Of all the DIY projects we write about, light modifiers are still my favorite. I have a nifty collection of flash diffusers and unusual lighting tricks that I think you'll want to keep in your back pocket.

The DIY Flash Diffuser with Paper and Rubber Band is one of the coolest and simplest devices to date. All you need is an old press release and a rubber band.

And don't forget about this Ring Flash Diffuser for a compact camera. Finally, a legitimate use for styrofoam.

Here's a collection of Five Poorman's Lighting Mods from DIYPhotography.net. I think the barf bag flash diffuser might be my favorite from this list.

And finally, one of the all time classics is to use a windshield reflector from your car as a fill light for outdoor portraits. My favorite of these reflectors (designed to keep your car cool on hot days) has white on the inside and silver on the out. This gives you two surfaces to choose from depending on how intense your fill light needs to be. Give it a try!

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Raw processing: it's harder than it looks. I was thrilled to see that Adobe has released Adobe Camera Raw 5.6, Lightroom 2.6 Release Candidates that supports 19 new Raw profiles, including for the Canon PowerShot S90. I like using the Bridge/ACR workflow for quick turnaround jobs, and being able to bring the S90 into that flow is terrific news.

Comparison of an S90 raw file processed in Canon's Digital Photo Professional (left) and ACR 5.6 RC (right). The Bridge preview (middle) shows just how much work the two processors do before you ever move a slider. You can see full size versions on the Digital Story Flickr page. (Click to enlarge).

But Raw processing often includes more than just getting the exposure and color right. In the case of the S90, it also has to correct for distortion and handle other important aspects of making the picture look good. I had already processed Raw files using Canon's own Digital Photo Professional, and the images shaped up nicely. How would the Adobe ACR 5.6 Release Candidate stack up?

As it turns out, quite well. I've included an S90 shot here that was captured at the wide end of the lens (7.5 mm, or about 35mm in standard terms). There was quite a bit of distortion as you can see in the uncorrected version that I previewed in Bridge (middle). But when I opened the picture in ACR 5.6 RC (right), you can see that much of the distortion was corrected. Wow! I expected DPP to do that (left), but was crossing my fingers that ACR was up to the task as well. And it is.

You can see bigger versions of all three images on the Digital Story Flickr page. You'll notice that ACR does interpret the file differently than DPP. I used the "Standard" profile for DPP, and the "Camera Standard" profile in ACR. I tried to add the same amount of sharpening in ACR that DPP automatically adds, but didn't make any other adjustments in either application. I then took a high resolution, 100 percent, screenshot of each of the processed previews.

I like the interpretations by both DPP and ACR. I give the initial processing nod to DPP, but have better tools for adjustment in ACR. Compare either to the preview in Bridge, and you'll see just how excellent they both are.

For my own work, I'll probably use ACR 5.6 or Lightroom 2.6 most of the time for the Canon S90. But for certain images, I won't hesitate to open them up in Digital Photo Professional to see how Canon renders the file. Options are good, and we have two excellent ones here.

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I just got a fairly comprehensive press release from Adobe about their Camera Raw 5.6 and Lightroom 2.6 release candidates. I'm quite interested in these because they provide Raw support for a few of the cameras I've been writing about lately, namely the Canon S90 and Olympus E-P2. So Here's the scoop from Adobe.

Newly Supported Camera Models
Canon EOS 7D
Canon PowerShot G11
Canon PowerShot S90
Leaf Aptus II 5
Mamiya DM22, DM28, DM33, DM56, M18, M22, M31
Nikon D3s
Olympus E-P2
Pentax K-x
Panasonic FZ38
Sigma DP1s
Sony A500
Sony A550
Sony A850

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While I was parked at a county gas station, I noticed this pair of classic phone booths at the edge of the asphalt. It dawned on me that in just a few years we probably won't see many of these icons. Very few are operable any more, and it just seems like a matter of time before they're removed once and for all.

As a kid, phone booths represented mobility. You could place a call from anywhere to anywhere if you had change in your pocket. They were Superman's changing room, and the temporary offices for anyone who had to make a connection.

But the rise of cell phones have taken their toll on phone booths. Glad I had a camera with me when I spotted these.

"Old Phone Booth" captured with a Canon S90 in Aperture Priority mode at f/5.6 at 1/40th, ISO 80. Raw file processed in Canon DPP. Click on image to enlarge.

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Most images captured before 1999 were recorded on film. For many photographers, amateurs and pros alike, that means that unless those pictures are digitized and incorporated into our existing workflows, they are probably not getting the attention they deserve. In this podcast, I cover what I believe is the easiest way to move large quantities of pictures from analog to digital.

The research and testing for this podcast was orginally conducted for my Macworld article titled, Outsource your photo scanning projects. After you listen to today's show, I encourage you to read the article if you're considering embarking upon this type of project. Not only do I include lots of details that you'll find useful, many readers have also contributed ideas based on their experiences.

Listen to the Podcast

You can also download the podcast here (25 minutes). Or better yet, subscribe to the podcast in iTunes.

Monthly Photo Assignment

Wrinkles is the Nov. 2009 Photo Assignment. Keep in mind that side lighting increases texture and front lighting hides it. So you should be thinking angled lighting for this one. You can read more about how to submit on our Member Participation page. Deadline for entry is Nov. 30, 2009.

More Ways to Participate

Want to share photos and talk with other members in our virtual camera club? Check out our Flickr Public Group. It's a blast!

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SiteGrinder lets you take ownership of your websites. Effortlessly output pages right from Photoshop.

Red River Paper -- Try the $7.99 Sample Kit.

Add Magic to Your Slideshows -- FotoMagico presentations are so amazing that your audience will be asking how you did it.

Technorati Tags: digital photography, podcast, technique, Technology, The Digital Story, tips

The Canon PowerShot S90 and the Olympus E-P2 are two of the more tantalizing portable cameras in the news right now. The S90 is a sophisticated compact that slides in your shirt pocket, and the E-P2 is a larger micro four thirds system camera that offers interchangeable lenses, electronic flashes, and even two different accessory viewfinders. It has a bigger 12.3-megapixel, four thirds sized image sensor compared to the S90's 10 megapixel, 1/1.7-inch CCD. But these two cameras do have one thing in common, they both preform admirably in low light.

I know this because I've tested each individually. Back in June, I tested the Olympus E-P1 for image noise, and was happily surprised that it performed great up to ISO 1600, and decently up to 3200. Since then, I've done plenty of real world street shooting with the E-P1, and have been happy with the results.

I've also been testing the Canon S90. Just last week I pitted it against a Canon G9, and the S90 blew it out of the water.

So, how would the pixels shake out if we compared the $430 Canon S90 against the more expensive Olympus E-P2? Well, that's exactly what I did with this test. You can see the full sized test shots at ISO 100, 400, 1600, and 3200 on the TDS Flickr site. I've included a lower resolution image here too for reference. But to really see the differences, you need to look at the full sized shots on Flickr.

The bottom line? The Canon S90 put up an excellent fight. At ISO 100, it's hard to tell much of a difference between the two cameras. By ISO 400, they are still going toe to toe. But at ISO 1600, the E-P2 begins to pull away from the S90. And the difference becomes even greater at ISO 3200. The biggest advantage I see at 1600 and 3200 for the E-P2 is that it retains more image detail than the S90. My guess is, that by 1600, the S90's noise reduction system is beginning to take its toll on sharpness.

The test itself was very simple. I tripod mounted both cameras and put them in Programmed Exposure mode with Auto White Balance. I made not other adjustments other than moving the ISO setting from 100 to 3200 in full stop increments. I then opened each image in Photoshop at 100 percent and positioned the pairs side by side. I did not apply any image editing to the shots.

For small sensor cameras, I think both look great. And even though there are lots of feature differences between the two models, one thing we know for sure: each can handle itself just fine when the lights go down.

More Articles About the Canon S90 and Olympus E-P1 and E-P2

Did Canon Really Improve Image Noise with the PowerShot S90?

"Compacts for Serious Shooters" - Digital Photography Podcast 201

Is the Canon S90 the New G11?

Five Lesser Know (but very cool) Features on the Canon S90

Olympus E-P2 Black Body and Electronic Viewfinder

Street Shooting Technique with the Compact Olympus E-P1

HD Video Capture with Olympus E-P1

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I find the Canon PowerShot S90 one of the most interesting compact cameras available today. No doubt you've heard about some of its most popular features: records in Raw, sports a programmable click-stop Control Ring, and uses the same sensor and image processing as the Canon G11. But as I've worked with this camera, I've discovered a number of more subtle features that I think are noteworthy, and that you might appreciate.

Versatile Erase Options - When you shoot in Raw+Jpeg, as I often do, you have three erase options when you press the trashcan button: Raw only, Jpeg only, or Raw+Jpeg. I think it's so intelligent having complete control over what you delete.

Semi Auto White Balance - In auto white balance, you have the option or rotating the Control Ring to tweak the white balance in the blue or red direction. If you hit the Display button, you can also adjust green and magenta too. This is much more precise than using the presets. And it makes Auto White Balance truly useful, because it is now an intelligent starting point instead of the final destination.

Smart Self Timer - In the standard self timer mode, I can set how long I want the timer to run (between 1-30 seconds in 1 second increments) and for how many shots (between 1-10). So if I want a 5 second delay for 4 continuous shots, it's not a problem. Why haven't we always had this?

Manual Flash Output - When you shoot in Manual exposure mode, the flash exposure compensation scale changes from the standard + and - to a flash output control. You can manually set the flash to 1/3, 2/3, or full power. Works great! It's also more intuitive than flash exposure compensation.

Low Light Shooting on Mode Dial - The S90 performs admirably well in low light (see my ISO tests for more information), and you have lots of exposure controls to choose from. But if you want to quickly switch to low light shooting, just choose the candle icon on the Mode Dial. This enables all of the S90's low light functionality with a single, easy-to-get-to setting. The downside, it only records in Jpeg in this mode.

So how do I configure this camera for my every day shooting? After trying lots of combinations, my favorite way to work is to set the mode dial in Aperture Priority (AV); set the Control Ring to Step Zoom so I can click stop between 28, 35, 50, 85, and 105mm focal lengths, then adjust the f/stop with the Control Dial on the back of the camera. I set the Shortcut button to enable the Exposure Lock. With this set up, I feel like I'm shooting with DSLR that just happens to be very, very small.

More Articles About the Canon S90

Did Canon Really Improve Image Noise with the PowerShot S90?

"Compacts for Serious Shooters" - Digital Photography Podcast 201

Is the Canon S90 the New G11?

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If you want to take advantage of iPhoto's latest capabilities, but don't want to commit your master images to its internal database, there is a way. You can set up a referenced library scenario that allows you the freedom to switch among any non-destructive photo manager -- such as Aperture, iPhoto, Lightroom, and Adobe Bridge -- for the same set of original images. And none of them will alter your originals in any way. It's not an approach for the average consumer. But photographers desiring lots of flexibility might be interested.

In my latest Macworld article, Store photos outside of iPhoto's library, I show you how to set up a catalog of master images on a separate hard drive, then "point" iPhoto to them. Instead of ingesting your masters into its internal database, iPhoto notes their location, then refers to them when you need to work.

There are lots of insightful comments that accompany the article, and I encourage you to read them all. One very important point that comes up in the ensuing discussion is that you should test this method of image management first before committing your entire library to it. But for certain people, this approach allows you to play with new iPhoto features such as geotagging and face recognition, while still having the flexibility to use other applications with that same set of images.

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In the article, The Conversation Has Shifted from Megapixels to Image Noise, I observed that we've moved on, at least temporarily, from the megapixel wars. Case in point with my own cameras. The Canon G9 that I reviewed on Oct. 2, 2007 squeezed 12.1 megapixels on to a 1/1.7 inch CCD sensor and processed the information with a DIGIC 3 processor. Now, two years later, both the Canon G11 and S90 have upgraded to DIGIC 4 processors, but only 10 megapixels on the same sensor. Why step backwards? Well, in part because we asked Canon to. Our theory was that if you cram fewer photosites on to the same sized CCD, you'd generate less heat, and therefore have less image noise at higher ISO settings.

Improvement with the S90? You betcha! Side-by-side comparison of ISO 1600 shots with the Canon S90 and two year old G9. Even in these smaller shots (click on image to enlarge) you can see a big difference. Go to the full-sized comparisons to see more detail.

Were we right? I decided to run a comparison between the Canon G9 (a camera near and dear to my heart) against the new PowerShot S90. I mounted each camera on a tripod, set the aperture to 5.6, and took shots of the same subject in the same lighting at ISOs 80, 400, 800, and 1600. I then published full sized comparisons that you can view at 100 percent and judge for yourself. No image editing of any kind for these shots. They were high quality Jpegs that I spliced together in Photoshop, and then left it at that.

My conclusion? No contest. The S90 is clearly the better camera at ISO 400 and above. In this case, Canon found a way to make our theory correct. Take a look at the posted samples and decide for yourself.

As for me... well, I'm impressed with the image improvements in the Canon PowerShot S90. There are plenty of other features I like too, and I'll touch on those in a subsequent post.

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I just read a short, but informative tutorial titled, How to Create 3D Images, where Mark Evans encourages you to hang on to those 3D glasses you used at the movie theater. Why? Well, you can quickly create your own 3D pictures in Photoshop and put those wonky glasses to use. Take a peek... it's easy.

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For the last few years, many of us photographers have been watching the megapixel wars and wondering when camera manufacturers would call a cease fire. Yes, resolution is great. But not to the point where it degrades image quality, especially when working in low light.

Well, the cease fire is here. Nikon has remained conservative on the resolution in its DSLR line, focusing on image quality, and has had great success in 2009. Olympus has stuck with its 12 megapixel ceiling and produced the high ISO performing E-P1 and E-P2. But the real shocker for me was when Canon actually stepped back on resolution for the PowerShot G11. The previous model, G10, sported a 1/1.7-inch CCD that provided 14.7-megapixels of resolution. The new G11 has dropped the megapixels to 10.4 on the same size sensor. All of this as part of an overall effort to improve image quality, especially at higher ISO settings such as 400, 800, and even 1600.

How much noise is too much? This shot at Grand Central Station was captured with an Olympus E-P1 at ISO 3200. Would I have been able to get the same shot with a flash? You can see the entire set on the TDS Flickr page.

In real world use, this means that we can turn off the flash and shoot existing light more often without our images being as compromised by image noise. We use that term a lot, image noise, but what is it really?

In the article, Noise: Lose It, Part II on Digital PhotoPro, John Paul Caponigro explains that there are three patterns of noise: random, fixed-pattern, and banding, that has two components -- brightness and color (luminance and chromatic). Much of this is a byproduct of boosting the ISO setting on our cameras. For example, John writes:

"Random noise is most sensitive to ISO setting. Again, digital cameras have one native ISO setting; higher ISO settings artificially boost the signal produced by the sensor and the noise accompanying it. The results? You get a brighter picture from less light and exaggerated noise. Since the pattern is random, it's challenging to separate the noise from the image, especially texture, and even the best software used to reduce it through blurring may compromise image sharpness; how much depends on the level of reduction."

For me personally, image noise isn't always a terrible thing. Sometimes it provides the subtle grit that works with a photo. By the same token, I do want to have some control over how much noise appears in my photographs. And I don't want to spend lots of time in post processing to tame it.

So I'm glad the megapixel wars have given way to the image noise challenge. I think many of the latest cameras are going in the right direction, and I look forward to seeing how things play out up the road.

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Super compacts that pack a big wallop are useful additions to any photographer's arsenal. Yes we need our DSLRs for serious shooting, mostly planned activities. And the new system cameras such as the Olympus E-P2 and Panasonic GF1 are great when we want to travel a little lighter. But a compact that slides into your front pocket as you're heading out the door for dinner is important too. It allows us to capture the shots we don't plan. And if it can produce a high quality image in Raw format, then that unexpected shot could become a prize winner.

In this podcast I discuss three super compacts that have pro level capabilities: the Canon PowerShot S90, Panasonic Lumix LX3, and the Leica X1. The Canon is selling for around $430, the Panasonic in the $485 neighborhood, and the Leica, well, it's a Leica ($2,000). There are other interesting cameras in this category, but these three really caught my eye, and I explain why in the show.

Listen to the Podcast

You can also download the podcast here (28 minutes). Or better yet, subscribe to the podcast in iTunes.

Monthly Photo Assignment

Wrinkles is the Nov. 2009 Photo Assignment. Keep in mind that side lighting increases texture and front lighting hides it. So you should be thinking angled lighting for this one. You can read more about how to submit on our Member Participation page. Deadline for entry is Nov. 30, 2009.

More Ways to Participate

Want to share photos and talk with other members in our virtual camera club? Check out our Flickr Public Group. It's a blast!

Follow me on Twitter

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SiteGrinder lets you take ownership of your websites. Effortlessly output pages right from Photoshop.

Red River Paper -- Try the $7.99 Sample Kit.

Add Magic to Your Slideshows -- FotoMagico presentations are so amazing that your audience will be asking how you did it.

Technorati Tags: digital photography, podcast, technique, Technology, The Digital Story, tips

If you travel with a roller suitcase, then you can easily convert it into a tripod for long exposures through the hotel window and for general photography work around the room. And the best part is, this conversion only adds another 6 ounces to your travel load.

All you have to do is position the suitcase where you need your "tripod," extend the handle, then attach the Pedco UltraClamp Assembly ($23.25) and mount your camera. The UltraClamp can support any compact camera, and most light DSLRs such as the Canon Rebel T1i with kit lens. I've used this rig for years, and the UltraClamp works as well today as it did when I first bought it. Plus, you can mount it to chairs, tables, or anywhere else the clamp will tighten. Unlike other rigs of this ilk, the UltraClamp includes a ball head, so chances are you'll be able to position the camera exactly as you need.

When I'm in big cities, I love taking night shots through hotel windows. I'm usually up fairly high and have a good perspective on the hustle and bustle below me. Be sure to turn off room lights if you're shooting through glass, and get the camera lens as close to the window as possible. I also recommend using the self-timer to ensure you don't jar the camera when you press the shutter button.

But wait... there's more! I also make sure I have a few heavy duty rubber bands packed when I travel. They come in handy for all sorts of tasks, including making this portable mic stand from the extended suitcase handle. The one thing I don't want to do is hold the mic when I record TDS podcasts on the road. Those rustling sounds are quite annoying. So I mount the microphone on the suitcase handle and sit on the edge of the bed to record the show. It works great.

Roller suitcases are definitely handy in the airport as you travel from one terminal to the other. But they're also useful once you reach your destination... that is, if you've packed a few key accessories to transform them into creative tools.

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Now that we've been shooting with digital cameras for a while, we're starting to see interest in going back into our archives and digitizing old snapshots too. This process requires some of the same organization as we're already using to keep track of photos on our computer. Plus, there are a few other things to consider that are unique to scanning.

In my Macworld article, Four smart tips for managing scanned photos, I discuss how iPhoto can be an excellent tool for managing recently digitized images. One you add the scan to your library, you can correct the capture date, add location data, and make a few basic image edits too.

You'll also want to think about how you're going to archive this material. One thing that I like to do is organize the original photo in a binder with archival sleeves, and note the file name and location of the digitized version with it. That way, not only can you extend the life of the original print, you always know where the digitized copy is too.

Any of the photo management applications can work for managing scanned photos, Lightroom and Aperture are great examples. But everyone who has a Mac has iPhoto. And even if you're not using it to organize shots from your digital camera, it's a good tool for projects like this.

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While I was in Washington DC, teaching at the Photoshop LIVE conference, the good folks over at We Love DC put together an evening photowalk. And they were kind enough to invite me. We had a great time. So, as you've read in earlier posts, when I go street shooting, I often decide which rig I want to use, then try stick with it the entire time. This outing, I went with the Canon 5D Mark II and my trusty 85mm f/1.8 lens.

An interesting side note about the 85mm f/1.8. One of the photowalk participants noted my glass, then he said with a smile: "As yes, the 85mm f/1.8 -- my favorite lens that I rarely use." If you fall into this category, then I say break it out of storage and get to shooting with it. It's been around for a while, but it's a beautiful lens.

I began the evening while there was still some light in the sky, so I set the ISO to 800. As it became darker, I moved to ISO 1600 and even shot a few frames at 3200. Most of the time, I was in Aperture Priority mode, locking the camera in at f/1.8 and letting it figure out the best shutter speed. I overexpose by a half stop in these conditions, just to keep the blacks from plugging up too much. Another trick to help corral those wild tonal extremes is to shoot in Raw, then process in Aperture. (People keep asking me if I still use Aperture. Well, yes! All of my Canon Raw files are processed with it. By the same token, I use Lightroom and ACR for the Olympus E-P1. I'm just trying to use the best tool for the job at hand.)

I did pack a monopod, but as is often the case, I never pulled it out of my Lowepro Fastpack 250. I love monopods, but they sometimes slow me down while street shooting. So I usually opt for bracing myself against a wall or a poll during capture instead of mounting the camera on a stabilizing device. Plus, I think it's important to experiment with a variety of shooting angles, and I can become trapped into shooting everything at the same level with a monopod.

Photos by Derrick Story. Captured with a Canon 5D Mark II and an 85mm f/1.8 lens. Click on picture to zoom to larger size. More images from this collection are available at the Digital Story Flickr page.

For example, the shot of the red scooter was taking shape about 50 yards away. So I had to sprint into position, then get down low on one knee to frame the shot the way I wanted. I probably would have missed it all together with a monopod. And I hate missing shots!

You can see larger versions of these images, plus more frames from this shoot by visiting the Washington DC set on The Digital Story Flickr page. The last seven shots in that set are with the 5D Mark II, and the first five, recorded earlier that day in a different part of town, were with the Olympus E-P1.

And thanks to all the DC folks for their great hospitality during my visit! It's quite a friendly town for such a big city.

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Olympus has announced the E-P2, micro four thirds digital camera. In large part, the basic specs are quite similar to the E-P1, with a few interesting changes:

• Black metal body more like the original PEN camera
• Accessory port to accommodate the included detachable VF-2 Electronic View Finder (EVF), or optional external microphone adapter EMA-1
• New Continuous Autofocus (C-AF) tracking system follows the subject across, or back-and-forward through the frame
• Two new art filters, Diorama and Cross Process, that can be applied to both still images and HD videos
• iEnhance to automatically adjust color and contrast for a more dramatic effect
• Full manual control of shutter speed and aperture setting in movie mode
• HDMI control of camera's playback functions using the TV Remote when the camera is connected to an HDTV

Electronic Viewfinder VF-2

Of all the new features included with the E-P2, the VF-2 electronic viewfinder was the most interesting to me. Here are a few of my notes from testing it with a pre-production model.

• Very bright. In fact, when you look at a very low light scene, the VF-2 illuminates it like a night vision scope. This makes it great for composition and focusing, but if you want to judge how the image will be recorded, then switch to the LCD for a quick peek.
• The VF-2 works in perfect concert with both the 14-42mm and 17mm lenses. On the 14-42, it responds in real time as you rotate the zooming ring and focus. You can see you camera setting icons, and it even responds to changes such as white balance settings, though not as accurate of a rendition as on the LCD.
• If you switch to Playback mode, you can review your images while looking into the VF-2.
• It's one or the other when it comes to viewfinders -- either you have the LCD on, or the VF-2. You control this with the button on the back of the VF-2.


• There's a diopter ring on the VF-2 that allows you to adjust it for your eyesight. It's very sharp.
• The eyepiece on the VF-2 rotates upward to 90 degrees. I think this is one of the most practical uses of this accessory, allowing you to position the camera at low angles and look down into the eyepiece.
• The VF-2 slides into the hot shoe, but communicates through the data port on the back side of the hot shoe. Olympus provides a cover for the data port when it is not in use.
• The VF-2 comes with a protective pouch that can be attached to the camera strap. It is very lightweight.

Styling

The black body is quite attractive, in part because it's multi-toned. Olympus designers did a nice job with this design.

Works Great with the 17mm Lens

Not only does the 17mm lens work just as well as always on the E-P2, it looks more dramatic against the black body, and the optical viewfinder looks good as well.

What Hasn't Changed with the E-P2

The LCD is still the 230,000 pixel version that shipped on the E-P1. Image resolution, drive speed, and exposure control remain the same as before, except that you now have manual exposure control in movie mode, which is a big deal.

Bottom Line

All of the new features on the E-P2 are indeed welcomed, but the most interesting to me are the VF-2 electronic viewfinder, audio input module (separate accessory that uses the new data port), and the black body. The new kit should be available in December 2009 for a street price around $1,100, that includes: E-P2 Body with ED 14-42mm f3.5/5.6 Zuiko Digital Zoom Lens, and the Electronic View Finder.

If these new features aren't required for your type of shooting, then the original Olympus E-P1 might be a better choice with its lower price tag (currently around $799 for body and zoom lens).

I'll keep you posted as we learn more.

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When I stepped outside for a bite of lunch after teaching my photography class at Photoshop LIVE, I noticed that it was a beautiful day here in Washington DC. The event was in the The Penn Quarter Conference Center that's right off of Pennsylvania Ave. Directly across the way was the National Archives, which you can see in this photo on the right side of the frame in the distance.

Photo by Derrick Story captured with an Olympus E-P1 and 17mm prime lens. Click on image to enlarge.

I was seated outside eating my sandwich, and I thought to myself, "this is a lovely scene before me." So I pulled out my Olympus E-P1 with the 17mm lens attached, turned the camera vertically, and shot 12 frames moving left to right. I like to shoot these panoramas vertically because I get more height in the image. I also tend to overlap each frame quite a bit so the merging software has lots of information to work with.

When I got back to my hotel room, I uploaded the images and browsed them in Adobe Bridge. They looked pretty good as is, so I selected the entire dozen, then went to Tools > Photoshop > Photomerge. That's right, you can initiate the panorama stitching right there in Bridge. After the images had been processed and opened as a merged, layered document in Photoshop, I played with the composition a bit more using the lens correction filter and Free Transform. The final version is huge -- 14,000 x 4,600 pixels. And it is tack sharp.

I reduced the size and made copies for web publishing, which you see here. The upshot is: I had a lovely meal outside, and made a pretty photo too. That's what I call a great lunch break.

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Here are a few of my favorite tips for ACR, one of the most versatile non-destructive image editors available. Techniques include sharpening, snapshots, and how to master the Basic tab. In this podcast, I share the highlights from my recent talk at Photoshop LIVE in Washington DC.

As a bonus, I've added a couple free screencasts that also show you ACR techniques:

Snapshots and the Targeted Adjustment Tool

Batch Processing

The Photoshop CS4 Companion for Photographers

Learn what photographers need to know to organize and edit their images with Photoshop CS4. Take a look at The Photoshop CS4 Companion for Photographers. It fits in your laptop bag and is very easy on your wallet.

Listen to the Podcast

You can also download the podcast here (28 minutes). Or better yet, subscribe to the podcast in iTunes.

Monthly Photo Assignment

Wrinkles is the Nov. 2009 Photo Assignment. Keep in mind that side lighting increases texture and front lighting hides it. So you should be thinking angled lighting for this one. You can read more about how to submit on our Member Participation page. Deadline for entry is Nov. 30, 2009.

More Ways to Participate

Want to share photos and talk with other members in our virtual camera club? Check out our Flickr Public Group. It's a blast!

Follow me on Twitter

-

SiteGrinder lets you take ownership of your websites. Effortlessly output pages right from Photoshop.

Red River Paper -- Try the $7.99 Sample Kit.

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One of the advantages to being the Photography Evangelist for Lowepro, is that I can test any bag that I want. I've had my eye on the Fastpack 250, so I loaded one up for recent trips to New York City and Washington DC. Since I'm traveling from California (and spend a lot of time walking around these cities once I arrive), this has been an excellent introduction to this backpack-styled bag.

As Time Magazine recently pointed out when they named the Fastpack one of the best 25 travel gadgets of 2009, this bag holds a lot of gear, but fits nicely under airline seats and in overhead compartments. Its wide shoulder straps, padded mesh back, and comfy waistband have enabled me to carry all of my gear, all day, without fatigue. The top handle makes it easy to pick up the bag or pull it out of a storage compartment. In fact, I won't use a bag that doesn't have this feature.

For my urban road trips, I carry a MacBook in laptop pocket (that holds up the 15.4" computer), Canon 5D Mark II body with 24-105mm L lens attached, 70-200mm f/4 L zoom, Speedlite 270EX flash, Canon 85mm f/1.8 lens, Olympus E-P1 with both 14-42mm and 17mm lenses, two external hard drives, M-Audio digital recorder, Audio Technica external mic, cables, accessories, and personal items such as toothbrush, etc. The laptop has its own protected area behind the backpad that's easily accessible via a long zipper that runs the length of the bag. This is particularly nice when going through airport security and I need to remove the computer in a hurry. The Canon 5D Mark II can be quickly reached through a side opening. I found that I can slide the Fastpack off my right shoulder, open the side access, and pull out the Canon in just a few seconds -- terrific for street shooting.

I organize the bag by keeping the camera gear in the bottom compartment with the side access, and stowing my personal gear in the top compartments. Speaking of the bottom compartment, if you unbuckel the security flap that covers the bottom of the bag, you can unzip the entire front area for easy access and organization, as shown in this illustration (click on photo to enlarge it). This also reveals another zippered pocket that's handy for documents. On the other side of the bag is a mesh pocket that's perfect for water bottles, or anything else that you want to grab quickly.

My favorite color combination is the arctic blue and black available at Amazon for $89.95. I was telling a friend today who also has a Fastpack, that I really should be testing other bags too. Problem is, I like this one so much that I don't want to leave it behind.