortable and secure using the Sun-Sniper. The strap was wide enough to evenly distribute the weight and had an elastic area, in case you accidentally let go of your camera instead of putting it down by your side. The carabiner slides easily along the diagonally worn strap and, after just a few moments, it feels as if this was a perfectly natural way of carrying your camera, while still being ready to use.

The combination of the Sigma lens and the Sun-Sniper-Strap is quite good for either shoots, such as the Help-Portrait I did, and also for general use, out in the field.

Disclaimer: The Sigma 24-70mm F2.8 IF EX DG HSM was loaned to me for a month with no expectations or considerations for a possible review. There was no quid quo pro; I was freely able to come to my own conclusions. The Sun-Sniper-Strap was part of a general press package, given to the trade press at last year's PhotoPlus Expo in New York. I neither asked for it or offered any mention or review, but was able to keep it along with the other items in the press package.

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