Archive for 2010
Google’s latest Street View technology incorporates automatic face recognition to blur faces so people can’t sue them.
They even blurred the face on a portrait in my studio window!
Hmm! I wonder if I can sue them for implying that I don’t take sharp photographs?! 
Click the image to enlarge
Silver Lady – Body-painting Photo Shoot
Album Page layout Proofs (double page spreads)
Image files are compressed for faster loading over the internet and therefore cannot truly represent the tonality and quality of the finished printed portraits.
The evening’s entertainment began with a young man (presumably a staff member going off duty) wheeling his bicycle out from the kitchen area, past our table, as we struggled to eat a luke-warm Sunday Roast.
And it’s not as if this was a back street McBurger place (not that it would have been excusable in any eatery). No, this was the first-floor restaurant in a much-hyped establishment on Liverpool’s Hope Street.
Luckily, things hotted up once we moved across the road from “The Pub” to “The Hall”.
Last night at the Philharmonic we and the other 1,600 or so members of the audience were treated to magical trip back in time. This was no mystery tour. We knew what to expect.
We just didn’t expect it to be so good!
Billed as a “stunning new note-for-note production” , it was precisely that. The first half of the show was – as the title suggests – the Sgt Peppers album from start to finish. And it was note for note. And they did sound like the Beatles. Right down to the rolling crescendo in A Day in the Life.
Not only that; as they walked onto the stage, in the dimmed light and recreated smoky club atmosphere, and when they picked up their instruments, an involuntary chill of excitement spread through my body. These guys looked like the Beatles too! Not so much facially (apart from the John who I swear just has to be Julian’s love child!) but more in the way they walked and stood and in their attitude.
Right from the very first note, I was right back in the seventies.
There must be thousands of Beatles Tribute bands world wide. One of my favourites was Californian band The Tearaways who appeared at last year’s Mathew Street Festival. But these guys last night are as close to the real thing as you can get without a time machine.
Apparently all Liverpool lads (I’m yet to learn their real names), this was essentially their first gig together. It was the first performance in a fourteen date tour that ends at the Lowry in Manchester on the 12th March. And that, coincidentally, is the nearest to Liverpool of all the remaining venues.
What makes these guys so good is the fact they have taken the “tribute” aspect very seriously. Many bands try to get it right and when they can’t, they put their own interpretation on the original music. Back in the day, my own band did Beatles covers. No way could I ever sound like John so I didn’t try. My version of “Twist and Shout” was very different. Still shouted, yes, but very different.
Heck, even the original artists rehash their original releases. I’m sure when Paul McCartney himself performed at the Philharmonic recently, his rendition of the older Beatles tracks had been brought both up-to-date and more in keeping with his ageing vocal chords.
But last night’s show was not about “up-to-date”. It was about the Sgt Pepper’s era and beyond.
After the break, this John Paul George and Ringo combo gave us classics such as Blackbird, Baby you can Drive my Car, and a resounding finale that was Hey Jude.
In short they got it right. Right down to the authentic costumes, the right guitars (John’s Rickenbacker and Paul’s Hofner – albeit a right-handed version!), the right band members singing the right songs. The right attitude. They had a slightly uneasy stage presence, tempered by cheeky scouse cockiness – just like the early Beatles appearances – probably because this was their first gig. But that added, rather than detracted.
If I had to choose, I would say The John Lennon character was the most like his alter ego. Cleverly, he set his microphone too high – just like John did. And when he sang you really did think you were listening to Lennon – right down to the chilling and prophetic whispered “shoot-me“s in Come Together.
I’m sure these four lads and their two backing musicians were nervous. After all they where playing to a crowd who loved the Beatles and they were doing so on the Beatles home turf. They needn’t have been. For they pulled it off magnificently.
I just know we are going to see a lot more of The Sgt Pepper’s Lonely Heart Club Show.!
UPDATE: Full credit to the performers in this show: Liverpool band Backbeat comprising Chris O’Neill (Paul), Paul McDonough (John), Gary Harmon (George) and Dave Reilly (Ringo)
Popularised back in the fifties and sixties by the likes of Brian Rix, farces were fast-moving sit-coms based upon ludicrous misunderstandings, improbable co-incidences, slapstick and innuendo, with the actors running in and out of slammed doors, often with their trousers around their ankles.
At their best they were very funny …and very silly.
In more recent years, the farce waned in popularity, giving way to more sophisticated comedy. Well now it’s back. With a door-slamming, trouser-dropping, innuendo-ridden vengeance.
Ray Cooney’s 1994 play Funny Money has been suitably scoused-up by director Leslie Lawton for a month-long run at the Royal Court Theatre in Liverpool.
It is very funny …and very silly.
This fast-moving play revolves around Danny (played by Neil Caple) and his “suddenly alcoholic” wife (Eithne Brown) and the way they react to Danny having found a briefcase containing two million pounds.
The ensuing chaos is magnificently orchestrated, with the entire cast bouncing off each other, both metaphorically and physically, with precision timing. Neil’s long time Brookside buddy Mark Moraghan and Royal Court regular Alan Stocks delivered some particularly side-splitting cameos.
Funny Money runs at the Royal Court until 27 February and with tickets costing from as little as £10 you won’t need a briefcase full of money to enjoy it. This is unmissable!
Following my Mashed Potato Challenge with the Hairy Bikers, someone just reminded me of one of the first songs we (The Exectutioners) did back in the late sixties.
Predictably we were often booked as support band to the Undertakers – and at the Iron Door Club too.
This clip really takes me back.
Spot the wally!
The blue sky as I queued to board the Ferris Wheel disappeared under a veil of cloud the minute the pod door shut. Still it was nice to see the city from a viewpoint that will disappear at the end of this month when the wheel comes down.
I would love to do another few flights, at different times f day and with better lighting conditions. Sadly, time, or playtime at least, is going to be scarce in the next week and a half. If nothing else, I have these shots to document the fact the wheel was there and I was one of its passengers.
Other than a little tonal control, these are unedited images. In a day or two I will replace them with the ‘finished’ versions, so please bookmark and call back.
Click here for my gallery of shots of the wheel at night.
Chris Birchall (The Hairy Photographer) is forever being mistaken for TV chef Dave Myres of The Hairy Bikers. When the opportunity arose, one day last September, he visited one of the recipe fairs where they were filming for the 2010 series “Mums Know Best”.
The Hairy Bikers threw down the gauntlet oven glove and bade him to come forth and take part in the Mashed Potato Challenge. So he did …and came fifth!
Mashing implements at ten paces. Let the challenge begin…
(This episode of Mums Know Best was filmed in Skipton, West Yorkshire and was shown on BBC2 on January 19th 2010.)
Click to view full size
*Updated 6/1/2010
Part two of this “first-impressions” review of the Eye-Fi card, describes the workflow I envisage using for portraits and product photography in the studio.
You will recall that the intention is to wirelessly upload only the Jpegs, from the Nikon’s Raw+Jpeg pairs, for the sole purpose of reviewing the pictures on-screen, a matter of seconds after the shots are taken. And I can tell you, even after just one day’s testing, this is going to be so beneficial during portrait/beauty/fashion shoots.
The much larger (and slower to upload) Raw files will be transferred conventionally to the computer at the end of the shoot. And that is the reason I opted for the ‘Jpeg only’ version of this card for this purpose.
Lightroom is set up to move these Jpegs out of the “watched folder” into my 2010/previews folder renaming them in the process to “date-filenum”. With Lightroom in Loupe mode, the images appear full screen the instant they upload.
Whilst reviewing these shots, all the keepers are flagged as “picks” and we will use these to isolate the Raw “keepers” ready for post-processing after the shoot.
If there are a lot of them, it would be easy to miss one or two, so here is the workflow I’ve devised. It might seem long-winded, but it actually takes longer to explain than to do.
All the Jpegs, flagged and unflagged, are moved from the previews folder into the Raws folder. Right-clicking one of the images, choose “Auto Stack by Capture Time” from the stacking menu with “Time Between Stacks” set to 1 second. This causes the Raws and Jpegs to stack in their respective pairs. Choosing “Collapse All Stacks” from the same menu effectively hides the raw files behind the Jpegs.
Next set the Library filter to show “Unflagged Photos Only”. Then choose “Expand all Stacks”, “Select All”, and hit “X” to set all the previously unflagged Raws and Jpegs as “Rejected” for deleting or hiding as required.
Setting the Library Filter back to “Flagged” and “Unflagged” will reveal the Keepers. Having served their purpose, the Jpeg “Picks” can now be deleted leaving the RAW files for processing. To do this: “Select All” then “Expand all Stacks” and hit “X” to set the flagged Jpegs as Rejected.
However convoluted this might sound, it really is quick to implement.
To sum up: I always used to like shooting tethered, but gave it up because cables dangling from your camera are not ideal – especially when photographing children. The Eye-Fi card has made it all possible again.
I could have sworn I just heard Lightroom say: “WTF?”
Anyone who knows me as well as my computer does, will know I never shoot Jpegs. EVER.
Compared to the extra quality, tonality and latitude inherent in the extra bit-depth of the Raw File, Jpegs just don’t cut the mustard.
So why now?
Well it’s all down to the fact I’ve been playing I Spy with an Eye-Fi for my Wi-Fi.
The Eye-Fi is an SD card on steroids. Not only does it function as a normal 4GB card in my trusty Nikons, it also has built-in wireless capability. Using the wireless router connected to my studio’s network, it can upload images direct to the computer as I shoot them.
A couple of years ago, this was only possible wirelessly by using an expensive piece of kit bolted to the camera. Or alternatively by being tethered with a cumbersome cable to the computer.
Now then… Anyone who has investigated the Eye-Fi already (or follows this link to their web site) will know that it comes in two flavours. The standard card that will only upload Jpegs and a professional version that can handle Raw Files. So why did Birchall go for the standard version?
Well it’s not because I’m a skinflint. True, it is less than half the price at just fifty quid. However, it was more to do with upload speeds and the manner in which I intend to use it. The relatively small Jpegs upload in seconds whereas raw files take considerably longer. So I can quickly preview my shots before uploading the meatier Raws for processing.
With the Nikon set to capture “Raw+Jpeg”. The latter is uploaded wirelessly the instant it is written to the Eye-Fi card. These files go straight into a “watched folder” from where Lightroom displays them full screen.
Now I can check my shots for composition, sharpness, expression etc., as I shoot and review the images with my client immediately we have finished.
As a result, I will inevitably take fewer shots which will be a massive post-processing time saver.
Once the shoot is finished and the client has left, all that remains is to connect the camera by cable to start uploading the RAW files whilst I brew a nice cup of tea.
The initial tests are very encouraging and I’m now investigating ways of refining the workflow. All of which will be divulged in my next post.
