I used to think nothing much of hiking out with a 60 lb. pack and an additional 25 lbs of camera gear just to enjoy the great outdoors.  I made it to some fantastic places that few others have gone and only a small number of those had a camera with them.  I would take a couple of prime lenses, several zooms and 2 bodies when I shot film, as that enabled me to shoot nature in all her glory at the scales I found most pleased my eye.  Since my interest was piqued by the macro world,  landscape, seascape, cityscape, any size animal or plant and people, I felt most comfortable being prepared for anything.  I would take backgrounds and studio lights to shoots.  I never thought anything would get in my way or slow me down.  I carried most of the same lenses when I switched over to digital photography.  My interests were still the same, so keeping the ability to choose on the go seemed logical.  About 5 years ago, my knees announced to my body, “ENOUGH ALREADY!!!”

I was about half a mile from “The Wave” hiking out of Paria Canyon when my right knee buckled for no apparent reason.  I sat down for a few minutes, then pressed onwards.  My pace was about half that of the hike in and I had enough water to make it out with no problem, but I knew from the way my knee was feeling that something was not right and getting worse.  By the time I got to the halfway point, both knees were letting me know that they were not going to be kind to me.  Although I had left “The Wave” in what ordinarily would have been plenty of time to be back to the car by sun down, this time it was about an hour after sunset before I managed to reach my truck.  Such was my introduction to the wonderful world of Arthritis!  Each day has been a battle ever since then.

It has forced me to make sacrifices in my approach to photography.  The first to go were my kayak and canoe which I had used for capturing whitewater action.  It was no longer practical to carry either one and I felt as if that was a change I could deal with, besides with a right shoulder that was getting accustomed to being dislocated at least 2 times a year and a left one that had already been rebuilt, they were becoming a bit of a drag.  My knees demanded more.  I sold my heaviest lens.  That was not enough!  I stopped doing most of the glamor shoots, as the lighting equipment was getting too heavy for me to set up, shoot and take down.  Still my knees were not satisfied!  I stopped carrying prime lenses and reduced the number of zooms.  My knees were still angry with me!  I now use a bag that holds either the camera and a lens or the camera and a flash.  It hasn’t helped reduce the pain.

My battle with Arthritis has been fought using everything I could find that had a greater than 50% chance of providing relief and could back up the claim with actual peer-reviewed science.  I do not like pseudoscience.  I tried some of the “remedies that others swear by, but found them useless at improving my symptoms and a drain on my wallet!  The RICE principle (Rest, Ice, Compression and Elevation) provided the best outcome early on, but due to the nature of the disease it is not as effective these days.  I have used Acetaminophen, Aspirin, Ibuprofen, Naproxen Sodium and COX2 Inhibitors over time and found them to be wanting in both actual relief and more irritating to my stomach.  I do exercises to keep my range of motion and try to maintain as much strength as possible.  The only medication that has actually provided relief, although only for a 2 month period at a time, has been Synvisc (Hylan G F 20).  Unfortunately it is only given at 6 month intervals, which means that I get to suffer for 8 months out of the year!  At least with Synvisc, I do not need to take pain medication!  The downside of Synvisc is that each time it has worn off, my knees seem to hurt more than they did the week prior to the injection.

Since photography is the art form I used to use to alleviate stress, I find it very stressful these days when I pick up my camera during the 4 month period of pain I am forced to endure.

 
 January 4, 2010  Posted by Habenero at 3:29 pm How To, Location, Photography , , , , , ,  No Responses »

When you take photos, how you post process them is dependent upon the output format you plan to display them.  If you are using them only for email or web pages, you are pretty much done as soon as you cut the resolution and size down and create the jpeg.  If you plan to make hard copies of the images, a bit more work is required.  How do I ensure what my screen shows me will match the print?  How large is the final print?  Where is it going to be displayed?  What is the best method to produce the print?  The answer to these questions determine the survivability of your print.

To ensure that what you monitor shows you matches the print can be done in several ways.  The best method (and the only one worth doing) is calibrating your monitor to the industry standard.  There are several manufacturers that make tools for doing this.  I own a Spyder 2.  Calibrate your monitor at least once a month, more often as it ages, and every time you move the monitor to a new location.  When calibrating your monitor keep the lighting around it at the same level it normally is when you edit photos, as ambient light affects the calibration results.  There are some calibration target photos you can adjust your monitor with, but they do not ensure your monitor is meeting the industry standards, and if you adjust your monitor using them there is no guarantee that your printed image will match very well.  The absolutely worst way to adjust your monitor is to print an image and then adjust your monitor to match.  Doing that only makes your printed images and monitor match, but if you have to send the file to someone else, it may look extremely bad!  Whichever method you use, remain consistent with it.  The biggest advantage of a calibrated monitor is the uniformity your images will have between different displays and printing devices.

Email and web use generally does not need a resolution greater than 72 DPI, and a maximum dimension of around 10″ These settings produce very good images for most computer applications, but printing them gives poor results.  Further security for the images can be made by encasing them in flash files, disabling right clicking, water marking, or any combination of these techniques,  Be assured, if somebody really wants to steal an image from your site, they can, so only allow them to get an image that is of low resolution.  Keep your high resolution files on your computer and an external media (CD, DVD, External HD, Etc.)

Post processing for a printed image takes more care.  Images on the screen have about 7 stops of lightness (about the same as slide film) whereas, paper handles about 5 stops.  The excess information has to be removed and either you will be doing it on your computer, or you are at the mercy of someone else.  Even if you print the files straight from the camera, you are ceding the post processing to the camera’s and the printer’s manufacturers.  The results may be good, but they will be weighted towards making an average shot that includes people.  Since I am a control freak when it comes to my images, I post process them using Adobe Photoshop.  I shoot in camera raw, which gives me the maximum amount of data my Nikon D300 can gather.  I adjust color temperature, brightness, contrast and the histogram Adobe Camera Raw and then export a PSD file to Photoshop.  There I fine tune using curves and saturation in adjustment layers and masks.  I try to find out what the lighting will be in the area that my photos will be seen and adjust the color to create the best image for that kind of lighting.  Just prior to sending the file to the printer, I make a final adjustment so that my output file will match the printers profile for the paper that has been chosen.

Printers, whether attached to your computer or located in a lab often have a profile or digital print parameter file that can be applied to your image so that the calibrated monitor will show you a truer representation of the finished product.  Epson, Canon and HP have generalized profiles that are to be used for specific papers run through the printer.  If you choose to go a more commercial route, many of the labs have down loadable profiles for the same purpose.  When you have a file that has been optimized for a specific printer, you will get the best results.  If you have a lab make prints for you and you have already optimized the file, be sure to inform the lab technician that ALL CORRECTIONS MUST BE OFF.  This is because most labs deal with people that have not bothered to do any adjustments on their own and your efforts will be trashed if the computer in the equipment tries to further enhance your work.

I base my current print output on the cost. Printing at home costs about $4.50 to print an 8″ x 12″ print on my Epson when  archival  ink and paper are added up.  Since I have a local lab (Costco) that can produce an image on Fuji Archival Paper for $1.99, it wouldn’t require being a genius to figure out which place is getting my business (sorry Epson).