Quick Quotes: Sam Abell

At the end of June I wrote a post about photographer Michael David Murphy's website "Unphotographable", which he calls a ‘catalog of exceptional mistakes. Photos never taken that weren't meant to be forgotten. Opportunities missed. Simple failures. Occasions when I wished I'd taken the picture, or not forgotten the camera, or had been brave enough to click the shutter.’

Sam Abell has some interesting thoughts about being without a camera when what might have been an interesting photograph is seen. He channels the 'anguish' of missing a shot into the energy needed to make yet better photographs.

"Above all, it's hard learning to live with vivid mental images of scenes I cared for and failed to photograph. It is the edgy existence within me of these unmade images that is the only assurance that the best photographs are yet to be made"

Sam Abell

More Thoughts On PDF Distribution

As I have mentioned in prior posts, I am intrigued by the idea of the distribution of photographic images by PDF. I have now finished the instructional DVD by Brooks Jensen, who has really championed this idea. If anyone is considering producing a PDF photography book and does not have experience with digital documents, the DVD is an absolutely essential resource and I highly recommend it! It turns out that for someone that is not well versed in the use of the needed software there is a somewhat steep, but clearly surmountable, learning curve.

While I do think that the digital distribution of images opens a major chapter in the history of photography, I also believe the viewing experience, as it stands today, is lagging behind the production technology. I suspect that this lag has had a significant effect on its adaption.

I myself have purchased several PDF photography books and also downloaded several photography PDFs from various sites. However, I have to say that I have not fully viewed them and certainly not viewed them in the depth that I would read or examine a printed publication. Likewise, I find that I don't look forward to or regularly read on-line magazines the way I read those that I subscribe to and which I can hold.

I am not really sure why, but it is simply a fact that I just don't seem to give such publications the same attention that I do a printed book. I can think of several reasons for this:

1) It is hard to curl up in bed with a computer.

2) It seems harder to 'get into' the mindset of in depth analysis in front of a computer as opposed to a book, at least for me....perhaps this is related to my age of 51.

3) I tend to feel more rushed or in 'working mode' on a computer and tend to feel more relaxed and in 'free time mode' with a book.

Now, before attributing my feelings to being unable to adapt to new technology, realize that you are reading this on my electronic blog. If anything, I tend towards being a somewhat early adapter. For example, as it relates to digital media, I have an Amazon Kindle e-book reader. In fact, I have the most recently released version with enhanced PDF handling. It is magnificent for reading novels. In fact, for the novel reading experience, I prefer it to hard copy books.

But that same preference doesn't carry through for me when it comes to reading PDF photography publications. In fact, while I have the first 40 LensWork issues on my Kindle from a LensWork DVD I bought on e-Bay (great deal...I think it was something like 20 bucks), I don't find reading them this way to be an enjoyable experience and have largely given up doing so. I also subscribe to LensWork Extended and, while it is a marvelous production, I find I don't read/listen to each and every one of them like I do when it comes to reading the hard copy issues.

I suspect a good part of why I don't prefer reading PDF photography publications on the Kindle is that the technology is still not up to snuff for handling such material. It still doesn't display PDFs all that wonderfully and the resolution/tonality is not fully developed. And, of course, there is no color yet (though that is being worked on as well). As I mentioned, I find that reading them on the computer is simply not comfortable or terribly enjoyable.

In essence, I believe that, at this point in time, the technology related to delivery is ahead of the technology related to usage. However, I am heartened by what I read is currently under development......thin sheets of light bendable materials that one can use to 'curl up in bed with' and read digital media and other technologic 'wonders' in development. So, while I currently think that, at least for my usage, the ability to enjoy PDF publications is not quite 'there' yet, I do think that they are coming and will be here fairly soon. I hope that a few years from now I can enjoy digital media in the same way that I can enjoy a book.

I am wondering what others think and have experienced when it comes to interacting with digital photographic publications.

Yet More On Megapixels and Diffraction

In my last post, I referenced a series of articles on the Luminous Landscape (here and here) which supplemented an even earlier post I had written about an article in Photo Techniques about the effects of diffraction when using sensors with high pixel densities.

In the comments section to yesterday's post, it was pointed out that I had missed another quite enlightening article on the subject by Ctein on The Online Photographer entitled "Why 80 Megapixels Just Won't Be Enough", which gives another viewpoint. Given that not everyone that drops by reads the comments, I thought it would be worthwhile to provide a front page link to that article as well. It is definitely worth reading the whole bunch of these, as well as the readers comments and author responses.

More On Diffraction In Digital Imaging

A bit of a short post today, but one that points out some interesting information. On June 12th, I wrote a post about an article that I had read in Photo Techniques Magazine about the role diffraction plays in digital imaging as it related to aperture and depth of field. That post can be read here.

As a supplement to that information, I would like to point out an on-line article written by Ray Maxwell entitled "Why Moore's Law Does Not Apply To Digital Photography", which was published on The Luminous Landscape website. In the article, Maxwell points out that for full frame 35mm sensors we are currently at the highest resolution or pixel density that can realistically be useful because of the diffraction properties of visible light. He also goes on to discuss, as was noted in the Photo Techniques article, that with the pixel size on the Canon 5D MkII sensor, diffraction limitations come into play by f11.

A very interesting and worthwhile read (that also contains some interesting links) and one that supplements and adds to the article I had previously mentioned.

Addenda: Between the time I wrote this post and put it on-line there has already been a rebuttal article written on The Luminous Landscape to the article I have been referencing. That article can be read here. You really have to read these....they provide interesting insights into where we are and where things might be heading.

Your Photo Tips Blog

This blog was recently featured on another photography blog called "Your Photo Tips", which is published by photographer Damien Franco. I hadn't heard of Damian's blog, but found it after Motivation was mentioned in a post of his.

Interesting, the way we come across things we hadn't known about. I was quite intrigued with Damien's blog and its wide variety of interesting topics. It has something for everyone and is one that is certainly worth keeping up with. I plan to read it regularly and added it to my "Favorite Blogs" list. So check it out, I think you will enjoy it!

More On PDF Publishing Resources

In my March 19th, 2009 post regarding PDF publishing of photographic projects, I wrote the following :


"In Brooks Jensen's recent Lenswork podcast, which one can listen to here, he extols the virtues of using pdf format e-books to enable photographers to reach a wider audience, while avoiding the fiscal constraints that are associated with publishing a physical book. I was intrigued by this, though I wonder if the constraints are as strong as implied given the newer methods of self-publishing associated with print-on-demand services available from companies like Blurb.

Nonetheless, I found the idea interesting and tried to search around the internet a bit for information about designing and producing a pdf photography book. However, I found very little out there. Now, I know very little about using Adobe Acrobat and suspect that my inability to locate information on this subject may simply be that what is required is a good general book about how to use Acrobat, as opposed to special information on how to create pdf photography books.

So, I guess I am hoping that perhaps someone out there might be able to provide some good resource books or websites on the topic of how to use Acrobat to publish photographic e-books....or at least some place to start obtaining a bit of background knowledge. Anybody want to make suggestions???? "



Though I did get some helpful responses to my query as to resources, there was still a void as to where to start.....particularly if the aim was not so much to learn InDesign or Acrobat as much as to learn what was necessary in order to focus on the type of publishing that a photographer would do.

Well, Brooks Jensen does it again!! He recognized that there is a relative void of information in this niche and put together a very solid training DVD on where to start and how to proceed. The DVD is a direct extension of the workshop he began giving on this subject.

Knowing the quality of everything that comes out of LensWork, I decided to purchase the DVD. At $79 it is a bit steep, but once one receives it, sees the quality of the information, the extremely coherent presentation, and the uniqueness of the product I can say that it is well worth every cent!!! The DVD can be purchased here.

I haven't yet finished the DVD, but am far along into it. It has exactly the type of information I was looking for and clearly is able to get one started making PDFs without any further training. It is also able to point one in the right direction in regards to where to obtain more focused information, if needed. To be more specific, it is not an InDesign training program but tells you what aspects of InDesign you need to know and provides a nice detailed overview of these parts of the program. Perhaps even more importantly, it carefully reveiews how to structure and design a PDF presentation.

Perhaps I will have more to say once I finish the DVD in its entirety. But I can tell you this.....if you have any desire to consider self publishing a photographic PDF and don't have a strong background in how to get the job done, this is clearly a superb way to start. I couldn't have hoped for a better resource. Thanks Brooks!!!

More Dreamscapes

I recently finished processing and printing the sixth image in my Dreamscapes series. I particularly like the ghostlike image behind the boy (though it may not show up that well in this small image format), which was caused by the child suddenly walking through the scene during the long exposure. I guess you can tell that it isn't a 'real' ghost because it also casts a shadow!

Dreamscapes #6
Copyright Howard Grill

In addition, another image from this series is going to appear in a "Self-Portrait"(yes, that is me at the end of the tunnel) themed show at The Silver Eye Center For Photography. The exhibit celebrates Silver Eye's 30th anniversary.

Dreamscapes #3
Copyright Howard Grill

While having any image shown at The Silver Eye is an honor, I do have to admit that this particular show is non-juried, with all members of the gallery invited to display one image. The show runs from July 8th to September 12th. Given the intriguing theme, it should be a really creative, interesting and enjoyable exhibit.

A Piece Of History

I suspect most people that have a passion for photography have at least a passing interest in the history of the medium and are probably aware of the different types of processes that have been used over time. Daguerreotypes, Ambrotypes, tintypes, carte-de-viste and many more. But have you ever seen any of these??? I never had.

I decided that it was worth my while (and a very small amount of cash) to own a small piece of history and experience some of these imaging processes for myself. So I took a trip over to e-Bay to see what was available. For about 20 bucks I bought 6 lovely tintypes (uncased), some with hand tinting, and 5 cabinet cards with the photographers name and location on the card as well as a few with the subjects handwritten name. They came in very nice shape and have a very interesting and unique appearance to them. It really is fascinating to hold these artifacts and see what photography looked like in its early years. It is also a bit eerie to see these subjects, now long deceased, staring at you from back in time.

These are not items that are eagerly sought after by high end collectors and this is reflected in their price. But I am very glad that I made these few purchases and plan to bid on a few examples of other historical photographic processes.

If the history of photography interests you, why not pick up a few samples from a bygone era for dirt cheap and take a trip back in time. It really is fascinating!

Epson 7900 - Epilogue

Several weeks ago, I wrote a series of posts (starting here) about my new Epson 7900.....my review was not particularly glowing because of a number of difficulties I was having with the machine. I suspect that I may well have left people with the opinion that I was not pleased with the printer and that I was sorry that I had purchased it. In fact, I received several e-mails from folks who were considering buying one. I thought I should write one final post to 'clear the air' about the machine and my personal experience.

It is true that I was quite dissatisfied with the printer as it originally functioned. I fully documented that in my original series. What I would like to make clear is that once I had the printhead changed (by an extremely knowledgeable and easy to deal with technician) and turned off the automatic nozzle check the machine has functioned perfectly.

Specifically:

I have always had difficulty in the warmer months with ink clogs. While I still do get them on occasion, I can say that I am getting fewer of them than I did with my 7600 and they seem to clear easily with just a single cleaning from the front panel. My problem with persistent clogs with green ink has totally resolved.

Since keeping the platen gap setting at normal, I am no longer getting the "zebra striping" that I described in my first series of posts. Why opening the platen gap wider seems to make things worse is not at all clear to me.

The output is absolutely lovely.

I really enjoy making prints on papers using the photo black ink. I also find soft proofing with these papers much easier than with matte papers.

I should mention that it does seem 'easier' to get 'mild' head strikes on the 7900 as compared to the 7600. I have to make sure that the paper is as flat as possible. With sheets I will gently bend them as needed before printing to get them to lie flat, and with rolls I will gently curl them in the opposite direction around a tube (a home made D-Roller) prior to printing. This may be because with the 7600 I kept the palten gap set to 'wide', which seems to cause problems with my 7900 and the papers I am currently using.

At this point I am very pleased with the printer and very glad to have bought it. In fact, I am thinking about selling the 7600. Do I wish that I hadn't had all my initial difficulty which necessitated two visits from a tech and replacement of the printhead? Sure. But I don't think that one can extrapolate from this single printer that there is a generalized problem. When it comes to technology I guess there will always be the occasional device that comes off the assembly line a bit out of whack.

One thing though, in several years, when the technology has jumped forward yet again, it is going to be very difficult to upgrade if Epson makes this beast any bigger or heavier!

Unphotographable

We have all had occasions when we see what would make a great image but, unfortunately, don't have a camera. An image lost forever......but is it??

Michael David Murphy doesn’t think so. In fact, he has his own website devoted to images that he experienced but did not have the opportunity to photograph. In his own words, his website called “Unphotographable” is a ‘catalog of exceptional mistakes. Photos never taken that weren't meant to be forgotten. Opportunities missed. Simple failures. Occasions when I wished I'd taken the picture, or not forgotten the camera, or had been brave enough to click the shutter.’

With his incredible descriptions the image can be clearly seen in our mind if not on paper. Perhaps the image is not lost.

High Pass Filtration

I usually don’t post information about Photoshop techniques simply because there is an entire universe of websites dedicated to Photoshop that are run by folks who are far more Photoshop savvy than I could ever hope to be. However, every so often I run across a technique that I find really interesting and so, on those occasions, a post about it seems reasonable. Such is the case with High Pass Filtration. Please don’t consider this to be the definitive ‘how to’ regarding this technique but, rather, a jumping off point to look into it in a more sophisticated manner if it seems of interest to you.

The reason I found High Pass filtration interesting is that while ‘surfing the net’ I have occasionally come across images that seem to have a somewhat ‘enhanced’ sense of reality that gives them a very three dimensional appearance. The effect seems somewhat similar to the HDR effect, but tuned down. When I have followed discussions about such images the photographer will often say, when asked, that the image in question was not processed with HDR software.

So, it whet my interest when I ran across a technique which, by description, seemed to be one way to generate this effect. It is done by using the Photoshop High Pass filter to increase contrast. I knew that this filter could be used for sharpening and, of course, contrast enhancement is a form of sharpening.

At any rate, here is a way to use this technique in order to see if it will achieve a desirable effect (plus I made my own little addition to what I read). Once the image you are considering using it on is complete, duplicate the image and flatten it, but don’t sharpen it yet. Now the image consists of only a background layer. Duplicate this background layer twice and click the icons to turn these duplicate layers off, making them invisible. Now click back on the background layer to make it active and go to the Photoshop filters and choose High Pass (Filter>Other>High Pass). You get a dialogue box in which you can choose a radius. Choose 75 pixels to start, but this is obviously a ‘jump off’ point for experimentation. Your image will now look totally disgusting. Don’t worry….just click on the duplicate background layer which is directly above the layer that was just filtered to make it active and then click on the icon to make it visible. The image now returns to the way it looked before starting this whole thing because it is a duplicate of the original at 100% opacity lying on top of the filtered image. Now the fun begins. Change the blending mode of this layer from normal to overlay and the image undergoes an interesting change.

Perhaps the effect is too much? That is why I added the second duplicate layer (which is not visible at this point) on top of the others at the start of the technique. Click on that layer to now make it active and click on the icon to make it visible. The image now appears as it did before starting. But turn down the opacity of this topmost layer to let the filtered look come through and see how you like it.

A few comments:

1) I have only played around with this technique a bit and found that there are some images that it truly enhances and others that it totally destroys.

2) If an image is found that would benefit from this technique, the entire process can obviously be performed within the original file by duplicating the entire image and placing the entire image on a new layer and working from there.

4) It really is difficult to duplicate this effect with curves....I tried.

3) With the image size being so small, and with the effect being toned down with the topmost layer blogs don't really lend themselves to really demonstrating the effect well…..so, if it sounds interesting, play around with it on your own images and see what you think. With that in mind I am posting one example. The only difference between these two images was the High Pass filtration step.

Pre High Pass Filtration
Copyright Howard Grill

Post High Pass Filtration
Copyright Howard Grill

IR

After planning for quite some time to have a camera converted to infrared, I finally got it done. I had my old Canon 1Ds converted for IR photography by LifePixel. They did a great job.

There are three IR filters that are offered by LifePixel: Standard Color IR, Enhanced Color IR, and Deep Black And White IR. Examples of the types of results that can be obtained with each of the three filters can be found on their sample image page. I personally do not enjoy the aesthetic of color IR, but do very much like the 'look' of black and white infrared imaging.....so I went with the Deep Black And White IR filter, which blocks most visible light. In addition, the camera's auto-focus is adjusted to the Canon 50mm f1.8 lens in the process.

So, I got the opportunity to take the camera out a few days ago. Of course, once an hour away from home, I discovered that I hadn't reattached the camera's "L Plate" used to mount it to my tripod. I had removed it prior to sending the camera in for conversion. I therefore had to experiment and play around with the camera hand-held. I wasn't trying to do 'serious' photography but, rather, just wanted to get a feel for what the results might look like.

Here is an example of what I am getting out of camera. The image was shot in RAW format with just a few quick adjustments in Lightroom to improve contrast.

Waterfall
Copyright Howard Grill

Diffraction In Digital Imaging

In the past, it has often been said that the rules of photography are the same whether one shoots digitally or using film. Certainly this is true when it comes to the art of composition, but when it comes to capturing the image there are certain technical aspects that are not quite the same.

The first one that comes to mind is the so called ‘expose to the right’ issue. Most people doing serious digital capture and that are shooting in RAW format are familiar with this concept. In short, most of the data and, therefore, detail that the digital sensor can capture is ‘located’ in the ‘brightest’ stop or two of the image. Therefore, the image should optimally be exposed such that the histogram is pushed as far to the right as possible, without actually clipping. While the image is now overexposed by conventional standards (and therefore this method will not work acceptably well in jpeg format), by shifting the exposure downward in the RAW processor the correct degree of brightness can be achieved and more detail captured than if the exposure had been ‘correct’ by conventional standards.

But you already knew that. What is more interesting is material that I recently read in the magazine Photo Techniques (which is a small magazine in terms of page numbers, but one that is well worth subscribing to). In the Jan/Feb 2009 issue, I learned that there may be significant differences with current digital capture when it comes to diffraction effects and depth of field.

Without going into detail (for that I strongly recommend getting the issue), I would like to provide a quote to whet your interest. In the conclusion of the article by Lloyd Chambers entitled “Diffraction: Resolution Taxed To Its Limits” Mr. Chambers states:

“As megapixels increase, diffraction will become the dominant factor limiting image sharpness, unless and until improved optical designs allow near-diffraction-limited imaging at apertures such as f2, f2.8, and f4. Such lenses are feasible, but will be larger, heavier, and much more expensive than today’s optics. When depth of field is a priority, ‘tilt’ lenses should be used in order to evade the diffraction/depth of field conflict.

To paraphrase an old maxim: f8 and stop there. That simple rule will maintain optimal or near-optimal lens performance and image contrast resolution with today’s DSLRs, while offering reasonable depth of field for many subjects. Stopping down to f11 or f16 is warranted with some subjects, but the contrast compromise should be kept in mind.”

Interesting stuff….the idea that with today’s high quality sensors and optics, diffraction plays a role much sooner (in terms of stopping down to achieve greater depth of field) than when using film.

I put some of this information to use with results that surprised me. I have previously mentioned and shown extreme macro-images I have made from slabs of stone. Though these slabs are flat in the general sense, they are cut with a saw and thus in the ‘macro’ sense are not truly flat. In order to maximize depth of field at high magnification (>1:1) I had been shooting at f16 and f 22. I recently tried shooting at f8 and f11 instead and found that the results were, indeed, sharper. And in this case the depth of field was still adequate with enhanced apparent sharpness. I now shoot all these types of images at f8.

Obviously, when shooting landscapes or other scenes where there are near/far objects that one desires to be in focus, there will be trade offs between sharpness and depth of field. However, it is worth experimenting with one’s equipment, or at least taking shots at a variety of apertures since, in many instances, the improved sharpness will be more desirable than increased depth of field with sub-optimal sharpness throughout.

There are definitely some interesting things to ponder here!

Carrying A Camera

I have always had the desire to keep a camera with me all the time....to have one available for those unplanned shots that good fortune presents as well as to constantly 'keep in practice'. I even went so far as to purchase a smaller, but high quality, camera in the form of the Canon G10. I have found good use for that camera when I am going somewhere special without my primary purpose being photography. In those cases, I know ahead of time that I might want to take some photos. However, I have also found that I don't use it all that frequently when I just have it with me but hadn't planned on photographing.

It just seems as if I need to be in a certain mindset to specifically go out and make photographs. A mindset where I know that I am giving my entire attention over to the idea of composing and thinking about photos. This surprised me because when I am driving around, such as when I am coming home from work, I will try to compose photos of what I am seeing out of my window in my mind. However, either I don't have the time to stop or, more likely, the image that I see in my mind's eye is not attainable because it is not possible to stop and take it from that vantage point.

I know some folks can always carry a camera with them and use it....but it seems difficult for me. Perhaps I have to try to do so more frequently. In the meantime, I hope that practicing in my mind, as I often do, is effective. I happen to run across this quote, which is what made me think about this topic:

I am always mentally photographing everything as practice.

Minor White

At least I can take some comfort that Minor White thinks there is benefit to doing so!

Camera Motion Abstracts

Time to get back to showing some actual images! A few weeks ago, I went out with a friend to photograph in a park that I hadn't been to before. At one point, after having been out for a few hours, the lighting became a bit harsh, so I started experimenting with making abstracts by purposefully moving the tripod mounted camera in the vertical plane. This is the sort of thing that one has to do many times over in order to get something that looks 'right'. This is one of my favorites from the series that I took.

Copyright Howard Grill

Alain Briot, who does a magnificent job with these sorts of images, has been writing a series about the aesthetic and technical issues surrounding this sort of image making on The Luminous Landscape. The two articles he has written can be read here and here

Another person who has produced amazing work using this technique is William Neill. Find his e-book "Impressions Of Light" here. Beautiful images and well worth the price of $15.

Quick Quotes: Ibarionex Perello

Ibarionex Perello, during one of his recent Candid Frame interviews, said, almost offhandedly:

"Living a photographic life doesn't necessarily mean going into business as a photographer."

Like my last post regarding what Brooks Jensen had to say about procrastination, it felt like this was being said directly to me. I suspect it has significant meaning for many whose passion is photography.

Procrastination

Brooks Jensen was talking to me....directly to me. Well, that's the way it sure felt anyway! I am referring to his recent 'Editor's Comments' in the current issue of LensWork. His thoughts were particularly apropos to me and, I suspect, to many other photographer/artists.

The basic premise of his essay was that perfectionism is at the root of the problem many photographers have with actually finishing a project and calling it complete. The project that is finished opens one's work up to critique and thereby the possibility that it is not 'perfect'. The incomplete project can, of course, still theoretically become perfect work by applying further effort. Ultimately, Mr. Jensen continues, we need to be able to distinguish between 'theoretically perfect and practically superb' if we are to break this cycle that leads us to procrastination. Not a procrastination borne of laziness, but borne of fear.

While he goes on to offer sources of motivation to complete projects, which are also quite helpful and insightful, I found that it was the portion of the essay which clearly defined the issue that really spoke to me. It could very well be a chapter from the classic book 'Art And Fear'.

For me, this essay was very important to read and think about (in fact, I reread it several times)....and just one more reason to subscribe to LensWork if you don't already do so.

Bill Jay : 1940-2009

Bill Jay, who I have written about several times on Motivation, passed away on May 13th. I never met or knew him, but absolutely loved to read his writing and look at his photographs of people. Most recently, I finished a wonderful out of print book of his that had been recommended to me entitled "Cyanide And Spirits". Many of the essays in that book can be found on his website, where he generously made all of his writings available to anyone who sought them out.

Brooks Jensen, the editor of Lenswork, is collecting anecdotes and statements from people that knew him and is going to be compiling them. I look forward to reading about Mr. Jay from those who knew him personally. The information regarding that can be found here. More information about Mr. Jay's life can be found on Mary Virginia Swanson's website here.

New Family Member

I am interrupting the blog to report that we now have a new family member.....an 8 week old kitten! It was adopted from a nearby shelter, having been raised by a foster family until it was big enough to move in with someone permanently. We don't quite have a name for her yet. She was named Nile by the family that was raising her, but I think we are going to rename her. I am voting for Cleo (as in Cleopatra, Queen of the Nile), but we will see what the kids decide.

It is unbelievable how small she is....reminded me of bringing my kids home from the hospital that first time. My oldest was holding the transport box ever so gently, carefully and flat while we were bringing her out to the car....I told him "well, now you sort of know what it was like the first time I brought you home in the car!".

Just a quick break from photography for the announcement...and yes, I know the picture is blurry. It was taken by my wife, via cell phone from the shelter.

"Nile"

Chuck Westfall Answers Canon Users Questions

I guess this is a bit of old news, but I still found it quite interesting and hadn't seen this blog/website before.

Chuck Westfall has been an executive with Canon for some time, both in the Consumer Imaging Group as well as with Canon USA’s Professional Products Marketing Division. Last November he agreed to field questions from folks like you and I. This blog has the questions asked as well as his repsonses. If you are a Canon user it makes interesting reading. Check it out here.