Tag Archives: #digital photography

Card Read Error!

These are not the words I want to see at the back of my camera screen.

Let’s back up:

Yesterday, after traveling to the top of New Hampshire’s Cannon Mountain via the Cannon Mountain Aerial Tramway with my friends, I made a series of cosmic photos of the surrounding scenery.

However, during my photography all of a sudden as I was reviewing photos the words ‘Card Read Error!’ came up on my camera screen.

This is bad news: it means that the recording media has been damaged or corrupted. 

When this happens to you, don’t panic, but follow these instructions:

1) DO NOT attempt to expose more photos using the damaged card. Doing so can greatly complicate your future ability to retrieve the images that you’ve already exposed.

2) Turn your camera off.

3) Take the card out of the camera.

4) Replace the card with a fresh spare. (I always carry two or three spares with me).

5) Test the camera using the spare card. If it seems to work as normal, you can probably resume photography. If it doesn’t, there may be a more complicated problem.

6) Before downloading, do not ‘format’, ‘erase’ or take any action that will add/subtract information / data to or from the card.

7) Later, when you are home, attempt to download your card using an external device. In my case I have a card reader that inserts into my MacBook using a USB port.

8) After you successfully download the card, put it aside and mark it ‘defective’. Once recording media goes bad it is unwise to continue to use it. Buy a new card.

In my situation, I waited until evening, I first downloaded the new card that I’d inserted into my after the first card went bad. Only after all the photos from the new card were successfully downloaded and backed up on an external hard drive, did I began downloading the images from the damaged card.

I was lucky and all my images were downloaded with relative ease. I marked the suspect card ‘BAD’ and put it away. I will not use the card again. If I could not download the card using my normal software, I’d have to go through a more complicated procedure to attempt to retrieve missing photos.

Incidentally, camera-recording cards are only designed for short-term storage. I routinely download my cards nightly. While, I hold on to the cards for future re-use, I do not use them for long-term storage.

I suggest that all digital and digitized images be stored in triplicate and in different places. Further, since all hard drives will eventually go bad, it is wise to periodically re-backup data on new media. At least once a year I back up older files on new hard drives and check to make sure that files transfer successfully.

This is among the images that was recorded on the defective card in my FujiFIlm XT1. I was able to retrieve it without too much difficulty, but I was careful not to interfere with the storage media in the field in a panicked attempt to search for photos or continue my photography with the defective media.

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CSX Freight Rolls on the Reading; Two cameras, Four photos.

I made these views of a CSX freight operating on the former Reading Company in Philadelphia. My vantage point was from the sidewalk on the road bridge near the Strawberry Mansion Bridge over the Schuylkill.

The day was bright, but partially overcast, which benefitted my photography since bright sun would have resulted in a difficult and unflattering high-contrast situation.

This northward freight was moving slowly, allowing me to work with two digital cameras and expose a series of images as it went by.

Exposed using a FujiFilm XT1 with 18-135mm zoom lens.

A wider view from the same vantage point exposed with my Lumix LX7.

The lighting post provides a hint as to the location ‘City of Phila.’ Lumix LX7 photo.

Trailing telephoto view with the FujiFilm XT1 with 18-135mm zoom. This offers some interesting roof detail of the General Electric diesels hauling the train.

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Sunrise on the New England Central—Working with RAW.

A side-benefit for me of transatlantic jet lag is that I’m wide awake for sunrise.

The other day, I drove to Stafford Springs, Connecticut as the sun was rising.

Typically New England Central 608 passes the village between 7 and 730 am. On this day it appeared about 724 am.

Working with my FujiFilm XT1 with 12mm Zeiss Tuoit lens, I made a series of images of the freight passing.

I carefully exposed my RAW files to retain some sky detail, intending to adjust exposure, contrast and color in post processing.

It would be fallacious to suggest that the RAW file represents reality. It doesn’t.

It is important to understand that the camera RAW file is an equivalent of a ‘negative’ in film photography. The RAW file simply represents the raw data as captured by the camera sensor. This data requires interpretation to produce an image that resembled what the human brain perceives.

I made a series of small adjustments to highlights, shadows, color temperature, and color balance, while working with masks in the sky to control detail and color.

My only regret is that my graduated neutral density filters were still packed away in my luggage, as these would have been useful in this situation by allowing for improved sky detail by effectively selective expanding the dynamic capture of the sensor.

I’ve included both the RAW file (scaled for internet) and my interpreted post-processed JPG. To give hints as to what I’ve done, I’ve also included screen shots of the Lightroom work windows.

This the uninterpreted image. It is a JPG because this necessary for internet presentation. My RAW file was about 33MB which is far too large for presentation here. Significant to my interpretation is that there is greater detail stored in the RAW file than immediately evident in its presentation on the computer screen. Specifically, there is more color and detail in the sky than displayed here.

This is a screen shot of the Lightroom work window of my RAW file. The red blotch in the sky indicates a loss of data in that area owing to over exposure.

This is my finished image following post processing in Lightroom.

Screen shot showing the alterations on the sliders in the Lightroom work window. Notice the relative placement of data in the histogram (graph at upper right).

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Dusk in the Gullet; Illustration of Digital Sunset in 5 variations.

What? Not another of those InterCity Railcars?!

Yep.

I made these views from the St. John’s Road Roundabout bridge at Killmainham/Islandbridge in Dublin.

The light was fading, the train was shadowed and the situation routine: Irish Rail’s ICR pass this spot dozens of times daily. In fact, these trains rumble up and down all day long.

Unmodified Lumix camera RAW file (except for scaling). I’ve exposed for the sky.

What initially caught my interest was the sunset glow in the north-west sky.

I made these photos using my Lumix LX7, which exposes a RAW file.

After the fact, I made some heavy handed adjustments to exposure, contrast, colour balance and colour saturation to show what is possible with post processing.

Here’s my first adjusted file; working with the RAW I’ve made a variety of alterations.

In addition to enhancing the sky, I lightened the train and cutting while making a variety of localize adjustments, such as to the flowers at lower left.

I’m using the same essential approach that I used to apply to my black & white photography when making prints in the darkroom, except its now done digitally on the computer.

Unmodified camera RAW (scaled as a JPG for internet presentation).

My first modified RAW image (presented as scaled JPG).

The graffiti at lower right is bit of an annoyance. In my final version, I’ve darkened the area around the graffiti to minimize it.

My second modified RAW where I’ve tried to minimize the graffiti under the bridge.

My first modified RAW image (presented as scaled JPG).

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Trenton, New Jersey at Dusk—July 6, 2017; digital photography in low-light.

The other evening I arrived at Trenton, New Jersey on board Amtrak train 55 the Vermonter.

 

Lumix LX7 photo at Trenton, New Jersey, July 6, 2017.

The blue glow of dusk prevailed. That moment between daylight and evening when the hue of the light adds a extra atmosphere to photographs.

That is of course, unless your camera has its ‘auto white balance’ set, which will neutralize the color and make for blander, duller images.

To avoid this problem, I set my white balance to ‘daylight’, which forces the camera to interpret the bluer light more or less as I see it.

These images were exposed using my Panasonic Lumix LX7 in ‘Vivid’ mode at ISO 200.

SEPTA at Trenton, New Jersey, July 6, 2017. Lumix LX7 photo

 

A SEPTA train enters the station bound for Philadelphia.

Other than scaling the in-camera Jpgs for internet presentation, I’ve not made changes to the appearance of these photos in Post Processing; color balance, color temperature, contrast, exposure and sharpness were not altered during post processing.

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Amtrak’s battle-worn Amfleet, now 4 decades on the roll.

Amtrak 55, the Vermonter has the signal at Trenton. The diagonal arrangement of amber lights indicates ‘approach’.

CSX Q422 at Palmer, Massachusetts

These days most of CSX’s scheduled through car-load freights tend to traverse the east end of the old Boston & Albany during darkness.

True, there’s a couple of intermodal trains, and Amtrak’s Lake Shore Limited during the day, but if you want to see an old-school freight train in daylight you’ll have a long wait.

Early in the morning of June 23, 2017, I went over to CP83 (control point 83 miles from South Station) on spec to see if I could catch some freight on the move.

I have a sixth sense or really good hearing (or both), because I stepped out of the car, and I could hear a distant freight with GE diesels laboring toward Palmer.

I fitted my FujiFilm X-T1 with my fast (f2.0) 90mm lens and walked up to the South Main Street bridge, where I’ve made hundreds of photos over the years.

As the train approached, I realized that it wasn’t an intermodal train, as I expected, but a carload freight. It was CSX’s Q422 (Selkirk, New York to Worcester, Massachusetts).

At 5:29am I made these photos with my camera set to ISO 800, f2.2 1/250 second handheld. The ability to raise the ISO to a faster (more sensitive) setting combined with my fast telephoto lens allows for photos like this one.

ISO 800, f2.2 1/250 second handheld.

ISO 800, f2.2 1/250 second handheld.

In my old Kodachrome 25 days, my exposure with my Nikon F3 and f2.8 135mm lens (offering an equivalent focal length to the 90mm with the small sensor on the X-T1) would have been: f3.5 at ¼ second. The resulting image of this moving train would have been dramatically different.

 

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MBTA in the Summer; a Lesson in Midday High-Light.

For the discerning photographer, summer midday high-light presents difficulties with contrast and deep shadows.

In my Kodachrome days, I’d put the camera away from 10 am to after 2 pm during June-July. Kodachrome’s palate and contrast didn’t work with midday high-light and the slides would suffer from inky shadows, exceptionally harsh contrast, and bleached highlights.

Using digital photography and post processing, I can overcome some of the difficulties presented by summer high sun by adjusting color temperature and carefully controlling highlight and shadow detail.

Another tool is the external graduated neutral density filter. By attaching one of these filters to the front of the lens, I can darken the sky to better hold highlight detail and color saturation, while lightening the lower portions of the image area to make for a better balanced exposure and increasing the relative amount of data captured.

Final adjustment is still required in post processing to lighten shadows.

MBTA train 1403 from North Station, Boston passes Shirley, Massachusetts. I’ve lightened the shadows and controlled the highlights to make for a better balanced image. The lighting is still straight up, but the effect is less objectionable.

In both this view an the above image, I’ve used a graduated neutral density filter to hold sky detail and color saturation.

In this view high clouds have slight softened the sun at MBTA’s Wachesett Station.

This scene would have been a nightmare with Kodachrome. Bright whites in the foreground, dark green trees at the sides and noon time sun! Exposed digitally using a FujiFilm X-T1.

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Irish Rail IWT Liner; A lesson in RAW and JPG.

Thursday morning on my way to breakfast, I made this photo of Irish Rail’s IWT Liner (Dublin to Ballina) passing Islandbridge Junction.

I timed my visit well and so only waited a few minutes for the freight to pass.

I’ve often photographed the IWT at this location, so this was really just an exercise.

Soft morning clouds made for some pleasant lighting, but also a post-processing quandary.

My FujiFilm XT1 allows me to simultaneously expose a Camera RAW file and a camera interpreted JPG. Among the features of the Fuji cameras is the ability to select a film-like colour profile for the Jpg.

In this instance I’ve opted for the Velvia profile, which closely emulates the colour and contrast of this popular slide film.

Another colour adjustment is the white balance control. In this situation I selected ‘auto white balance’, which means the camera interprets the color temperature.

When I processed the photos, I wanted to see if I could improve upon the camera JPG by making subtle changes to the Camera RAW file (which has ten times more information imbedded in it than the Jpg, but serves in the same role as a ‘negative’ and is intended for adjustment rather than uninterpreted presentation).

Below are three images; the a JPG from the unmodified Camera RAW, Camera created JPG, and my interpretation of the Camera RAW file.

This is an uninterpreted JPG made directly from the camera RAW file. (The RAW file is way too large for presentation on Tracking the Light.) I have not made any modifications to color profile, color balance, sharpness or exposure. This file is not really intended for presentation.
This is an uninterpreted JPG made directly from the camera RAW file. (The RAW file is way too large for presentation on Tracking the Light.) I have not made any modifications to color profile, color balance, sharpness or exposure. This file is not really intended for presentation.

My in-camera JPG using the FujiFilm digitally applied Velvia colour profile with 'auto white balance' setting. I made no modifications to this file, except to scale it for presentation and add my watermark on the left.
My in-camera JPG using the FujiFilm digitally applied Velvia colour profile with ‘auto white balance’ setting. I made no modifications to this file, except to scale it for presentation and add my watermark on the left.

This is my modified JPG. Starting with the Camera RAW, I imported this into Lightroom and implemented the following adjustments: I masked the sky using a digitally applied graduated filter custom adjust to increase highlight saturation, decrease highlight exposure, and make for cooler colour balance. On a global level, I made minor adjustments to contrast but lightening the shadow areas, reducing highlight exposure and altering the contrast curve. I also made select exposure adjustments to the pilot area on the locomotive. To match the Camera JPG's perceived sharpness, I applied some nominal image sharpening. (This uses edge effects to make the photo appear sharper on the computer screen.)
This is my modified JPG. Starting with the Camera RAW, I imported this into Lightroom and implemented the following adjustments: I masked the sky using a digitally applied graduated filter and custom adjusted to increase highlight saturation, decrease highlight exposure, and make for cooler colour balance. On a global level, I made minor adjustments to white balance (warmed it up) and to contrast by lightening the shadow areas, reducing highlight exposure and altering the contrast curve. I also made select exposure adjustments to the pilot area on the locomotive. To match the Camera JPG’s perceived sharpness, I applied some nominal image sharpening. (This uses edge effects to make the photo appear sharper on the computer screen.) Got all that?

Incidentally, by using Lightroom, I can make adjustments to the RAW files without permanently changing the original data. This is very important since it would be a mistake to modify the original file. That would be like adding colour dyes or bleach to your original slide to ‘improve’ the result.

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