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iPhoto '09 as Your Geotagging Tool?


It's quite possible that iPhoto '09 may turn out to be the easiest way to geotag images for most hobbyist photographers. You don't have to worry about having a camera that tags at capture. Instead, it's very easy to add the information once your images are in iPhoto using the new Places functionality. (And I mean very easy.)

The key to success for me was: once you tag the image in iPhoto, could you export it with that location data? Since geodata is stored in the EXIF, you can't just write to those fields like you can with IPTC metadata (such as your copyright). I had been frustrated with tools such as Maperture, which do a good enough job of tagging while working in Aperture, but when you export the images, the geodata doesn't travel with them.


iPhoto '09 fixes that. When you export a geotagged image, be sure to check the box labeled "Include Location information." iPhoto then writes the geodata to the EXIF during export. You end up with a nicely geotagged image that you can share anywhere. I've tested this, and so far, I'm very pleased. I'll follow up with more on this in future posts.

See My Other Posts on Geotagging

First Look at Jobo photoGPS Device and Software

Update to Geotagging Workflow, Including Jobo photoGPS

Finding a Reasonable Geotagging Workflow

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In my film days, I loved fine art B&W prints. I didn't necessarily like the process of producing the prints, particularly working with chemicals, but I did enjoy the final product. I'm in love again, this time making B&W prints via inkjets. The final product looks beautiful, but now I get to bypass the noxious chemicals and work at my desk. It really does feel like the best of both worlds.

This is the first installment of a series on B&W inkjet printing. Today, I have some great starter information to point you to, including recommendations for paper stock. Then, in upcoming installments, I put some of these practices to work on standard inkjet printers such as the Epson R2400.

B&W Printing Primer

As I mentioned in my podcasts, I've been working with Red River Paper, a faithful sponsor of The Digital Story. They recently published an excellent Primer on B&W Printing that covers printers, papers, software, ink, and lots of resources. It's perfect for getting started in this endeavor.

Paper Options

The type of paper you put your image on has a big influence on how it will look. Here's a good paper selection overview for B&W printing that will help you make the right choice for the effect you want to achieve.

A Word About Software

I always start with a color image, usually one that was captured in Raw, then convert a version of it to B&W. This allows me to record all of the information the camera has to offer, and have complete control over the grayscale conversion.

I prefer to work with software that allows me to make virtual copies of the color image. This enables me to try different techniques without cluttering up my hard drive with multiple copies of an image. Aperture and Lightroom both have this ability, plus they both have terrific tools for converting to monochrome and fine tuning the image.

Get Your Tools Together

If you're interested in B&W printing, then read the primer, get your printing supplies together, and decide which software you want to use to manage the project. Then stay tuned for more information here on producing great B&W images from your inkjet. If you have immediate questions or comments, feel free to post them at the end of this article.

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

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The Olympus E-30 12.3 MP DSLR has brought back a feature I haven't worked with since the film days: true multiple exposure capability. And unlike the film days, with the E-30's Live View functionality, it's much easier to compose your multiple exposure compositions because the previous exposure serves as an overlay while you compose the next. You can combine up to 4 exposures into a Jpeg or Raw file. That's right, the E-30 will build a Raw file for you based on multiple exposure information. After testing this feature, I found this to be a huge asset.

Let's start with a simple 2-shot multiple exposure I captured at Schulz Museum in Santa Rosa, CA. I super imposed my favorite Schulz character, Woodstock (he was a writer after all!) on to a sign with the Schulz logo and museum information. Using Live View, it was simple to make the two-image composition.


The challenge I had with multiple exposures in the past, was there was always an element in the shot that I wanted to change. But since the image was already committed to film, there wasn't much I could do about it. Now, thanks to the ability to capture Raw, I have much more flexibility once I return to the computer. The main thing I wanted to do with this image, other than bump the contrast and saturation, was to tone down the top feathers on Woodstock's head because I found them distracting against the logo as shot. (See above image.)


I first made my global adjustments in Adobe Camera Raw 5.2 (using the workflow I recommend in my book, The Photoshop CS4 Companion for Photographers.) Then I opened the image in Photoshop CS4, and created a new layer for cloning. I completely cloned out the feathers that were on top of the logo, then decreased the opacity for that layer until the image looked the way I wanted. The entire post production process was less than 15 minutes. In part, because the hard work of combining the images was taken care of at capture. All I had to do was a little touch up work.

You can also keep a catalog of images on the xD card in the camera (yes the E-30 has xD and CF card slots) and use them as a stock library for overlays. So you don't even have to create the multiple exposure on the spot. You can sit in the comfort of your home and play with the images you have on the E-30 to create entirely new works of art.

There are many features on the Olympus E-30 that I like, but the ability to combine images -- either at capture or in Play mode -- helps make the E-30 one of the most creative capture tools I own.

Woodstock multiple exposure captured with an Olympus E-30 DSLR with a 12mm-60mm f/2.8-4.0 Olympus zoom, 1/125th at f/5.6.

Also see my article on the SoftFocus Art Filter function in the Olympus E-30.

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After learning that the Mac software wasn't ready yet for the Jobo photoGPS Geo Tagging Flash Shoe, I decided to upload VMware Fusion on my MacBook and set up a Windows Vista "guest." I then downloaded the latest version of the photoGPS software and connected the device via the bundled USB cord.

The first thing that I learned is that you have to configure the photoGPS device with the software before you can actually use it. So the shoot that I did last week wasn't on the device. I clicked on the "Configure Device" button, waited a few seconds, and was informed that the device was ready to go.

I went outside and snapped a few pictures (in Jpeg format) with the photoGPS mounted in the hotshoe of my Canon 5D Mark II. This time, when I hooked up the photoGPS to the computer, there was data available. I downloaded the data from the device, copied the pictures from my camera to the computer hard drive, then clicked the "Match Photos" button. The photoGPS software had no problem matching the geodata to the images. Each picture was tagged with "Lat/Long/Alt" plus street address (no number, but street, city, state, country), and nearby Points of Interest, which I thought was pretty cool.

I then opened the Jpegs in Apple Preview and Apple Aperture. All of the data was there, including the POIs added to the caption field for each shot. I thought this was pretty cool. In either application, I could look at a map view to see exactly how accurate the data was. For two of the three images, the geodata was very accurate, within 3 meters. The third image was less so, about 10 meters off the mark.

I judge the performance to be reasonable for a $175 hardware/software solution. I like how the photoGPS mounts in the hot shoe and stays out of my way. And even though the Windows version of the software isn't handsome, it does work well. This is not a device for pinpoint accuracy. But if you can live with a 5-10 meter range, then it does provide you with lots of information.

In my next test, I'll shoot Raw only, and we'll see what happens.

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If Shooting an Event, Use a Shot List


I've been working with clients on an upcoming wedding in February, and once again I'm amazed at how many issues have surfaced while collaborating on the shot list. After two weeks of back and forth, it's a different event than had originally been portrayed.

This is why I am such a proponent of shot lists for event photography. It is the best tool for discovering client expectations and seeing what is actually going on in their head. Many shooters have asked me, "Can't you simply discuss the wedding with the client?" You can, and you should. But don't let those conversations be your blueprint for the event.

First, there is no record of what you agreed upon. After the wedding is over, and they are complaining about a shot you missed, it's your word against theirs, and that's not a situation you want with a client. People sometimes "think" they told you something, but don't actually verbalize it.

A shot list is also your opportunity to fine tune the timing of the shoot. If the client, for example, lines up 20 group shots after the ceremony, but only provides 15 minutes between the end of the ceremony and the start of the reception, you need to intervene and suggest alternatives. I usually go three rounds of working out the shot list with clients, and most of that time is spent smoothing out the flow of the day.

Once everyone is satisfied with the contents and timing of the shot list, make sure the clients get a final copy and approve it. Also make sure that all of your assistants (and you) have it in your pocket during the event. I have one assistant assigned to checking off items during the course of the event. In the end, this leads to a less nerve-racking shoot for you and more satisfied clients.

If you need a starting point for a wedding shot list, you can download a sample shot list here. I highly advise you use a shot list for every event.

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FotoTimer made by Mac About Town, provides a nifty self-timer for your iPhone. In fact, it's better than many of the self-timers built into dedicated digital cameras. You can set the delay for 2, 5, 10, or 20 seconds. This $1.99 program available from the iTunes App Store will help you capture sharp images with the iPhone. Just set it down, set the timer, stand back, and let it record the image. For anyone who enjoys photography with their iPhone, I would consider this app essential.

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I'm moving forward on this geotagging project on two fronts. One task is to geotag everthing I've already shot in 2009. On the second front, I want to use a GPS device to create data while I'm in the field.

For the GPS device, I decided to give the Jobo photoGPS Geo Tagging Flash Shoe a try because of its small size and ability to stay out of the way in the hotshoe of my camera. The Amazon listing, and everywhere else I looked, said that the Mac software would be ready by the end of 2008. So I naively expected it to be in the box with the photoGPS.

What I did find in the box was a link on a CD to a mailing list that would notify me when the Mac software was ready. No timeframe is listed. Just sign up for the list, and we'll let you know. OK, not so great.

I'm going to hold off reviewing this device until I actually incorporate it into my workflow. At the moment, I'm probably going to have to try the Windows version of the bundled software to learn more about it. Note to Jobo: It's 2009.

The second part of the project is going a little better. I've decided to try Maperture for the images already in my Aperture library. This plug-in is free and easy to use. Ubermind provides a nifty screencast to provide a hands-on overview of the product. I'm still getting to know Maperture, and will have more details about it after further testing. But my first impression is good.

I should have another update sometime next week. Once I get everything working to my satisfaction, I'll also record a podcast on geotagging. More soon.

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What a great story! I was reading the Amazing Coverage of U.S. Airways Rescue story on PDN and thinking about how citizen journalism is having an impact on our nation's news reporting. The U.S. Airways Flight 1549 crash and rescue in the Hudson River has to be one of the top stories of 2009, and the iconic image of the rescue was capture with an iPhone. If there ever was an argument for, "the best camera is the one you have with you," this is it.

According to PDN writer Jim Davidson: "The star of the early coverage is a Florida tourist named Janis Krums of Sarasota, Florida, who was on one of the ferry boats in the Hudson River in New York when the plane crashed. Krums posted a photo from his iPhone, Twittered about the crash and did an interview with MSNBC."

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Macworld Magazine just published an article I've been working on for a while, Five Adobe CS4 goodies for photographers. In the piece, I talk about some unexpected helpers found in the bundled Bridge CS4 and Adobe Camera Raw 5. Things like Review Mode, Collections, and the Targeted Adjustment Tool can really make your workflow smoother. This piece is a quick read and provides a nice overview.

On O'Reilly Media, I just published Networked Printers and Speakers with AirPort WiFi that shows how I configured my new WiFi network to accommodate several printers and provide remote-controlled music throughout my 2-story studio. It's a lot of fun if you enjoy network tomfoolery.

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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.

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Now that the price of a Ray Flash ring flash adapter has been lowered to $199.95, I thought you might enjoy this video by John Ricard on the Strobist site where John films a model shoot comparing the $200 Ray Flash adapter to a $1,000 ring light. Plus, it's educational to watch how John sets up the model shoot and evaluates the results.

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