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Customising your Photo Mechanic IPTC interface

This could very well be the single most “niche” blog post that I have ever written but I found it incredibly useful and so I thought others might too. If you aren’t a Photo Mechanic user already, bear with me because it might just convince you to have (another) look at what, for me, is an indispensable piece of software.

When you open up either a Stationery Pad (best for bulk captioning) or click on the IPTC Info tab (best for editing a single caption) the default views show dozens of fields. Most of those fields will have little or no use for basic image captioning and some of them will have very specific uses for very specific clients. Recently I’ve been doing a lot of image editing and I have found that different clients have very different needs and because of that I want the IPTC interface to look different for each client. The great news is that in Photo Mechanic you can customise the interfaces to a very high degree. You can choose to:

  • Hide or remove fields
  • Change the order in which they appear
  • Group them in any way you wish
  • Change the labels on the fields
  • Change the size of the boxes of some fields

Once you have set up your custom ‘look’ you can then save that look and swap between any number of looks depending on the work that you are doing. You can, at any time, swap back to the Photo Mechanic default and create new versions of the interface.

So where does all of this magic happen? If you go to Preferences/Accessibility/ you should see this screen:

You then have two different options:

  1. Customize IPTC Info which will let you change the interface brought up by the “i” icon on a contact sheet.
  2. Customize IPTC Stationery which will let you change the stationery pad or Cmd+I on a Mac or Ctrl+I on a PC.

I have found that having a stripped down IPTC Info option has made amending the captions for individual images much slicker. If I can only see the fields that I’m interested in then I don’t have to continually scroll around to find the right fields every time. By clicking on Customize IPTC Info you get this window:

Which allows you to edit names, drag the relevant fields into the order you want them to appear, enable and/or make fields visible and edit/remove group labels. Once you have it looking the way you want it all you have to do is click on the small lightning symbol in the bottom left corner and Save the set up with a name that you will recognise. As I said before, you can go back to the default simply by clicking on “Restore Defaults“. If you want to make further changes to a saved interface then you can overwrite the file easily.

Deleting saved interfaces is a lot tougher. I have no idea how to do it on a PC but on a Mac you have to go into your Hard Drive/Users/User/Library/Preferences/com.camerabits.PhotoMechanic/CustomizeIPTCInfoDialog and remove the relevant .snap file from there.

If you want to create/remove a custom interface for the Stationery Pad it’s a very similar process – the Customize interface looks slightly different but, in essence, they do a similar job.

Best light of the year

©Neil Turner. Fistral Beach, Newquay, Cornwall.

It is almost inevitable that when the best light of the year so far offers up a number of creative possibilities the only camera you have with you will be the one built into your phone. I don’t mind admitting that this has always filled me with dread and I have often missed the picture that I know I should have taken because the phone couldn’t do what a ‘proper camera’ can.

We were away in Cornwall last week for a few days and had just arrived at our hotel after the drive from East Dorset when we decided that a stroll along the beach before dinner was in order. We had been to Fistral Beach many times before but never really experienced the magic of the sunset there and when the light started to dip it was obvious that we were going to be treated to something rather lovely. These days I have an iPhone 7 which has a pretty good camera. I normally use it for snaps, record shots and general visual note-taking but when I needed it to produce the results using it with the 645Pro app allowed me to get exactly what I would have wanted if I’d had my Fujifilm X100S with me.

I was so pleased with the picture that I approached the man who features in it and sent him a copy whilst still on the beach. Photography is still a joy.

How many hours in a day?

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Is there anybody out there who would argue against a ‘working day’ being eight hours? Maybe eight hours spread over a nine hour period with an hour for breaks? However you think about it and whatever your opinion actually engaging in work of some sort for eight hours is a good starting point to talk about ‘a day’s work’.

Like a lot of photographers I tend to base my charges based on full or half days combined with the end use of the pictures. A half day with a fully loaded PR license costs more than a whole day for a single use in a newspaper. Half a day that makes it impossible to do any work through the rest of the day isn’t a proper half day and should be charged at a higher rate. It isn’t always easy to explain to inexperienced potential clients but, compared to other charging methods, it is as easy as I can make it.

I mentioned the eight hours because I have had some trouble explaining to a potential client why I won’t be at their premises for eight hours shooting pictures. I have tried to put it simply and the best that I can come up with is the ‘reverse-engineer’ a day. In my opinion you need to set aside a minimum of two hours to edit and process the pictures. It’s often more but rarely less from a whole day’s shooting – a whole six hour day that is. When I say a six hour shooting day what I actually mean is six hours devoted to shooting and travelling combined. Three hours in the car cuts that day down to three hours shooting whereas one hour in the car leaves a healthy five hours.

Freelancers have to charge for their time. That’s a fact of life. The potential client who couldn’t get his head around that worried me because how else does he think we can make a living? He actually wanted me to only charge for the time spent on site. Travel time and processing time was, apparently, not ‘actual time’. His argument was that he didn’t start his clock until he got to his desk so why should I. It was a frustrating conversation that could only end one way; we decided that I wasn’t the right photographer for his project! I guess that I could have taken my normal day rate, doubled it and then told him that was the fee for the time spent on site – a sort of win/win I guess. I didn’t so I won’t be doing anything there any time soon.

So I lost some possible work. That’s almost always a shame and when things like this happen I try my best to make sure that if I get into a similar position again I can explain myself even more clearly and avoid any and all conflict. There are a few rules that I do:

  • Charge for travel time
  • Keep time from a job to do the production
  • Try to be as flexible as I can without stitching myself up
  • Get new clients to put everything in an email
  • Give occasional discounts and not lower rates
  • Publish my own terms & conditions online and work according to them

Things occasionally fail to work out. Fact of life, fact of being freelance.

 

EOS5D Mark IV Update

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A few weeks ago I wrote on this blog about the wifi potential of the Canon EOS 5D Mark IV and I have been using three of its functions pretty heavily on jobs over the intervening period. It wasn’t hard to learn all about the system having used a number of different wireless systems over the last three or four years and my first impressions were very favourable. There are definitely one or two changes that I’d like to see Canon make (preferably in a firmware update) but the system has been remarkably stable and reliable. It’s wireless which means that there will be glitches but I’d stick my neck out here and say that this is the best wifi that I’ve used given that 1) it is built-in and 2) doesn’t require any extra gadgets or adapters.

Today is Armistice Day – the anniversary of the eleventh hour of the eleventh day of the eleventh month when the guns finally fell silent at the end of the Great War in 1918. I had no jobs on and so I took myself down to the War Memorial in the centre of the town where I was born to pay my respects and to give the wireless on the Mark IV a real world test that I could actually share with you. I have a server set up at my house ready to receive images transmitted via FTP (File Transfer Protocol) – which is the preferred image transmission system of most newspapers and agencies. For the purposes of this test I was sending to myself but it could equally have been to any third party with an FTP set up. I decided to use my Apple iPhone 7 with the Personal Hotspot function enabled as my network and I timed how long it took to set up each camera to transmit using the phone back to my server. The first camera (thanks largely to the Mark IV touchscreen) took just under two minutes and the second camera about ten seconds less.

This is where I would like Canon to make a firmware change: on the EOS1DX and EOS1DX Mark II you can set up one camera, save the settings to a memory card and load them into other cameras. There is no facility (yet?) on the 5D series cameras to do this. I’m sure that it is to help distinguish between the top-of-the-range 1 series and the much cheaper 5 series but I’m pretty sure that nobody will make a purchasing decision based on this. And whilst we are at it, only being able to store three sets of settings is a bit mean. The original 1DX had five, as do the 5D Mark III, 5DR, 5DRS and 7D Mark II when used with the WFT-E7 transmitter whilst the 1DX Mark II has twenty – as do various Nikon cameras.

This was never going to be a full-on coverage of this low-key event. I wasn’t on commission and I didn’t want to be intrusive and so I just took a few pictures with two cameras and two lenses and uploaded eight as I shot and selected them from the back of the camera. I have the 5D Mark IVs set up to write RAW files to the CF card in slot one and medium sized JPEG files to the SD card in slot two. I selected from the SD card and transmitted the pictures as I went and each picture went in about ten seconds. I had Photo Mechanic running on the server and it added a basic pre-prepared caption to the files before saving them to another folder which in turn synched them to Dropbox. I could have set the system up to do any one of a thousand tasks – ranging from renaming files to distribution which are amongst the options that I use a lot of the time on paid jobs.

I used the Transmit app on the phone to check that the images had arrived and could then have shared them with anyone via FTP or via a Dropbox link generated in the iPhone’s Dropbox app but this was just a trial. Having the images on Dropbox also means that I can grab them onto the phone to use for social media but on this occasion I swapped the wifi function to send one picture to my phone from the camera. It takes less than a minute to swap to this function and, having rated the picture I wanted as a one star, I quickly added the selected image to the phone using Canon’s own Camera Connect app. A lot of people use Shuttersnitch to do this and I am trying my best to learn how to best use that app but for now I use the Canon app to transfer the file and Photogene 4 to edit and caption it. All done in under two minutes and uploaded to Twitter in another thirty seconds. Easy.

The annoying part of this process using the iPhone (or iPad) is Apple’s insistance on renaming files with an “img_” prefix when the cameras are set up to use a personalised prefix. Please Apple, if you see this, give us the option to NOT rename files.

One of these days I am going to make a short video about how to set up one of these cameras quickly and another about how the iPhone workflow works for me. For now I am very happy with this  improved set-up and would love Canon to make the firmware changes that I suggested above.

Just a couple of other points that I’d like to add:

  • The Mark IV appears to require less sharpening than the Mark III. No idea why yet but I seem to be on about 60% of the amount and getting great results.
  • The Anti-flicker on the Mark IV is superb. I will blog about this one day soon when I have some samples that I’m allowed to share on here. It made me look again at the anti-flicker on my 7D Mark II which is also pretty good.
  • The new button on the back of the camera which I’ve customised to allow me to adjust metering patterns on the fly is a really welcome addition. They have used a different switch to the one on the 7D Mark II which does much the same job and I marginally prefer the one on the 5D Mark IV.
  • The touchscreen is so much better than I had expected and I have become so accustomed to it that using a Mark III the other day felt old-fashioned.
  • It’s a shame that there’s still no lock on the diopter correction wheel though.

So all-in-all I am delighted with the Mark IVs. I’d be grateful if Canon could just make those small tweaks that I have mentioned above and I’d be really grateful if they could make the latest version of their EOS Utility software compatible with Mac OSX Sierra too.

 

The story behind a picture #4

Trying to interest tourists in the shell game on the South Bank in London. © Neil Turner, December 2015

Trying to interest tourists in the shell game on the South Bank in London.
© Neil Turner, December 2015

I almost always carry a camera when I’m out and these days I have to go to a lot of meetings with clients and potential clients – most of which are in central London. There’s always something to see and as I was on my way to a meeting just before Christmas I saw a small group of people trying hard to get passing tourists interested in playing ‘the shell game‘ on the South Bank near the Royal National Theatre.

The idea is simple; one of the group pretending to be a tourist plays the game and wins whilst other members of the group stand around playing the joint roles of lookout and interested bystanders. It took them about ten seconds to realise that they were having their photograph taken and whilst some of them hid their faces the others tried to block my view and make me move on. It was a cold and damp day and they weren’t getting any trade so my presence probably angered them but I stood there, shot some pictures before moving on.

My favourite frame was the attempt that the man actually conducting the game made to hide his face as he approached me to tell me that I wasn’t allowed to take his picture!

Shell game players hides his face with £50 notes on the South Bank in London. © Neil Turner, December 2015

Shell game players hides his face with £50 notes on the South Bank in London.
© Neil Turner, December 2015

Technical stuff: Fujifilm X100S, 1600 ISO 1/125th of a second at f5.6. Converted into black and white in Photoshop CC2015

The story behind a picture #3

Sitting in the window seat at Subway on Shaftesbury Avenue Photo: Neil Turner Photo: Neil Turner

Sitting in the window seat at Subway on Shaftesbury Avenue
© Neil Turner, November 2014.

This photograph falls into the ‘personal work’ category. I had been to a meeting in central London during the evening and had arrived fashionably on-time having failed to park in my favourite evening parking space near the location of the meeting. That had forced me to park a bit further away. As a result my walk back to my car at around 10.30pm was both longer and much more interesting than usual.

I nearly always have a camera with me and it is nearly always either my Fujifilm X100S or it’s little brother the X20 but on this evening I had a Canon EOS6D with a couple of fast prime lenses and so I shot some photographs of things that interested me as I walked. This shop window – a branch of Subway that stays open until the early hours was the very first thing that caught my eye and I was very interested to see just how good the EOS6D is at higher ISOs. This was shot at 3200 ISO with a shutter speed of 1/250th of a second at f1.8 using a Canon EF 28mm f1.8 lens. For a DSLR this is about as unobtrusive as you can get – the quiet shutter mode is really good and the speed and accuracy of the auto focus on the centre focusing point means that you can ‘snatch’ a frame in really low light with quite a high degree of certainty.

Just around the corner I saw the potential for another nice image with the frontage of a theatre after the last member of the public had left the building. I composed, waited and finally got this frame as a solo pedestrian passed through the frame.

Pedestrian passes under the "Memphis" banner outside a west end theatre at night. © Neil Turner November 2014.

Pedestrian passes under the “Memphis” banner outside a west end theatre at night. © Neil Turner November 2014.

This photograph was also shot at 3200 ISO but was better lit at 1/640th of a second at f1.8. I was actually quite disappointed when I got back to my car and realised that I had a two and a half hour drive home. I knew that I had half a dozen good photographs and I sat in the car and transferred a couple of them to my phone using the camera’s built-in wifi before uploading them to EyeEm and Twitter. Then I drove home…

Twenty-five years ago today

©Neil Turner, 13th February 1990. Whitecross Street Market, London EC1.

©Neil Turner, 13th February 1990. Whitecross Street Market, London EC1.

Over the last few years I’ve posted a few pictures from my own filing cabinet when they have had some relevance or when there is a specific anniversary. This picture was taken twenty-five years ago today as I went for one of my regular wanders around bits of London that were near Metro – the 24 hour laboratory where we all got our E6 transparency film processed. It was about a mile and a half from our Hoxton office (before it was trendy) and it took about twenty minutes to walk there or five minutes to drive. Sometimes there would be other photographers around and we would adjourn to a local cafe for a cup of something and a sandwich and at other times I’d take myself off for a walk around one of the many fascinating side roads and markets that made up the Clerkenwell/Farringdon/Smithfield area and take a few personal and/or stock pictures whilst the film made its hour and three quarter journey through the system and the ‘soup’ at Metro.

On this particular day I went to Whitecross Street with a couple of cameras and a couple of rolls of Kodak Tri-X film. It is amazing what you remember when you start to think about a day and a place and my memory of this day is that I was half an hour into the walk when I bumped into another photographer (there were three or four agencies close by) and we had a coffee anyway!

The man in the photograph (who said his name was Frank but I’m not sure he was being 100% honest judging by the cheeky look in his eye) had been a stall holder at the market selling books and a few magazines for many years. Trade was brisk as the workers from the many offices on the edge of the City of London were having their lunch hours and I didn’t really finish my conversation with him.

Anyway, another ‘archive’ picture that brings back happy memories and brings a smile to my face. This was, quite literally, half of my lifetime ago and I still love the photograph.

Techie stuff: Nikon FM2 camera with a 135mm f2 Nikkor, Kodak Tri-x film.