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C I H P A R G CXE HNA G E

F A L L gX2 0 0 4 things to keep an eye on

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“I’m no longer aware of limitations.”

—Paula Scher, Pentagram “An ad agency is made up of writers, art directors and graphic artists. Mostly, though, it’s made up of high-maintenance, perfectionist crybabies. The only reason they talk to me is to complain. But never about the G5.They love it. So I love it. “I have G5s running with Mac OS X v10.3.4,they are very The less I hear from them the better.” fast and very stable.The time you save in production —Simon Falcon, IT Director,TAXI alone will allow the G5s to pay for themselves.” —Pierre Laurin, Transcontinental Medias

“Processing digital files on the new G5 is so fast, it makes conventional processors look like a Polaroid waiting to develop!” “The Art Institutes schools have over 1200 Power Mac G5s —Stephen Wilkes, Photographer installed at locations across the U.S. and Canada. Our students love working with the Power Mac G5s because they can focus on the creative process and not worry about the technology that drives it.” “Our new G5s have given us a real jump in productivity. —Dave Pauldine, In our network of 500 Macs our G5s really stand out. Education Management Corporation They are unmatched by any desktop, Intel or otherwise, in speed.They give an obvious productivity edge to the digital photographers and retouchers here that use them. The only issue is that now all of our associates are asking, “Apple made the discussion about technology disappear. ‘When am I getting my new G5?’” I’m no longer aware of limitations.We are back to talking —David Ballantyne, about the possibilities of design, and making what you Sr.V.P.of IT, Pi Media/St. Joseph Printing can imagine.The Mac is the state-of-the-art form if you’re a graphic designer.” —Paula Scher, Pentagram

“The G5 is the Rolls Royce (or should that be Ferrari?) of personal workstations. Its dual processors let apps like Photoshop and “When it comes to making deadlines, the Power Mac G5 Maya really fly, so hardware limitations never get in the way of is my new best friend.With programs like LightWave and the creative process.” —Louis Fishauf, Worley’s FPrime,I’m suddenly able to take on 3-D rendering Creative Director, Alias and adbeast projects that otherwise wouldn’t be possible.” —Joe Zeff, Designer ?

TM and ©2004 Apple Computer, Inc. All rights reserved. For more information call 1-800-MY-APPLE or visit apple.ca/powermac. gX 1

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gX © 2004 Olympus Imaging America, Inc. Your Vision, Our Future 4 n

C I H P A R G E XC H AN G E gX Fall 2004 Volume 14 Issue 2 FFEATURESI

10 Night of the living page by Gene Gable The 26 Laying out the groundwork by Dan Brill and future of page layout will take more than just design skills—metadata, Lidka Schuch The migration from QuarkXPress to Adobe InDesign multipurposing and pre-design will become necessities. But don’t be is happening now. Switching may sound traumatic, but the payoff is faster afraid—new tools and technologies to guide designers are on the way. workflows, smoother color management, and fewer incompatibilities.

14 Sounds like motion by Bob Kim The art of live 30 Gallery Three sumptuous images to tickle the visual palette—a performances takes on a new dimension when visual effects feed the remarkable royal wedding image by Hans Nyberg (both in print and sound. Leading the way is Canada’s Derivative with its development of QTVR), the whimsy of Karie Leboe’s self-portrait, and the full glory of a Touch—software that lets artists draw music in moving graphic form. Canadian autumn, courtesy Winnipeg’s Mike Grandmaison.

18 So you want to be a professional digital photographer by Bob Connolly Get out your digital camera, FDEPARTMENTSI team up with models online, rent a studio, master a few Photoshop plug- Please…step into my lab. Let me show you ins, make an interactive PDF portfolio—and presto! You’re in business. 6 Publisher’s Notes our latest experiments with live pages—perhaps you’ll want to take a part.

Success as a stock 22 Taking stock by Mike Grandmaison 8 Letters 36 News photographer is more than just shooting good images. A well-known Canadian photographer covers the finer points of standing out in a crowd. 42 The Shadow 45 Resources ?

COVER ART Closeup and Hallowe’en-like in Poser—digital illustrations blow up beautifully in Photoshop, as shown by this zoom on Ron Giddings’ demented doctor gX from Night of the living page (see the full panorama on page 10-11). 5 PUBLISHER’S NOTES

I am so sorry, madame! Your large hair probably C I H P A R G n CXHNE AG E Please…step into my lab. Let me show you confused him. Never mind…let us proceed… Over there—watch your step—you can see the results of recent experiments which I had the gX our latest experiments with live pages— pleasure of working on with Doctor Connolly, who GRAPHIC EXCHANGE is published in Canada has been studying the metamorphosis of digital by Brill Communications Inc. 25 Elm Avenue, perhaps you’ll want to take a part… photography with actual live subjects. In fact, his Toronto ON Canada M4W 1M9 Web gXo.com thesis on the subject is on page 18—but don’t be e-mail [email protected] Telephone 416-961-1325 elcome, dear visitors, to my laboratory of pages strange and misled by its title So you want to be a professional digital photographer. wonderful…pages full of rhythmic sound and oscillating Of course, Doctor Grandmaison of Winnipeg has continued his PUBLISHER/EDITOR-IN-CHIEF Dan Brill Wcolor…where type becomes images, images turn into virtu- research into the conundrum of what constitutes a successful still ASSOCIATE PUBLISHER Diane Boadway AOCA al reality, VR is transformed into video, and video creates music… image. The process he has developed is ripe with subtleties, and I CREATIVE CONSULTANT Peter Dudar Igor? Where are you? think you will find his treatise on Taking Stock quite enlightening— DIGITAL MEDIA ADVISOR Bob Connolly Ah, there’s my trusty assistant. Please—show our guests the way…I however, I will say no more until after you have viewed page 22… PREPRESS ADVISOR Lerrick Starr am sure they will find this most engaging. Over there, ladies and gen- No, Igor, you may ~not~ touch the gentleman’s shiny PowerBook! ASSISTANT TO THE PUBLISHER Pat Gauthier tlemen—watch carefully…the page appears to be static, complete, My apologies again…now, over there, we have examples of pages immutable—but look again! It changes before your very eyes, taking which have been altered using a new procedure involving Adobe Cre- EDITORIAL CONTRIBUTORS on a new form, a new purpose, molded by metadata, invisible strings ative Suite (Doctor Starr finds these quite interesting to dissect). As Steve Aykroyd, Dave Bachelor, Ben Brill, Bea Broda Connolly, Diane Erlich, Gene Gable, bending it and reformatting it according to our every whim—for print, well, it might excite you to know that on page 26, Doctor Schuch Ron Giddings, Mike Grandmaison, Bob Kim, the Web, the desktop…objects controlled by our keywords, and… and Doctor Brill (whose master work “We Didn’t Trash Your File” Jason Lee, Steve Long, Lidka Schuch, Nick Stop, Igor! You’ll frighten our company! captures his transmorphic processes) have collaborated on a short Shinn, Shane Steinman, Dinah Tolton My apologies—Igor doesn’t often get the opportunity to entertain InDesign overview entitled Laying out the groundwork which summa- such respectable graphics afficionados as you… rizes a few points concerning the migration from QuarkXPress. PRODUCTION Can you see the page as it was meant to be, ladies and gentle- As you may have noticed, we have a particular fascination with PDF Programming & Output men?—an organic container for all forms of type, images, animations, image enhancement, which is why our curator, Doctor Giddings, BC Pictures moving pictures, 3D illustrations, sounds, music! A symphony of rich reserves the Gallery area there for our special collection of unusual elements—or just a simple but carefully crafted text message. graphics. In fact, on page 30, you will find three of the more intrigu- Graphic Exchange is published four times per But perhaps I should refer you to my old friend Doctor Gable, a ing specimens—one by Doctor Nyberg (which we have also processed year and is read all across Canada by over master at expostulating these points in context. His dissertation on in QTVR); another by Doctor Leboe, in which she (shockingly) used 40,000 creative and production professionals page 10, with the so appropriate title Night of the Living Page, may sat- herself as a guinea pig; and third, a sample of nature and science in graphic commun i cations and graphic arts. isfy your curiosity better than my paltry attempts at elucidation. grafted together by Doctor Grandmaison (the aforementioned). Member Canadian Business Press Not now, Igor! Our guests have just arrived—later! As you can see, there is still much work to be done—the art of General subscriptions within Canada Where was I? Ah, yes…I was about to say that these delicious building the perfect page is just beginning. Perhaps our brief tour 1 yr $29.00, 2 yrs $49.00 transmogrifications of the page are not limited to words and pictures— today has inspired you to rethink any outdated notions… Subscriptions outside Canada not at all…Take music, for example…have any of you ever watched Oh—please don’t disturb Doctor Erlich there in the corner. She 1 yr US$49.00, 2 yrs US$79.00 sounds or melodies? Have you ever seen the graceful gyrations, the may appear to be comatose, but this is simply part of the Resourcing phantasmagoric flight of beating drums or pulsating musical chords? process (as she calls it). I’m sure she wouldn’t mind if you would like This may sound to you like the ravings of a lunatic, but I can to test her most recent body of work, found on pages 45-47. All contents of this publication are the assure you, my friends, it is real. Why, just the other day Igor and I Now, allow me to invite you all to relax…settle into your head- sole property of the publisher, Brill ? were privileged to be guests of Doctors Hawtin, Hermanovic, and sets—they’re not so terribly uncomfortable—and think about your Communications Inc. Opinions expressed Kim, who presented their latest findings to us. The art of new tech- own pages. Our digital graphic exchangers will collect whatever’s on in this publication are not necessarily nologies which marry sound and graphics into the most entertaining your mind…and please stop eyeing the door, madame—it’s locked… intended to reflect those of the publisher. Any reproduction in whole or in part, demonstrations of light and music is remarkable—but I do no justice Oh, yes, thank you for reminding me, Igor. Igor wants me to thank in print or electronic form, without express to this subject. Please—I urge you to reflect on Doctor Kim’s essay, you all so very much for taking time to come by today, and for volun- permission is strictly forbidden. Please gX Sounds like motion, which appears on page 14 of this edition. teering to take part in our little experiment—that’s his signal, you see… contact the publisher for permission to 6 Igor! Let go! Now! Yes, Igor—it’s time! Please uncoil the high definition cables… reproduce selected editorial. n

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www.photos.com/promo/fall gX 7 LETTERS

n he reformatting of pasta—very tasty), opened Easy to hold and flip. We received a lot of mail after our last the print piece to gX mag and started reading Graphic Exchange used issue, and from all over the globe. In fact, T support the online is it…very good…easy to to stand out with its digital our redesigned cross-media Summer a classic example of, “Why read…pleasing to the eye content, now by the way it 2004 issue of gX [Crossover—Cross-Media didn’t I think of that?”… and mind…went online represents it. Amazing! Goes Mainstream] generated more I’ve tried the full rich and downloaded the 92MB Sabina Richards response than any issue we’ve ever done. media version, and the file of it to compare to print Illustrator We don’t have room for all the comments streaming version, to com- media…good…hey, this Burlington ON we received, but here is a selection. pare as well. We enjoy a fellow Dave Ballantyne pretty good connection (video) is very interesting… One word: sweet. version. Don’t know why. article. Keep it up, and I ic Exchange. I really hope speed here, so it was fairly Lunch is over, must get I just downloaded and Maybe I’m not used to the very much look forward to other magazines catch up good. back to both after work. skimmed the big daddy format yet and my brain the next digital issue. to the standards you set. Excellent article on Thanks for making my day PDF and it’s cool. Love hasn’t learned to filter them Don Swagar Rodney Harris Pi Media and the Sears a bit more interesting and how as I’m reading, I can out. Your advertisers should Fotoprint Ltd. Co-owner/Designer workflow. I liked the fashion informative. just click and check out the really like this—particularly Victoria BC D.I.C. Studios movies, and the link to James Rice, Print Manager website on my other moni- if you can track click-thrus Campbellton NB ArubaTV. The Printing Press Inc tor. Nicely done. coming from your mag. Great new layout! I espe- Well done! North York ON The new landscape for- Keep up the great work. cially like the ad layout in This is the most beautiful Chris Smyth, Digital Ad mat really lends itself to on- David Morrow, Market the news section…the hori- use of the PDF format I Production Manager I have to say the cross-media screen viewing. Looks good. Development Executive zontal style makes it easier have ever seen. I just got my Rogers Media Publishing page was a completely Mark Busse Professional Creative to follow the story and the first free issue of InDesign Toronto ON new experience. I never Industrial Brand Creative Markets ads are more compelling. Magazine and I wrote them used to like reading from a Vancouver BC Apple Canada, Inc. Nice job, gang! with my impressions and I This is really neat. You computer screen. I would Toronto, ON Laurel Brown will be sending them your always seem to push the get bored “visually” after I spent about 1.5 hours going Publications Officer PDFzine to show them the envelope. Heck, you down- one paragraph. This time through the rich PDF ver- Wow, wow, wow! I’d love to Western Canada Lottery possibilities of this format. right propel the envelope. it was different. Articles sion of gX today, and I can know how to do this! Corporation You guys hit it on the head. Frank Romano, Professor were enriched with video say that I really enjoyed the Kevin Green Stettler AB Derek A. DeMarco Rochester Institute of clips, the Gallery became a exploring. I experienced the CFEN Coordinator North Valley Graphics Inc Technology (RIT) virtual reality. Sounds and magazine differently than Air Force Satellite Control Love the new format of the Reno, Nevada Rochester, New York video clips made articles the printed version in that Network magazine. Fresh, appealing! memorable and so much the rich media really drew Colorado Springs, Colorado That horizontal format is Congratulations—the next I just received your new more interesting. me in. I used the videos pure genius. (Also, enjoyed generation live magazine! Summer 2004 issue as I This is definitely a huge to decide whether to read I was absolutely blown the “Resources” section Athanasios Papantonopoulos dragged my ass to work step into the future of pub- further, and I liked the way away by the digital version immensely -- especially Athens, Greece sick… lication. I also like the new that the video in the Jeanne of gX. This is the wave of WeirdShit!) 7:30 Threw my copy to print dimensions, or rather Beker piece was an excel- the future of magazines. Joanne Hogan Got a comment you the passenger side of the car “computer display” dimen- lent summary of the article. The interactive links and Ariel Digital Solutions think we can publish? and drove to work. Got to sions. Personally, I enjoy this The web links were great. QuickTime videos added Nanaimo BC E-mail: [email protected] ? work and opened up shop format because the images I rarely put down a maga- a whole new level to your or snail mail to: and realized I had forgotten are larger. Four-column zine to type in a referenced magazine. Of course it is all I have to say that this is the c/o The Publisher that cool new look gX… articles are easier to read, URL—but today, I clicked just eye candy if there is no best magazine I have ever Graphic Exchange went to car to get it, threw it since I can bend my issue in on about thirty! depth to the writing and vid- read (and heard). I love the 25 Elm Avenue on my desk and started pro- half and make it a regular Also, strangely, the ads eos. As usual, the quality of new format. “Think Dif- Toronto Ontario gX duction for the day… size book format, which I seemed way more compel- the content was exceptional, ferent” must be a motto Canada 8 12pm Lunch (leftover am more comfortable with. ling than in the printed particularly the Pi Media around the offices of Graph- M4W 1M9 ROYALTY FREE • FLAT RATE • RIGHTS MANAGED n

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ILLUSTRATION BY RON GIDDINGS n by Gene Gable

Will a mega-dose of XML mixed with automated page composition make screaming zombies out of the design community? It’s 3 am, and an eerie still has come over your office. A chill is clearly present—perhaps it’s the air conditioning, or maybe not. The pulsating power buttons on the bank of Macintoshes breathe as one, in and out, in and out. A screen saver flickers and then goes black. The night watchman is half sleeping in the lobby, but even he can sense that something is terribly wrong. Those pages you thought you put to bed hours ago have taken on a life of their own, breaking free from the confines of their hard discs. They ? are mutating into something horrifying—feeding themselves with new content, new graphics, and new purpose. Your design is being changed from something beautiful and innocent to a disfigured monster. And it scares you like nothing has ever scared you before. gX 11 n the various uses that content will take. That Designers who continue to think only in terms of whole-page is where the designer fits into the automated publishing process. layout and production will fail. Those creative professionals In automated publishing, the emphasis is less on the elements of graphic style we who embrace the idea that individual elements of content have come to know so well: type size, style, color, etc. Instead, the emphasis will shift must carry structure and design with them will thrive. to the relationships between content ele- ments: what is the hierarchy of information? Which content elements trump the other it. Aided by government regulation and achieve the nirvana of personalized, just-in- elements, and how do they interact to form common sense, they will stop receiving or time publishing. the whole? Additionally, content is taking caring about anything that isn’t tailored to In the last few months, I’ve been doing on greater and greater layers—a static image them and incredibly current. a great deal of thinking about the future of may well represent a video behind it, a para- We are entering an All those who use information for the publishing process in preparation for a graph may reveal a full chapter underneath, era of smart composi- business or pleasure benefit from new conference I’m launching in January of and a headline may actually be the window tion and automated page high formatting—good type, next year [Editor’s note: for details, see www. into an entirely different set of pages. design that for some will quality graphics, true colors contextconference.com]. It is my contention The best way for me to describe the mean a frightening loss of and coherent structure. We that designers who continue to think only publishing process of the future is that each control. But for others in have come to assume those in terms of whole-page layout and produc- page is essentially a snapshot in time—a the design and produc- elements in printed page tion, will fail. Those creative professionals planned and controlled window into a sea of tion community, design, and increasingly in who embrace the idea that individual ele- information, all passing by rapidly—chang- Web pages. And though it ments of content must carry structure and ing, morphing and updating as it goes by. is not currently possible to design with them, will thrive and become Just as a photograph captures a split second deliver those qualities in the even more essential to the communications of reality, a page communicates because of “pages” that make up cell-phone process. the content elements it pulls together and screens, instant messaging windows and In every operation, the size of individual presents. In print, this snapshot is forever other forms of electronic communication, it content elements will vary. For some, con- frozen—it serves its purpose and remains is only a matter of time. tent will reside on a story level, or chapter useful only as long as the reader needs it. This is why I am optimistic about the level. For others, content elements might On the Web, pages are constantly chang- role of graphic designers, even though be as small as individual words or figures. ing, and never really exist except when they intelligent pages represent the near future is scary and full of Regardless, each useful element will need are viewed. Most forms of pages are now the ultimate experiment obstacles. Eventually, the differentia- to contain enough information so that it can disposable—useful for only a moment until and opportunity. How can tion between useful, relevant infor- be interpreted, positioned and formatted something better comes along. a creative person continue to mation and “junk” information will automatically based on rules and templates Adding to the pressure to create pages produce effective pages when the bulk of hinge on design. But design can no created by the designer. quickly and without any design interven- them are laid out by machine? longer be as labor-intensive as it is today, tion, is the increasing ability of publishing and it must be automated. THE PAGE AS CONTAINER systems and even printing presses to deliver THE CUSTOMER TAKES CONTROL Data and information by itself is rarely one-off, customized output. There is no way ? The reason page production, whether in ENTER JUST-IN-TIME PUBLISHING useful. We have come to depend on the a publish-on-demand system can work if print, for the Web, or for any other media, The challenge for anyone involved in the structure of the page to bring meaning and anyone has to manually be involved in the is moving from a design-intensive linear formatting and design of information is to purpose to otherwise random graphic ele- page design and production. process to an automated, round-trip process make all forms of that process seamlessly ments. These days, the page can be any sort is simple: consumers of published informa- automated, and insert the concept of round- of container—from hard paper to small or HOW CAN WE AUTOMATE DESIGN? gX tion are taking control of what they want trip communication from data to page and large screen. So, despite the many varieties Most designers can relate to the idea of 12 to see and in what format they want to see from page back to data. Only then we will of pages out there, we can somewhat predict templates, master pages, and other means of n simplifying page layout. But these tools only able. Rules can specify more than just posi- their own and you can only keep your fin- Accordingly, designers will have to solve the problem of repetitive production tion, they can specify color, size, type style, gers crossed and hope for the best. Whether become more enterprise-savvy, to learn issues—they do not think for themselves, do etc. A rule might say that on a screen page, you call it smart content, intelligent infor- about databases, to learn more IT lingo, and not understand the elements they are auto- the color is RGB, but when the same ele- mation, or XML-enriched data, publishing develop an excellent knowledge of XML. mating, and still need considerable inter- ment is used on a printed page, it is speci- is taking on a life of its own. But don’t panic—actual XML coding will vention to create successful final pages. fied as a Pantone spot color. The element But what is so exciting about automation be increasingly automated. Right now we’re In the automated publishing systems can automatically be re-sized, increased is that it will finally allow the creative pro- in the equivalent of the early PostScript days being developed now (and some already on or decreased in resolution, cropped, or fessional to insert themselves at the begin- when a working knowledge of coding was the market), XML tags reside with the indi- changed to black and white. ning of the information cycle, not at the necessary to get predictable and successful vidual content elements—headlines know When a rules-based system works, pages end. Traditionally, design has been the final results. they are headlines, subheads know they are can be created automatically based on infor- resting place of content—a necessary but So rather than be frightened by pages subheads, captions know they are captions, mation about the recipient, on geographic detached part of communications—a one- that come alive and take on a life of their etc. Designers create the hierarchy of con- information, on language, or on any other way, dead-end process that is both time con- own, put yourself in the mad-scientist role tent based on their ability to anticipate as variable factor. This way, if every page con- suming and misunderstood. Finally, design and be the one who builds the monster. many uses of the content as possible. This tains different information, it can still follow formatting will be as essential to a company Control will reside with those who under- anticipation and planning is the key to suc- company style, insure brand integrity, and or organization as data management, inven- stand the parts that make up the whole. Put cess in all automated publishing workflows, be reproduced appropriately for the delivery tory control, customer relationship or any them together correctly, and the results will and I believe designers are in the best posi- system in play. A full-text version can appear number of other core business practices. serve you well. tion to understand how individual content when displayed on a large screen, and an Publishing systems must finally be an elements should behave. abbreviated version when published to a integrated part of content and data manage- Gene Gable has Instead of templates, designers in a pub- small screen. If a customer is online, pages ment—part of a genuine “round-trip” pro- spent over 25 years lish-on-demand world create rules for how can contain links to more information—if cess. Changes that happen at the page level in publishing and content elements come together to form a they are viewing the material on a stand- must be reflected back at the data-manage- graphic arts. After page. These rules can change depending alone device or printed page, instead of ment stage and vice versa. The ultimate chronicling the on the specific purpose. For example, a links a toll-free phone number might appear goal is to handle and format content only desktop publishing rule might say that if a page has a picture, it for more information. once, but not sacrifice good design. revolution as a first should appear in the upper-right-hand You can see how rules-based systems can journalist and as corner. If that space is not available because make publishing more efficient, less waste- THE NEW president of Publish of another specified priority, then the pic- ful, and more focused. We often publish KNOWLEDGE magazine, he ture should move to the bottom left. A rule more information than is necessary to be SET FOR assumed the title of can state that if a caption runs longer than sure it is useful to as many readers as pos- DESIGNERS president for three lines, it should be reduced in size by sible. Automated publishing can present Good design Seybold Seminars and Publications from 1999 one point until it fits. If a chart falls on the encapsulated content that expands as neces- is good de- to 2002. Currently he serves as executive page, it can be specified that it should move sary, based on the needs of the reader. sign, so I don’t producer and founder of the Context to the next page unless it has five lines of think creative Conference; he is also a contributing text below it. Every page element can carry THE ERA OF THE PHANTOM PAGE professionals need to editor at creativepro.com. multiple rules, which change depending The problem with all of this for the design change the basic knowl- on the actual use. On a landscape page, community is that there is no “final” ver- edge set they already have. an element may behave one way, but when sion of anything. Pages will be in flux all But the massive amount of ? it appears in a vertical format it knows to the time, and despite the best of efforts, time and effort that has been behave completely differently. sometimes the rules may not cover every- put into production skills is going By writing good rules, the designer can thing and the results will be disappointing, to become less and less relevant. In- assure that no matter how a page comes if not downright embarrassing. Automated stead, designers will need to step back together, and no matter what specific con- publishing is a little like raising a child— and focus on core brand values, establish gX tent resides on a page, that the end result you do your best to instill values and knowl- design priorities, and help define how data 13 will be consistent and graphically accept- edge, but at some point your kids are on is created, stored and used. n

(left to right) Dave Robert and Greg Hermanovic of Derivative set up gear for Plastikman’s live performance at the Mutek festival in Montreal; Richie Hawtin (aka Plastikman) surrounded by controllers and equipment; Hawtin tests the system before his performance; Hawtin and Derivative’s Jarrett Smith work out last minute glitches; Plastikman works the controls in performance Derivative adds a new Touch to electronic performances, merging visuals with sound to produce a new paradigm in digital music Sounds like motion

? COOMBE DOUG COURTESY PHOTOS ALL gX by Bob Kim 14 (left) An enthusias- tic Mutek audience n voices its appre- element or effect. The Touch Synth for a long time—a truly new paradigm. ciation; (right) the whole show is a collection of over 100 No longer are visual effects simply visual effects ebb images, movies and 3D algorithms with something to occupy our eyes. Nor are they and flow with the music user-configurable behaviours attached to just an element designed to accompany each, and every behaviour or characteristic the music. Now they describe the dialogue t’s June 4, 2004 at the Mutek experimental to certain frequencies being output by the can be controlled by faders. which takes place between artist and audi- music festival in Montreal. Unbeknownst system. Suddenly, strobes flickered with What distinguishes Touch from any ence. With the TouchMixer, Hawtin can to the capacity crowd at the Metropolis the kick drum, beams could move to the other system, explains Derivative founder play images like an instrument. And with nightclub, something extraordinary is about melody. Still, these systems weren’t very Greg Hermanovic, is that “it’s not the this narrative now a dialogue, not only do to happen. The fact that acclaimed DJ intelligent, and you could often get better sound loop that’s controlling Touch. Touch the visuals follow the audio, but the audio I Plastikman is giving his first performance results through a skilled operator. isn’t receiving a sound wave—it’s receiv- also accompanies the visuals. since 1995 is something in itself; that the With the advent of cheap computer ing MIDI. When Ableton starts, repeats or show will have the fully immersive sensory processing power in the 90s, Ninja Tune ends any sound loop, it signals TouchMixer ENTER STAGE LEFT—THE AV-J exploration for which Plastikman is famous founders Coldcut became pioneers when so TouchMixer can start, continue or end This evolution in sound and sight also is also worthy of note. they wrote proprietary software that would some layer of effect. implies something else, which became evi- But as he takes the stage amid screams sync video sequences to specific audio “The way that we make a visual element dent to the Plastikman faithful—one person and whistles, those who pay attention— tracks. When a new track was called, the look like it’s following the sound is by draw- is running the whole show. those who are there for more than just the video would change accordingly. Mixing ing curves along the sound’s timeline that, In a conventional performance, the music, slowly come to a realization. This is between two tracks would superimpose say, rise and fall at beat 2 and 4 if a high hat audio component comes from one source something they’ve never seen before. video sequences. At the time, this was noth- is at beat 2 and 4. This is better and more (the artist), and the visuals come from Visuals which seem to ebb and flow ing short of revolutionary. flexible, because you can start bringing another (the visual effects dude). The visu- with the music are generally nothing to Unfortunately for us, more often then on the visual element before you hear the als follow cues in the music and are shaped write home about—folks have been putting not there would simply be a series of low sound—that’s what builds the anticipation. accordingly. The level to which the two are visuals to music for decades. And with the resolution sequences looped in an irritating While we’re developing the visual for the integrated depends on a number of factors: state of technology these days, of course they fashion, with no thought to the music what- song, we craft that relationship between the skill of the visual effects dude, the bud- would move with the music. Heck, your soever. Some got really lazy, simply calling sound and image—that’s the art of it!” get, and how much the artist actually cares screensaver can do that. up visuals in Winamp, and projecting them The stunning art in Plastikman’s Touch about it. What’s different on this June night at onto the wall. Synth show was the product of an interna- But even in the most tightly coordinated Mutek is the way in which the visuals move tional collaboration of video artists, design- high budget show, there is always a discon- with the music. There seems to be a quirki- TWO-WAY AUDIO-VISUAL CONTROLS ers and animators, led by Derivative partner ness to them, as if there was personality The technologies through which Richie and artist, Jarrett Smith. The contributions behind their behaviour. Hawtin controls his show at Mutek are of Dave Robert, who helped assemble the Richie Hawtin’s Ableton Live audio controls What Plastikman (aka Richie Hawtin) unlike any electronic music system ever 26-song framework of visuals, Jeffers Egan, allow him to manipulate sound on the and visual effects wizards Derivative have used before. Hawtin manipulates a custom who developed synthetic video elements, fly, which generates a whole range of captivating Touch Synth visual effects. done this night is revolutionize what was rig, comprised of his usual collection of Toronto-based design house Crush Inc, traditionally a one-way dynamic. Instead sequencers, drum machine, and synthesiz- New York City’s Honest, which developed of tailoring the visuals to the music, we’ve ers. His custom-designed MIDI controller, morphing graphics and video images, and come full circle—now the visuals are also the CTRL LIVE, gives him control over the the show’s producer, Kevin McHugh, made shaping the music. audio, video, lighting and effects simultane- this the most electrifying performance ever ? ously. The CTRL LIVE system manages witnessed at the Mutek festival. FROM TRIPPY TO WIMPY two applications—Ableton Live 3 for audio, The implications of what Derivative has People have been adding visual effects to and Derivative’s TouchMixer for video and created are profound. Traditionally viewed music since the tripped-out oil sheets of lighting effects. as an accessory to music, the visuals are the 60s. In the disco era, basic synching of When Hawtin calls up an audio track, now on equal footing with the sound. This gX light shows to audio was developed; then a command is sent simultaneously to the liberation of a performance’s visual aspect 15 someone realized that you could tie lights TouchMixer, which initiates a Touch visual from the audio gives us—for the first time in nect, as there are always at least two people organically linked. If changing a setting Chromacide made live graphics for Hawtin In the 1930’s, McLaren pioneered the n involved in the performance. Those artists in audio (for instance, gain level) changes using Hermanovic’s special effects software, use of making movies without cameras—by who can afford the high end rigs often don’t a setting in video (such as object rotation Houdini. However, in order to get the power painting directly onto the film itself (con- get involved directly in the visual aspect. speed), what happens if the audience begins and accuracy they needed, anything that temporary animation, anyone?). In the Like choreography or set design, this is to respond to something they see instead of was worth showing required the use of high early 40s, he made what were perhaps the something they rely on someone else to hear? Focusing the visuals on the desired end workstations (which, incidentally, are first forays into audio-video experimenta- execute. effect brings this dynamic full circle; and also extremely heavy). tion when, in a moment of foreshadowing, What’s interesting about Derivative’s working toward a desired visual effect drives Hermanovic recognized that if the tech- he began drawing directly on the audio Touch system is that the artist is forced to the music. nology was to be feasible for the mass mar- track of the film and created “animated think very carefully about the visual aspect Talking about the first time the complete ket, and if it was to be adopted and used by sound”—that is, sound which is driven by of a show, as the two are, by definition, CTRL LIVE rig was fired up for testing, artists, then software and hardware first had visual input. Hermanovic describes what happened when to catch up. Hermanovic had to chuckle when he Derivative’s Touch software Richie Hawtin started moving audio faders As he describes, “We knew that if we recalled being asked to reproduce Syn- lets an artist merge sound and to see the visuals attached to them. waited a few years for software to mature chromy in real-time animation. One day visuals together into one cohesive presentation where graphics can “That’s when it started to get mad. Rich- and costs to come down, we could make back in 1980, when he was laid up with a be manipulated to reflect the ie’s face lit up, as did everyone else’s. Next another leap ahead—without training to be broken arm, he gave himself the challenge music, and vice versa. thing we knew, he was bringing in sound weight-lifters.” of writing a program that would digitally elements from unrelat- In 2004, Hawtin contacted Hermanovic reproduce Synchromy. Writing on newsprint ed songs, perfectly in with the intention of pulling something off. with his very shaky left hand, this outline sync, just to see what Something big. became the basis for Touch. They made a their visuals looked like He wanted to explore the relationship prototype visual, loosely based on Synchro- together. Then Rich between audio and visual effects in a way my, and then moved forward to create visu- realized that the visual that had never been done before. All the als for the remaining 26 songs in Hawtin’s compositions were audio, video and lighting would be con- anticipated Mutek set. guiding his musical trolled by one person, from one piece of Making the visuals was one thing. Get- compositions.” gear—through what was to become the ting Touch to talk to Live (Hawtin’s audio CTRL LIVE controller. sequencer of choice) was something else. WHEN RICHIE Hawtin showed the Derivative crew a Working with Ableton, developers of MET GREG copy of Norman McLaren’s experimental Live, Derivative adapted the Touch system Hermanovic’s rela- film, Synchromy, and asked if they could to accept MIDI clock and loop start/stop/ tionship with Hawtin make something like that. McLaren was a repeat events, which were being output by a began in 1999, when pioneer in the field of animation, incorpo- custom build of Live 3, designed specifically Geoff Marshall of rating light, color, motion and sound into for this project (the features they developed animation house an eclectic soup of contrast and evolution. will not be available until after Live 5).

? gX 16 n THE STORY OF DERIVATIVE abstract films of John Whitney and Norman ence response. When working with an Derivative Derivative is the twisted child of Greg Her- McLaren, the art of Bill Viola—even Bali- audio artist, the results can be astoundingly founder Greg manovic, best known for his ground-break- nese shadow plays. beautiful. Hermanovic ing 3D effects company Side Effects and its is the driving force behind flagship software product, Houdini. TOUCH—A SIMPLIFIED ANIMATION TOOL DIGITAL ARCHITECTURE Touch. Since its inception, Side Effects has Touch is not exactly an animation package; A burgeoning interest in Touch by the archi- been an innovator in the field of 3D special it’s more like a toolkit for building interac- tectural community has triggered another the experi- effects—first to put a GUI onto a procedural tive experiences. area of development for Derivative. Touch ence is always modeling system (1987), first to use particle Designed to allow the ordinary user to is now being used to bring a sensitivity and unique and systems (1992), and first to include motion create 3D effects and movement, the objec- elegance to the design of structures through captivating, capture and time-frame sampling (1993). tive all along has been ease of use without the addition of digital media. adjusting Houdini has been used in over 180 feature sacrificing power and flexibility. Those One of the most exciting installations of daily accord- films, including The Matrix, Titanic, How who have spent any amount of time with the Touch system is in the Prada building ing to sunset the Grinch Stole Christmas, Fantasia 2000, high end niche programs for either audio or in downtown Tokyo. Derivative was called and sunrise X-Men, and Spiderman. video will tell you that the two are usually upon by the renowned architectural firm times; and Houdini is powerful stuff, but it is mutually incompatible. Herzog & de Meuron to develop different during the 48 designed to produce highly detailed film As such, Touch is an open-ended ani- animation concepts to be projected onto hours around the full moon, it shifts its col- and video animation and effects. However, mation tool. Never wanting to dictate the five surfaces throughout the building. Being ors to an icy blue palette —acting in essence Hermanovic had always had a vision of terms of the creative process, Hermanovic all-glass and open concept in design, the like a full moon indicator. developing software for real-time animation. developed a system of 300 building blocks images saturate and smooth the architec- “Derivative spun off from Side Effects in that lets an artist describe interactive experi- ture. During the evening, the Touch system WHAT THE FUTURE HOLDS 2000,” he says, “fuelled by artists’ growing ences without knowing any programming. illuminates the entire edifice and its imme- I download the TouchPlayer and some appetite for interactive visual tools (which The user simply drags objects onto Touch- diate surrounding area, so that the structure sample synths to see if I can make a paralleled what kids were seeing with music Designer (the development app), draws itself comes to life—pulsing and glowing in Groundbreaking Interactive Experience. software), and also by new laptops with fast connections between them, and the process the Tokyo night. After several hours of fiddling with faders CPUs and graphics chips that could render begins. Those with a background in pro- The images themselves are designed and poking at pixels, I come to a realization rich layers of textures in real-time.” gramming will recognize this as a kind of to resemble the surfaces on which they which makes me happier than I expected: Touch was cloned from Houdini, but API for interactive experiences. are being projected. For example, at the it’s not easy to make something beautiful. taken in a different direction. Instead of The Touch system itself is comprised of top of the building, a latticework of holes Sure, I’ll be the first one to shout about being special effects software targeted to three applications. TouchDesigner is used punched out of metal surrounds Derivative’s the democratization of technology to any- production houses and the Hollywood elite, to create Touch Synths, which are the core projections. The images on the screen are one who will listen. And yes, I tend to get a Touch was to be a tool for the masses. of the Touch system. These video synths designed to resemble the lattice—that is, little anarchic when it comes to intellectual Moore’s Law (which dictates that com- can either be viewed independently with until the lattice seems to throb and give way property rights. But just because anyone can puter processing power will double every the TouchPlayer, or they can be mixed and to shapes and wave forms which try to break do it, that doesn’t mean it should be easy. 18 months) has been remarkably accu- affected through the TouchMixer, which is free from underneath. What Greg Hermanovic has created is rate—and in 2000, the timing and costs what Hawtin used for the Mutek show. The danger of an installation such as nothing short of revolutionary. But as with were right. The movies, stills and 3D algorithms this is to avoid repetition. If it were to sim- all artistic revolutions, it will take time. Touch is based on procedural modeling, which make up a Touch Synth are designed ply loop pre-rendered images, the constant Hear the hypnotic motion of the music… much like the modular sound synths of the to evolve and interact according to 3D mod- repetition—no matter how complex the see the vibrant colors of the chords… ? 70s, but this time applied to graphics. How- eling rules. Each aspect of the behaviour of visuals—could easily bore customers and Are you ready? ever, unlike Houdini, it is Hermanovic’s the object can be assigned to a fader in the employees. But here is the genius: Touch eclectic tastes and passions which have control panel, allowing the VJ to blend pre- has a certain amount of serendipity built Bob Kim is a DJ/house music producer who driven the development of the application, keyframed motions, camera moves, light- into it. No matter how often the exact same masquerades during the day as a maker of rather than business needs. Hermanovic ing, and other actions. The TouchMixer sequence of faders and knobs are executed, websites. High falootin’ po-mo analysis was gX claims to be influenced by factors as diverse then allows all the synths to be customized the result is always a little bit different from provided by the twisted non-linear mind of 17 as the first generation of synthesizers, the live on the fly, according to mood or audi- the time before. So, in the Prada building, Mark McCutcheon. n So you want to be a professional digital photographer With digital cameras evolving at a breathtaking pace and Adobe Reader now on three quarters of a billion computers, it’s time to think beyond JPEG and assemble your best portfolio in PDF.

by Bob Connolly Almost everyone owns a digital camera these days. High quality images, relative ease of use, reusable memory cards which replace film, lossless backup capability to CD-ROM, low retail costs—all these factors have combined to put digital cameras in the hands of the average consumer. ? I was recently handed a miniature key chain digital camera simply as an incentive item. Even my latest cell phone has a built-in digital camera. So, if that UFO happens to land when I least expect it, I’ve got my key chain camera or cell phone to document the event. gX 18 n The last holdouts in this new digital pro. How do you get into the industry? How for no charge. Models looking for photog- picture of themselves. But if you’re new to world were professional photographers, who do you begin to build your portfolio? raphers to TFP (Trade services For Photo- photography—especially working with mod- seemed to be waiting for prices to drop to Meanwhile, on the other side of the graphs) sign up with these websites and post els—how do you get your portfolio started? the $2,000 range. But digital SLR (single camera, there are quite a few people who a few amateur pictures of themselves with There are many websites devoted to lens reflex) cameras with interchangeable are thinking along the same lines—would- the hope of getting noticed. Their objective travel photography workshops, where skilled lenses made by Nikon and Canon are now be models looking for photographers to is to find pros who will shoot them at no professional photographers take you on selling in record numbers to lawyers, doc- take their pictures so they can build their cost, in exchange for pictures that can be tours of countries to shoot landscapes, birds, tors and other hobbyists with significant portfolios. added to their image portfolios. architecture, and other subjects, but it’s hard amounts of disposable income, and these But how do you meet up? There are two very popular sites where to find workshops where professional mod- prosumers are embracing digital photogra- one can start. One Model Place is more els are used. phy as a rewarding past-time—many even ONLINE PHOTOGRAPHY PORTFOLIO for the semi-professional; Muse Cube is for In Toronto, Spectrum Studio Services harbour hopes of being published in maga- HOSTING people who are just getting started in mod- offers studio rentals and provides workshop zines or online digital publications. If you’re a photographer who needs to get eling or photography. space for photographers who want to learn Along with this digital technology comes some practice with real models, there are Models on Muse Cube who are look- to shoot digital using experienced models. a vast network of online modeling agencies, several online services which will host your ing for professional photographers with a These workshops are run by studio owner schools, workshops, print magazines, online portfolio for a small fee, or in some cases, track record often begin with just a webcam Glenn Specht, who provides everything user groups, and Internet providers hoping to capitalize Human Software’s on the trend. Expect to see AutoSmooth more JPEG pictures attached Photoshop plug-in is to your e-mails, sent from ideal for getting rid of your friends’ cell phones or the blemishes and high end SLRs. In Toronto, unwanted detail that Internet service providers like digital cameras Rogers and Sympatico have magnify. Here, AutoSmooth does a doubled or quadrupled e-mail beautiful job of attachment limits, allowing for smoothing out the very high resolution images to goose bumps caused be transmitted. by cold shooting Or, if you have a lot of conditions and the photos, you can now send your other imperfections digital portfolio via interactive on the model’s skin. PDF. Professional direct marketing companies can now move away from HTML e-mail and go to rich media PDF by creating electronic catalogues. In addition to text and static pictures, online ? brochures can also contain virtual reality photography. So where do you start if you want to get serious about being a top digital photogra- gX pher? You have your new digi- 19 tal camera and you want to go n Adobe Photoshop’s any wrinkles or blemishes new Shadow/Highlight with just one click of the adjustment tool is an mouse. Sensitivity sliders invaluable feature that lets are available to vary the you automatically bring amount of correction, but back detail in shadow I was quite impressed with areas without affecting what AutoSmooth could other parts of the image. In this example, the do with just its default set- model’s face and body ting—saving literally hours have been brightened of touchup. up without changing the background. ADOBE CS AND THE SHADOW/HIGHLIGHT ADJUSTMENT TOOL Adobe has also come to the rescue of amateur photographers who haven’t quite learned the knack of fill flash. Beginner photographers often set up their models facing the sun, so that the model’s face will be cor- rectly exposed in direct sunlight. This method works well for sunglass commercials, but because they squint to avoid being blinded by the sun, most models wind up with a except the camera. The workshops vary in are now available make touchups less chal- HUMAN SOFTWARE’S AUTOSMOOTH very unflattering facial expression. Profes- location and theme from farm shoots and lenging than in the past, when airbrushing Some photographers are computer-illiterate. sional photographers, however, are taught city streets to studio work and nudes, and was mandatory. They know how to compose and light a shot to stand the model in the shade or to face almost always feature attractive models who The biggest drawback in the all-digital for the correct exposure, but sit them down them away from the sun and use an outdoor are especially easy to work with—there are environment is the detail that’s captured by at a computer, and ask them to paint some- fill flash to match the exposure of the face no prima donnas here. new high resolution cameras. Unless you thing, and you find them wishing for their to the background. Once you have accumulated a good use softening filters or shoot closeups slight- old still film camera. Many disdain the digi- With this technique, the model isn’t selection of images for your portfolio, it’s ly out of focus, tiny age lines and blemishes tal look that’s missing the grain and contrast facing the sun, so she can open her eyes time to assemble them for presentation the can become quite noticeable. which they’re used to. Freckles, pimples and and smile comfortably. However, her face ? best way to your future clients. Most professional models hate the digi- fine facial hair just leap off the page. may often be very dark compared to the But first you might want to spend some tal look that many amateur photographers Recognizing this problem, Human Soft- background. The photographer then uses time correcting the images, removing often capture, so they tend to avoid these ware, a developer that specializes in Photo- a flash to fill dark facial features with light. blemishes or tattoos, fixing spots and sores, newbies like the plague. But there are sim- shop plug-ins, has created a truly miracu- Bounce reflector boards are used to fill the or correcting for over- or underexposed ple ways to make your subject look like you lous piece of software called AutoSmooth. dark areas, but correct camera exposures are gX images. Adobe Photoshop is still the tool of spent thousands of dollars on a professional It has the ability to analyze a photograph— still difficult to obtain, and backgrounds are 20 the trade, and the plug-ins and filters that touchup artist. especially flesh tones—and then smooth out often overexposed. n Websites are built to QUICKTIME VR AND PDF PORTFOLIOS whole wardrobe. Moving the mouse from Glen Specht owns allow for fast picture dis- If you’ve ever attended a photo shoot, you’ve side to side, you can rotate the model, and and operates play, but if you want to pro- noticed that a photographer will shoot by moving the mouse up and down, you Spectrum Studios in Toronto, a workshop vide high quality photogra- hundreds of photographs to get the perfect change the wardrobe—all in the same space where digital phy that’s suited to printing exposure and look from the subject. With on the digital page. photographers can on photo paper, you’ll want film, the photographer shoots a Polaroid to The trend toward using online digital practice with live to post your photos in PDF. get the exposure right and then shoots as PDF catalogues is growing. With size limits models or even go If you’ve made an many rolls of film as the budget allows; but on e-mail attachments now up to as much on outdoor shoots. arrangement with your with digital photography, virtually unlim- as 20 megabytes, you will see many online model to shoot TFP, ited image captures have become a way of direct marketing companies sending their where they will trade their life. In a TFP arrangement, the photogra- flyers and catalogues through e-mail. In a modeling services for pho- pher would sometimes undershoot because print catalogue, you’re limited to just one Dennis Biela, owner tographs, that’s what they of film processing costs. Now, with digital, dimension, but in an online PDF, you can of Lightspeed Media expect: photographs. You you just keep shooting and viewing, until see what a piece of clothing looks like from (www.lightspeed– may want to offer a CD- you get the perfect shot. From hundreds of front to back. Consider the volume of adver- media.biz), is a ROM of their pictures, but photos, the photographer and the model tising for jeans. Are they low cut at the back leading expert in QuickTime VR, many models won’t know can narrow it down to get the right one. too? Do they hug the rear end? including the what to do with it—and “I like this shot of your back, your body is Virtual Reality object movies are far production of QTVR why would you expect gorgeous,” says the photographer. from new. Most of us have seen them on object movies. them to? They’re not “But I like my face, what about my face?” the Apple website to demonstrate the new graphic artists or design- says the model. iMac or iPod. It’s so cool to be able to grab ers—they just want to stick Using virtual reality photography, you the new iMac and spin it around, and we all their pictures inside a pre- can now include several shots from the think, wow!—this must be so hard to make. Adobe Photoshop CS has a new image sentation folder or book to show to clients session and allow a client to view all the But in the world of professional model- adjustment called Shadow/Highlight that on “go-sees”. selected shots inside a single picture. This ing, every photo session consists of taking only boosts the portions of an image that However, in a lot of cases, agents want is done using QuickTime VR photographic reams upon reams of pictures from different are in the shadows, but still holds the back- a digital portfolio that they can e-mail to methods. By combining a series of shots into angles. The workflow for shooting the virtu- ground. I have no idea how Adobe does this. clients. This is where your skills with pro- a single QuickTime file called an “Object al iMac and the professional model is nearly In some cases the face is totally black, yet ducing PDF portfolios will come in handy. Movie”, the user can grab the picture of the the same—it’s just a series of images which with the default setting, the face becomes Using an application like Adobe InDesign, model and see the model from the front or are placed in QuickTime VR authoring clearly visible and perfectly exposed. you can import your pictures and lay them back by moving the mouse left or right. software and exported as a finished movie. It just goes to demonstrate that even out nicely, along with suitable text about The pictures are loaded into an author- And now that PDF can support rich when it looks like there is no detail in the the model. If you have several pictures, they ing package such as Apple’s QuickTime VR media such as QuickTime VR, there’s dark portions of an image, there’s actually can be laid out in a book format where a authoring studio and sequentially exported a whole new medium for virtual reality a lot of image information which can be selection of pictures from the shoot are on into a single movie that contains a series of photography beyond just websites and CD- restored. individual pages, and different looks are on images. By moving the mouse, you move to ROM. With digital photography continuing separate pages. the next or previous image in that row. It’s to evolve rapidly, and Adobe Reader now PRESENTING YOUR BEST WORK When you export the InDesign file to possible to have several rows of images that on three quarters of a billion computers, it’s You’re now ready to post your photos on Adobe PDF, you have the capability to can contain different angles of the model time to think beyond JPEG and assemble ? websites such as MuseCube.com. But many create a digital portfolio that can be both from overhead or below—or even better, your best portfolio in PDF. E-mail it every- professional photographers prefer to create e-mailed and printed. Adobe PDF also show changes in wardrobe. where and “Share the Moment”. their own websites. This gives them the flex- has the ability to include video and virtual For example, let’s say that you shoot a ibility to post many more pictures than are reality photography, so if you want to cre- series of images of a model from the front, Bob Connolly is a principal in BC Pictures, a allowed on free sites, and it also provides a ate something special, something that will side and back in three different clothing new media production company creating con- gX place to have their portfolios downloaded— really get noticed, here are a few ways to styles. You now have the capability to rotate tent for TV, CD-ROM, DVD and websites. Visit 21 in PDF. bring your PDF portfolio to life. the model and change the colors or the BC Pictures online at www.bcpictures.com. A top Canadian photographer n shares his secrets for success in the stock image market

by Mike Grandmaison

n 1996, after a rewarding and interest- ings of excitement, freedom, satisfaction, and then find a way to market this imagery. can get away with much less imagery at the Takinging career in the biological sciences, wealth—andStock much of the time, this rings Many stock photographers shoot mainly for beginning. I veered onto a totally different career true. But speaking from personal experi- stock, although some shoot stock part-time Critical to this is researching what the path—making photographs for a living. ence, I can say that this profession can also while deriving at least part of their income market wants, making those excellent imag- Starting over from nothing wasn’t easy, be extremely intensive, and often the biggest from another employment source. es, marketing that imagery to potential cli- Ibut after much deliberation, I made the problem is finding time to relax. My situation is a little different in ents, and getting a fair price for your efforts. commitment—and I haven’t looked back. To be successful in any entrepreneur- that my business is almost a 50/50 split What follows is a few of the things I’ve ial endeavour, one must exhibit a good bal- between assignment and stock photogra- WHAT SELLS? learned about succeeding in the fiercely ance of excellent technical skills along with phy. Although one must be somewhat of a When it comes to what’s commercially sale- competitive stock photography market. a good understanding of how to conduct a generalist while living in a smaller city like able, almost anything goes—if you have the small business. While there are many excel- Winnipeg, I tend to focus my lens on agri- right buyer. Sometimes an image can sit STOCK PHOTOGRAPHY: STARTING OFF lent photographers who don’t know (or don’t culture, architecture, the environment, and in the files for years before it sells, if it ever The term “stock photographer” can carry want to know) what it takes to run a suc- industry and tourism. I also enjoy producing does. Other times, you barely have a chance an air of glamour, often conjuring up feel- cessful photography business, there are also works of fine art and, more and more, I’m to get the image back from the lab before This series of three images is based on bold, graphic many average photographers with excellent getting involved in publishing. someone requests it. design which is often an important ingredient of a business skills. A good balance of the two is But how do you start a career shooting All stock photography is based on spec- good stock image. Often, the simpler an image is, the imperative. stock photography? ulation, but your chances improve if you more powerful it can be. The images were enhanced Most commercial photographers work The obvious first step is gathering know your market. Stock photographers by the quality of the light, from a strong morning principally in studios. Even if they work on enough photographs to lease to various cli- pay all expenses up front, which is why you sidelight across the bean field to the stormy light across a field of flax and canola to the falling, warm location, they generally produce imagery ents in order to generate a decent income. should study the market carefully, look at light over a clump of prairie crocuses. Patterns, lines for a specific client. Stock photographers, You may choose to be a generalist, in which what sells, and then decide what you want and shapes characterize all three images. A long lens on the other hand, produce images pri- case you need to begin with a few thousand to shoot. Above all else, shoot what you’re flattened the perspective and abstracted the subjects. marily for themselves or for a stock agency, excellent images. If you’re a specialist, you passionate about.

? gX 22 n

This second series of three images is based on for one-time, non-exclusive, English lan- if you happen to be one of the lucky few into an agency these days. More and more, time in one form or another. While a tour boat guage, North American rights. The fee for who actually make a decent income from I hear of photographers joining together in streaks across the frame during a long exposure of a that image will depend on a variety of fac- this approach. Most stock photographers small cooperatives to market their imagery. Winnipeg skyline reflected in the Red River at dusk, tors, including (but not limited to) its size, work with more than one agency, but there Time will tell whether this arrangement will a long exposure captures powerful northern lights placement, number of times used, where are often so many photographers with a par- work, but it does have potential. on the Canadian prairie near Selkirk. Finally, autumn gold birches are reflected in the flowing waters of and how it is published, whether the image ticular agency that the chances of your work Stock agencies have a large variety of Rushing River during a long exposure. The element is used editorially or for advertising, the cir- being shown adequately are minimal. My imagery, and that is probably their single of chance, of being at the right place at the right culation of the product, and other consid- guess is that a very small number of pho- most valuable asset. Collections from moment, also plays a significant role in capturing erations. From time to time, a client will tographers in any agency get the bulk of the individual stock photographers are much interesting images that sell over and over again. require some type of exclusivity, which will sales. smaller but often more interesting, eclectic, People and lifestyle images always seem to raise the fee accordingly. This may mean Although working through an agency more focused, and not seen by the masses as sell well, although they have a much shorter that you cannot lease the image to a com- frees you from the marketing responsibili- much as stock material from large agencies. shelf life since they’re often dated, and usu- peting client in the same industry, or for a ties associated with running your own stock Because agencies have lots of manpower ally must be planned and set up. They’re certain time period, or to a certain market. photo business, you also reap a much small- (and deeper pockets), they can better afford also usually more costly to produce—but the There are many permutations of this. er profit for your efforts. The split on sales to market and innovate than solo stock returns are often much higher. Good administration is another impor- used to be 50/50, but many agencies have businesses. Getting all the images in your Many lifestyle subjects tend to be trendy. tant part of running a photography business. increased their cut to 60%. collection digitized and set up for easy Personally, I prefer to photograph the envi- When an image is requested, someone has Lately, many smaller agencies have been download requires resources that individual ronment, agriculture, and the like. Although to determine what is required, search for the bought out by one of the “giants” (Corbis photographers usually can't match. the market is saturated with the type of image, make the submission, and create a or Getty). Many of the remaining small However, catalogues are essentially imagery I produce, I simply try to shoot bet- delivery memo which states the terms and ones have entered into agreements with dead—the Web is now where most imagery ter images and with more feeling. Individual conditions of the photo usage and whether the superpowers to promote their imagery is being researched and purchased. So, an sales may be less for this type of image than a model or property release is available. Do on “portal sites”, where stock photographers excellent website—professionally designed photos with people, but volume can more not allow images to leave the office with- only get 25% to 35% of the sale, as well as and produced—is a necessary ingredient in than make up for the difference. out this important documentation, as this having to relinquish exclusive rights in many your marketing toolbox. With many clients is your proof that not only do you own the cases. On the other hand, when you market now searching for imagery on the web, hav- WHAT RIGHTS DO YOU LEASE? copyright to the image but also that you your own work, you reap 100% of the sale, ing a searchable e-commerce site is certain- ? As a stock photographer, you own the imag- have submitted them. minus your overhead costs and the expenses ly an asset, and many agencies have gravitat- es. Rarely, if ever, do you give up your copy- you’ve incurred to get those images. ed toward that model. right to an image—unless, of course, you MARKETING YOUR IMAGES The last few years have been difficult If you market your own stock imagery, sell the image as a buyout, in which case it There are essentially two ways to mar- times for stock agencies. Many photogra- your promotional efforts will be a major fac- could command as much as $30-50,000. ket your work: through stock agencies or phers’ contracts have not been renewed, and tor in determining your success. gX But this rarely occurs in real life. More through your own efforts. the agencies have streamlined their opera- Whether through postcards or mailers, 23 often than not, you will be leasing an image Stock agencies can be a good way to go— tions. It’s not quite so easy to get accepted direct marketing has long been a powerful n way for studio and stock photographers alike fees for both agency and photographers, ware for pricing stock and assignment pho- to promote their work. This allows you to but when purse strings tightened, agencies tography. I use Fotoquote extensively and RESOURCES choose how frequently and to which poten- opted to sell images for less in order to stay highly recommend it. Also, you can find a tial clients you would like to market. Most alive. That’s when royalty-free photography number of websites that can assist you with PRINT important, you are making a personal con- began to take hold. pricing your imagery, such as Editorial Pho- American Society of Media Photographers nection with them. Waiting for an e-mail is Personally, I have not adopted this tographers, Masterfile, etc. Speak to your (ASMP) Professional Business Practices in almost as bad as sitting in your office wait- marketing approach. I find it hard to justify colleagues, and get a sense of what fees they Photography ing for the phone to ring. Have your mar- selling one image to a client for hundreds receive for their efforts. It’s amazing what keting pieces professional designed and (or thousands) of dollars and then selling a cooperation can lead to (even with those ASMP Stock Photography Handbook ensure that each one directs clients to your similar image to another client for what may with whom you compete actively). There’s John Shaw’s Business of Nature Photography: website. amount to a few pennies. always room for friendly rivalries. A Professional’s Guide to Marketing and Marketing yourself on free websites is of Royalty-free photography has forced And what do you do when a client asks Managing a Successful Nature Photography questionable value—you usually get what prices down, but from what I’ve gathered you to lower your fee? If you know the fee Business (Amphoto Books) you pay for. Paid advertising works for some, from those involved in royalty-free, the only is fair, then you need to convince the client. although the venue may differ for different ones making money are the agencies or CD But sometimes, no explanation will suc- Business and Legal Forms for Photographers, photographers. A studio photographer may producers—not the photographers. And ceed—and that’s when you must learn to by Tad Crawford feel that an ad in the yellow pages works there are often hidden costs associated with recognize a bad deal and simply walk away. The Photographer’s Guide to Marketing and best, whereas I prefer buying space on a royalty-free photography. Searching the Self-Promotion, by Maria Piscopo portal site that also allows me to display my local market will often reveal better, more GENERAL APPROACH images. Again, some sites are better than focused, and more competitive imagery. Shoot variations on a theme; don’t be con- Negotiating Stock Photo Prices, by Jim others and you must do some research to In my opinion, the advent of royalty- tent with just one vantage point. Create ver- Pickerel determine what works best for you. free images has also lowered the quality of tical shots since they are often required for Sell and Re-Sell your Photos, by Rohn Engh Many photographers also market their products in general. Designers and clients covers, which also command a higher price. work in print directories in combination often complain about the poor quality and Shoot a number of originals since these “in- Stock Photography Business Forms : with online marketing. Get known within selection of royalty-free—a sameness in camera dupes” are always better and cheap- Everything You Need to Succeed in Stock the organizations to which you belong, and “look and feel”. Some designers lament this er than dupes made at the lab. Photography, by Michael Heron make sure you’re listed in the various asso- fact—yet they keep a collection of royalty- Although much of the stock industry has Selling Photographs, by Lou Jacobs ciation directories. Consider setting up a free imagery in their offices, presumably been based on 35mm color transparencies, newsletter to keep in touch with your regu- for use by the client with “no budget for medium and large format film gives you an WEB lar clients—word of mouth or personal refer- photography”. advantage in some markets such as trade www.fotoquote.com Fotoquote (industry rals are great ways to find new clients with I’m amazed at how often I hear the words, shows, large prints, large calendars, etc. standard guide for pricing stock and assign- very little effort. “We need some great photographs, but Consider a panorama format for that differ- ment photography in North America) It’s worth keeping in mind that the the client has no budget for photography.” ent look. producers of stock imagery—the folks who Sound familiar? Photographs taken on sunny days gener- www.editorialphoto.com/contracts/estimator are really passionate about the imagery— Yet, discerning clients know the truth ally sell better than those made in overcast Editorial Photographer’s Price Calculator are the photographers. Stock agencies are of the saying, “You get what you pay for.” light. Images with bright colors also seem www.sellphotos.com Sell Your Photos simply the machines that market some of Premium quality stock photography allows to sell better than those with muted tones. the photography. While this arrangement clients to promote their products or services Simple, graphic compositions often make www.capic.org CAPIC (Canadian Association works well for some, I have benefited more with class and distinction, every time. the message clearer. of Photographers and Illustrators in ? from marketing my own work—even if it However, excellent photography must first And finally, edit ruthlessly, keep only the Communications) means having fewer days off. be appreciated. best, and show only the best! www.canphoto.net Canadian Photographers Network (a forum for photographers) LEASING FEES FOR STOCK PHOTOS DETERMINING IMAGE PRICING Mike Grandmaison, Grandmaison Photography, Fees for leasing stock photography have Pricing your stock imagery is probably the works from his Winnipeg, Canada home-based www.asmp-mountainwest.com/bk-bp.htm gX changed considerably over the years. At most difficult thing that you’ll encounter. studio. To see a full portfolio of his work, go to ASMP Utah/Mountain West Chapter (lists 24 one time, agencies commanded excellent Fotoquote is the industry standard soft- www.grandmaison.mb.ca. many useful books for photographers) n

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25 www.adobe.com Tools for the New Work n LAYING OUT THE GROUNDWORK For designers used to the comforts of Quark, the prospect of switching to Adobe InDesign may seem intimidating. Here are a few key points about making the migration.

by Dan Brill and Lidka Schuch note to all QuarkXPress users: it isn’t a question any The answer is clearly, yes. It shows in the little more of whether you’re going to make the switch to things—like Quark finally relaxing its end user A InDesign, it’s just a matter of when and how. agreement policy to let users run two legal cop- The latest high profile publishers to make announce- ies, instead of just one. Like re-opening its online ments in September regarding their migration to Adobe’s discussion forums a few months ago, after shutting the doors However, we have lived with Quark pages as a de facto page layout software were BBC Magazines in the United on it for two years or more. Like offering $199 Quark 6 standard for a long time. How do we make the jump to Kingdom, which publishes 40 consumer and specialty titles, upgrade deals even to Quark 3 users. Like installing a new InDesign, and what kind of new habits and adjustments and American publishing giant Meredith Corporation, pub- president when owner and CEO Fred Ebrahimi realized should we expect? lisher of seventeen popular magazines (including the vener- that he couldn’t handle the job. And, for the very first time, We would like to talk about a few of the pluses and able Ladies’ Home Journal and Better Homes & Gardens) hiring a Canadian Quark sales rep for the Canadian market, minuses (although mainly they’re pluses) with migrating plus about 450 special interest magazines and books. instead of lumping Canada together with the northeast U.S. from QuarkXPress to InDesign, based on our own experi- One of Quark’s best-known spokespersons in the U.S. states. ence. Let’s not gild the lily—when all you’ve ever known used to be David Blatner, author of many books and articles Unfortunately, none of this changes the fact that is working with Quark pages, making the transition isn’t on the subject and a frequent speaker on Quark’s behalf at QuarkXPress is simply an inferior product that doesn’t simple. However, the good news is that it’s probably not as trade shows and events. But Blatner had his coming out in address the needs of a cross-media design market. It was fine difficult as you imagined. December, 2003 with the declaration, “I’m surprised…when in its day—a reliable workhorse for getting desktop pages to I compare QuarkXPress 6 and InDesign CS, the result is press—but it can’t do what a truly modern page layout appli- THIS IS NOT A SELLOUT obvious: InDesign is the real page-layout program, and cation needs to do. We don’t make a penny on sales of Adobe products. We QuarkXPress 6 feels like a relic.” made the switch from QuarkXPress to InDesign because We here at Graphic Exchange aren’t quite so surprised. THE REAL QUARK KILLER: CREATIVE SUITE it made sense, based on normal considerations of design, We’ve been voicing our disdain for Quark’s corporate In today’s design environment, content creators need to workflow, and collaborative efficiency. And we’ll keep rec- attitude for years, and when we finally had the chance to prepare pages for any kind of output, whether to print or the ommending InDesign (while continuing to chide Adobe on test the long-awaited version 6 of QuarkXPress, it was dif- screen, using any kind of digital files. its flaws) until we see something better come along. ficult to hold back our disappointment [Editor’s note: see QuarkXPress, for all its attempts to integrate web However, you may still think Quark is the better page QuarkXPress 6: The Last Upgrade? gX Sep/Oct 2003]. design and image editing tools (Quark’s new image editor, creation program for you—perhaps you’re concerned about Seeing how little had changed with QuarkXPress 6 made QuarkVista, will be built into v6.5), is still a one-trick pony, upgrading your computers, or retraining staff, or maybe ? it that much easier to make the decision to move our pages good for print workflows only. Its interface is archaic, its it’s just plain inertia. Regardless, just keep in mind that to InDesign, which we did as part of our total redesign of toolsets are stale and confined, and its development time- your dollars will be underwriting not only whatever future the magazine format and publishing model this year. table continues to plod along like a lame mule. software development Quark has planned but also the cost But it’s not InDesign CS which is finally the “Quark kill- of constructing Quark City, Quark’s new US$500 million QUARK CAN’T COMPETE IN CROSS-MEDIA er” (as we prematurely heralded it when it was first released). development in Mohali, Punjab, India. gX Is Quark finally facing up to the fact that its days of monop- The issue was decided when Adobe released Creative Suite, Maybe that’s not a reason to switch, but it’s something 26 olizing the page layout market are over? which is a complete package of design tools. worth knowing. THINGS JUST GOT MORE COMPLEX CHECKING FONTS GETS EASIER, BUT TRANSPARENCY The first thing Quark users will find dif- Start by getting re-adjust your think- EDITING GETS CLUMSIER CAN BITE n ferent upon opening InDesign for the first familiar with ing once you’ve spent Knowing how to check fonts is a funda- InDesign’s ability to time is the interface. However, there are the basics. The a week or two in the mental requirement. add transparent effects two kinds of new InDesign users: those who black arrow or new environment. As as soon you open a document, is heaven for designers, Selection tool is have worked in Adobe Illustrator, and those InDesign is a InDesign will let you know if there are any but sometimes not so the equivalent of who haven’t. Quark’s Mover much more com- fonts missing, and give you the option to much fun for prepress The former group will adjust quickly, tool, letting you plex app than locate or change them. Identifying “Miss- departments. since Adobe has consciously tried to build select, resize QuarkXPress, as ing Fonts” is faster than in QuarkXPress, But being able a common look to the interfaces of all its or reposition you’ll quickly see since they always appear right at the top to add feathering to major applications. But for those who have any object. The just from looking of your font list. If you carry on without a an image or custom only known Quark’s simpler pulldown white arrow or at all the available required font anyway, InDesign will high- drop shadows to type menus and toolbar, it will take a little bit of Direct Selection keyboard shortcuts. light the text in pink. or graphics or create tool is almost time to get acquainted with the new setup. But you really won’t One thing you’ll never have to worry smooth gradients with opacity are wonder- the same as Learning what the tools do will either Quark’s Content need to learn most of about is the “faux font” which Quark ful features that are built right into the app, be obvious (because you recognize them tool, allowing those shortcuts to get allows—italic or bold when the font really especially with all the extra options just from other Adobe programs) or you’ll you to move the started. And yes, you isn’t there. InDesign simply doesn’t allow like the ones found in Photoshop. ignore them until you get deeper into the contents of a picture can provide yourself you to do this. application. But trust us, it won’t be hard to box (without moving with a safety blanket Alas, there’s one useful feature which the box itself) or by turning on the Quark users will miss: InDesign doesn’t reshape a text frame. QuarkXPress shortcut have drag-and-drop text—yet. Nor does The “T” tool is used set—but you know copying and pasting a word take the adja- to both create and what? In the long run, cent space with it, which means continu- edit text boxes. it’s better to begin by ally deleting and adding the extra space. learning the major default shortcuts. Nevertheless, InDesign’s much superior And there are many tabbed windows to typographic controls and features such as explore. Flyout menus may seem awkward the Paragraph and Single Line Composer at first, but using them will quickly become are bound to please type afficionados. second nature. The functions of almost Working in InDesign means getting familiar all should be self-evident, but you can also with Transparency Flattener Presets. For position your mouse over an icon, which best results with high end output, use the will generally display its description. High Resolution setting, where the slider is moved all the way to 100. You should also learn about the Flattener Preview (in Output InDesign’s measurement Preview on the Window pulldown menu) palette is simple to read, which shows problem areas before output. especially if you have ever used Illustrator. One potentially confus- ing InDesign setting to There are two icons on the Tools know about, especially palette. Depending on which icon is in a cross-media work- selected, either the color of fill and flow, is the Transparency ? stroke of the frame changes, or the Precise positioning Blend Space (under fill and stroke of the content (e.g. There are two icons on the Control palette, of type in InDesign is Edit), which can be text color) of the frame changes. Character and Paragraph. The palette a treat. Zoom in up switched back and forth displays either option, depending on which to 4000%, and the from CMYK to RGB. one is selected. letters are still sharp InDesign’s de- and clear, making it fault is CMYK, gX easy to line up text but for web or multimedia 27 on guidelines. work, you need RGB. RUNAROUNDS MAY RUN YOU RAGGED PHOTOSHOP AND PDF ARE A BREEZE QUARK TO INDESIGN: WATCH YOURSELF In Quark, getting text to run around pulldown menu. With some practice, you If there are two highlights in adopting an QuarkXPress, of course, can’t open n shapes or boxes is simple—either it does will find out that InDesign has ways to do InDesign workflow—and the two most InDesign documents. So, the fact that or it doesn’t, based on the ordering of the any kind of runaround effect imaginable, significant differences from working in InDesign can open Quark files (version 4) layers. InDesign, however, gives you more with complete control of boundary shapes, Quark—they would have to be first, the puts it in a far better position to be a final options for controlling “Text Wrap”, with sizing, and positioning, using both the ability to place native Photoshop (or Illus- content engine—especially as more people a few more wrinkles. By default, text wrap basic controls in the Text Wrap dialogue trator) files, and second, the ease of export- migrate to Adobe Creative Suite. The affects the frames both in front and behind, box or customized designs with the Pen ing to PDF, including PDFx-1a. fact that it actually does a pretty good job but you can turn off that setting in the Text tool, as you would in Photoshop or InDesign eliminates the need to ever of interpreting Quark files is a bonus, all Frame Options box under the Object Illustrator. save as TIFF or EPS again. It means never things considered. keeping various versions in different file So let’s just point out two known prob- formats, and being able to import images lem areas, because beyond these, InDesign with live layers. Basically, it just cuts seems to be fairly reliable. through the clutter, and makes designing The first type of error, not surpris- pages a whole lot simpler, with automatic ingly, is with text. You really don’t have a updates for changes, and instant previews. choice—the first thing you must do after And throughout the process, from opening a Quark file in InDesign is check Photoshop to InDesign to PDF, if you for text reflow. The two programs use radi- stay inside Adobe RGB color space, colors cally different text composition engines, so come through just the way you expect this is not much of a surprise. them. The second most common glitch hap- pens with placed Illustrator or (Quark EPS) files. For reasons unknown (although it may be connected to the vagaries of older PostScript code), some vector files will appear to be okay, until you switch to Preview mode. That’s when they vanish from your screen and you find out that you’re only seeing screen previews. Unfor- (above right) You have the option to switch your Preferences in the tunately, you can’t just re-import the ele- Composition section so that text wrap always acts like QuarkXPress by ments; the only fix is to create a new frame checking “Text Wrap Affects Only Frame Beneath”. Learning when to use this option becomes especially important when working with transparent effects. and re-import them.

InDesign’s Color Settings dialog window, located under the Edit menu as in Illustrator, looks the same as all HELP IS JUST A CLICK AWAY Thisother shows Adobe inDesign’s programs (in Color Photoshop Settings this setup, window the is One last item on the list where InDesign way we prefer it. found in a different place, under the Photoshop menu). shines above Quark is in its online Help. Adobe RGB was created to match the press color Shown here are our preferences for InDesign’s Color Adobe has done a thorough job of gamut,Settings which (Enable is Colorwhy convertingManagement from must Adobe be checked). RGB toAdobe any CMYK RGB was is bettercreated (standard to match thecolor press management color detailing, explaining, and cross-referencing isgamut, normally which U.S. is whySheetfed it is better or Web to use Coated). this working use of InDesign’s tools, and the reference It’sspace always to convert preferable from Adobeto have RGB any to color any CMYK profile than manual is just a click away. (standard color management is normally U.S. Sheetfed ? none at all, so “Preserve Embedded Profiles”. or Web Coated). InDesign’sIt’s always preferableConversion to Optionshave any arecolor defaulted profile than to Perceptual,none at all, butso we this “Preserve should Embeddedbe changed Profiles”. to Relative Colorimetric. InDesign’s default Conversion Option setting for Having a fullbodied PDF Distiller in InDesign The Color Settings dialog window is the same in “Intent” is Perceptual—incorrect for professional work. makes the creation of PDFs simple and allThis Adobe should programs be changed but to it Relativeis found Colorimetric. in a different gX fast. The app comes with a list of basic PDF place in Photoshop (in the Photoshop menu) than 28 presets, but creating your own is easy. in Illustrator and InDesign (under the Edit menu). n

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? PHOTOGRAPHY BY HANS NYBERG NYBERG HANS BY PHOTOGRAPHY gX 30 GALLERY n HANS NYBERG, HANS NYBERG FOTOGRAFII The Royal Wedding of Crown Prince Frederik of Denmark and Mary Donaldson Web: www.qtvr.dk Specialty: Virtual reality photography

What the photographer says:

“For the Royal Wedding, I updated my old Canon D60 to a Canon 10D, which was necessary so that I could use 800 ASA without too much noise. This panorama was made the night before the wedding at a special performance in the Royal Theatre of Copenhagen. I only had about one minute to take the images, while the national anthem was being sung. I had actually planned to position myself as close to the public as possible, but an Australian photographer came first and took that spot. However, as it turned out, the space right between the two TV cameras was perfect. It was very narrow, and the television camera to the right was sometimes as close as just ten inches from my camera. I bracketed three shots and used the brightest, which was taken at 1/6 second f5.6. The prism in the ceiling was shot separately with another lens. About five images were used, shot with a Sigma 8mm fisheye lens. “I had waited two hours just to capture this moment, but as soon as it was over and the audience sat down, all the photographers had to leave. I immediately went back and began stitching the images together. By 2 a.m., it was ready, and by that morning it was being shown online by Danish Radio/TV. “I think that this is the best VR I have ever made, especially considering the limitations of time and space with which I was working—you might even say it was the assignment of a lifetime.”

About the photographer and the event

Hans Nyberg was chosen by Danish Radio and Television to photograph the Royal Wedding of Crown Prince Frederik and Australian-born Mary Donaldson, held in Denmark on May 14, 2004. The wedding was the largest media event in Danish history, seen live by an estimated worldwide audience of 180 million. It was also history-making in another sense, since it was undoubtedly the first time an event of this magnitude had ever been captured in 360-degree panorama. Nyberg has gained international fame not only through his own stunning panoramic creations but also through www.panoramas.dk, a well-known website which he maintains as a repository for displaying full screen QTVR pano images contributed by photographers from all over the world. To view more images of the Royal Wedding, see www.qtvr.dk/bryllup, or visit the Danish Radio and Television website at www.dr.dk/nyheder/kongehuset/wedding.

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Hans Nyberg has established a global reputation for his mastery of QuickTime VR photography. His popular website at panoramas.dk features examples of the best gX QTVR by photographers from all over the world. 31 GALLERY n

KARIE LEBOE, ILLUSTRATIONS BY KARIEI

Self-portrait, Karie as Faery Web: www.karieleboe.com Specialty: Digital illustration

What the artist says:

“My portraits and images are created from digitized photographs, either scanned or digitally photographed. Creating my composition in Photoshop, I isolate the subjects or, at times, aspects of the existing scenery from the original photos. I find that very traditional photos or posed images don’t carry the same energy as candid shots—quirky or even poor quality photos are more exciting. “The next step is much like an Easter egg hunt—finding the right props to support the dream I want to create by either photographing, altering or illustrating what is needed. Once I’m satisfied with the composition, I take it into either Painter Classic or Procreate Painter to enhance and illustrate over top of the composition. Sometimes I will make several trips back and forth between the two programs. In some ways it becomes an obsession, and I spend a lot of time on the most minute details. Working with images that are archetypal or fantastical is very exciting for me, because they evoke something we recognize in our own imaginations, and there is an immediate gratification. This adventure all began as a creative whim, using my children, Tianni and Jake, as subjects. I don’t feel that I’m done exploring this method and medium. I can’t wait to explore different subject matter in this way and push other creative boundaries. “This year is my twenty-second being a computer nerd, using both Macintosh and PC. Growing up with a father who’s a technology junkie had a large impact on where I have arrived creatively. At age twelve, my father came home with an Apple IIc computer. The first thing he showed me and the first thing I did on that computer was to draw, using a program called Dazzle Draw. I was fascinated—no paper, no paint, no canvas, working with light, and altering images pixel by pixel. “True to my role as a Generation Xer, I paused to have a love affair with my skateboard and video gaming. But over the years, as the notion of being/becoming an artist became more serious, I opted to study the more traditional level of painting and illustration. It did not occur to me that using a computer to create art would be a natural medium for me. A few years ago I was introduced to the stylus ? and began to experiment with manipulating digital photographs. Since then I have found that I have less patience with drawing without the benefits of “Control-Z”. gX 32 n

? ILLUSTRATION BY KARIE LEBOE KARIE BY ILLUSTRATION gX 33

PHOTOGRAPHY BY MIKE GRANDMAISON

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MIKE GRANDMAISON, GRANDMAISON PHOTOGRAPHYI

Autumn colors at Simon Lake, Naughton, Ontario Web: www.grandmaison.mb.ca Specialty: Assignment and stock photography in architecture, industry, agriculture, nature and tourism

What the photographer says:

“I experienced this tranquil scene some twenty years after I left my hometown of Sudbury, Ontario. As a child, my father would take me, my brother and my sister—along with any number of our friends—to this peaceful lake for a few hours of swimming. It’s a place I remember fondly as a child. Now myself a father, I returned to it in 2000 with a different purpose in mind. “In the early 70s, a number of dedicated individuals at Laurentian University, where I attended classes, began to mobilize forces to reclaim the Sudbury area, which had suffered major environmental damage over the years. This was the result of mining activities, which had been further compounded by the cutting of forests to fuel the roast beds, as well as by major forest fires. VETAC, the Vegetation Enhancement Technical Advisory Committee, coordinated a project to increase awareness of the successful rehabilitation of this area, and I was commissioned, along with my colleague Don Johnston, to illustrate how the land had healed over the last thirty years. “The book, Healing The Landscape, was published as a millennium project and became an excellent model for other communities similarly affected. The lake and its surroundings are now a part of the Simon Lake Conservation Area of the Greater Sudbury Area. “I captured this image on a cool autumn morning before the wind rippled the blue waters. Although I made a number of different compositions that morning, I felt that this scene would benefit from a panoramic format. With a Nikon F100 camera loaded with Kodak Ektachrome E100VS slide film and camera mounted to a solid tripod, I chose a 20mm lens to capture the sweep of the land. A warm polarizing filter reduced reflections off the water and foliage and thus saturated the bright autumn colors. By positioning the ? horizon in the middle of the frame, I further emphasized the tranquil feeling the place evoked on this particular day.” gX 35 NEWS n eras”. Looking back, its SLRs. To leave room for a built-in flash, (24x36mm), with an impressive four frames New digital “beasts” separate it was exactly two the new Evolt E-300 employs Porro mirrors per second performance, and internal bus years ago that Canon in its viewfinder, rather than the traditional throughput of 67 megapixels per second—as brought out its 1DS pentaprisms. At the same time, Olympus fast as its 8-megapixel speed demon, the the hunters from the gatherers at 11 megapixels, and has built in an ultrasound system which EOS-1D Mark II. Kodak was introduc- eliminates the dust and impurities that are With all this firepower, don’t assume that by Ron Giddings ing its 14-megapixel notorious for landing on the sensors while these cameras must remain in the studio, 14n. These were changing lenses. This will vastly reduce one locked on a tripod and tethered to a laptop. Although we don’t have all the details on full frame SLRs with the ability to take the of the main shortcomings of CCDs—the Both Canon and Nikon have Wi-Fi wireless what major digital camera manufacturers entire range of each company’s lenses. electric current that attracts dust more than options for remote control from a computer. have planned for us, news out of the recent But from here forward, 14 megapixels is a CMOS. The new line of Zuiko digital As you can see from the photographs of the Photokina—the world’s largest photography going to seem like a joke. This is due in part lenses includes an astonishing 7-14mm f4.0 new models below, this makes for a lot of and imaging expo—has provided a pretty both to better cooperation between all the (equivalent to 14mm) wide angle zoom. All buttons and switches—but I’m sure we’ll all clear indication of where they’re going. players and how well each one is handling in all, the E-300 is a very sexy-looking SLR, get used to that. For the last two years we’ve watched digital sensors, CCD or CMOS. at 8.3 megapixels. image sizes with these cameras hover While it looked for a while like Nikon SO WHAT ABOUT MEDIUM FORMAT? around the 5- to 6-megapixel range, while THE BIG BOYS GET BIGGER was more interested in creating the fast- The biggest of the brutes introduced at Pho- becoming faster and smaller. But where Nikon, for instance, now uses a CMOS est digital cameras (for sports, etc), it was tokina comes from Mamiya, a standby in were the cameras for the “hunters”? You made by Sony, while the new Olympus E- revealed at Photokina that the company has medium format studios. As well as present- know who I mean—the guys with the cam- 300 incorporates Kodak’s image sensor. been working on a 12.4-megapixel CMOS ing a new digital back for both its 645 AFD eras heavy enough to use in mortal combat, So the real story, it would appear, is how camera! Fortunately, Nikon hasn’t dropped and RZ67 Pro IID camera bodies, Mamiya out there hunting down The Photo. Light or manufacturers are altering their lenses and its high speed features. The D2X can com- has built the ZD, a complete medium for- medium resolution is not for this bunch. internal software to best utilize all the new fortably shoot five frames per second (up to mat digital SLR with a mindboggling 22 Photokina this year more or less technologies. 21 consecutive JPEGs)—plus, if you’re really megapixels to play with. Interchangeable announced the arrival of the “muscle cam- Chromatic aberrations in lenses were desperate for speed, a High Speed Cropped lenses include the entire 645AF line. never a concern with film, but now manu- Image mode can deliver eight frames per How does this translate? The ZD’s On the horizon is a new generation of digital facturers have found it necessary to intro- second, and up to 35 consecutive JPEGs at 36x48mm CCD captures a picture which, SLRs, just introduced at Photokina (held duce so-called “digital lenses” to accommo- 6.8 megapixels. opened in Photoshop’s 16-bit mode, pro- September 27-October 3 in Cologne). (left to right) Mamiya’s ZD, the Olympus Evolt E-300, date the resolution and extreme wide angles Five days after Nikon’s press release, duces a 99MB image! Mind you, this is no Nikon’s D2X, and Canon’s EOS-1D Mark II. required for sensors smaller than full frame Canon announced the Mark II version of pocket camera—the ZD measures 160mm 35mm. For example, Olympus, having set- its high end EOS-1Ds. Like its predeces- tled on its 4/3 format, completely redesigned sor, this 16.7-megapixel camera is full frame

? gX 36 n Hunters and gatherers (cont.) x 150mm x 90mm and weighs 1.2 kilos (2.6 Updating Photoshop’s Camera Raw plug- LLet’set’s n notot f foolool o ourselves,urselves, n notot e everyoneveryone pounds). By comparison, the Nikon F6 in for each new model must be enormously iiss g goingoing t too r raceace o outut a andnd p putut d downown t tensens o off analog camera, always regarded as a heavy- time-consuming. Consequently, Thomas tthousandshousands o off d dollarsollars f foror t thesehese n newew t toys.oys. weight, weighs less than a kilo. Knoll would like it if all of us started using BButut w wee a alsolso k knownow t that,hat, i inn o orderrder t too p payay Considering that a Phase One digi- a standard raw file format. The answer is fforor a allll t thishis R R&D,&D, m manyany o off t thesehese t tech-ech- tal back for medium format cameras can Adobe’s new free DNG (Digital Negative) nnologiesologies w willill f findind t theirheir w wayay i intonto t thehe run upwards of CDN$30,000-50,000, Converter, based on the new Digital Nega- pprosumerrosumer m market.arket. F Foror e example,xample, a att the Mamiya ZD’s rumoured price of tive Specification. Surprisingly, DNG raw uundernder CCDN$1,000,DN$1,000, wwe’ree’re nnowow ssee-ee- CDN$15,600 (US$12,000) for a complete files are substantially smaller than raw files iingng p pocket-sizeocket-size c camerasameras l likeike t thehe unit sounds very tempting. right out of the camera. The implication is FujiFilm FinePix F610 t that’shat’s c capableapable o off that, as well as establishing a standard for ccapturingapturing 1 12-megapixel2-megapixel i images,mages, i includesncludes DOWN WITH THE TOWER OF BABEL saving images, DNG can potentially be mmacroacro aandnd zzoom,oom, aandnd aalsolso hhasas tthehe aabilitybility ttoo One situation that has emerged from pro- implemented by the camera manufacturers record both video and voice. ttoo 1155 ffps—allps—all fforor fessionals’ preference for raw format is what themselves. AAndnd ddownown aatt tthehe llowow eend,nd, CConcordoncord CCam-am- uundernder UUS$50.S$50. Michael Reichmann calls a digital Tower of And for those who are nervous about era announced its CConcordoncord 1 150500 a att P Photo-hoto- WWhichhich w wouldould s seemeem t too Babel. Considering that over the next five the prospect of a “monopoly”, let’s consider kkina,ina, wwhichhich ddeliverselivers 11.3.3 mmegapixelsegapixels ((withwith iin-n- ddemonstrateemonstrate t that,hat, s somewhereomewhere years we will all go through more than one that Adobe has given us such reliable stan- ccameraamera i interpolationnterpolation t too 2 m megapixels),egapixels), a andnd ddownown t thehe l line,ine, t thesehese n newew t technologiesechnologies camera, it’s scary to think that an obsolete dards as PostScript, Adobe RGB, PDF and iincludesncludes a s strobe,trobe, S SDD c cardard s slotlot f foror r remov-emov- wwillill i inevitablynevitably l letet y youou f findind t thehe r rightight c com-om- camera’s raw files may not be readable in Photoshop itself. Is there anyone else better- able memory cards, 8MB of internal mem- bination of price and resolution, no matter the future. positioned to standardize the digital photo- ory, webcam functionality, and the ability to what you shoot. Enter Adobe. graphic world? shoot video clips at QVGA resolution at up Happy hunting!

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n devices. The software Color Recipes produces optimized “color Press Control measures the color values TGLC PerfX color software uses artificial intelligence recipe books” that determine optimal color of an initial press run. Numerical values are and fuzzy logic to gener- matches for RGB or CMYK using ICC pro- stored in a database, allowing for recall of a ate ICC profiles that take files calculated for a range of output devices, job’s color profile during a reprint, helping applies artificial intelligence advantage of the human including presses. Saved as a PDF, the digi- press operators compensate for variations in eye’s inabiltiy to detect tal color formulas can be shared with clients stock brightness, manufacturers’ ink formu- to generate ICC profiles subtle colour differences. or printed to a PostScript printer. lations, and environmental factors. PerfX software allows Color Server is a standalone application Color Vision is a remote proofing solu- by Lerrick Starr color to be numerically that color manages TIFF and TIFF-IT tion that compensates for monitor variation “fudged” when part of images automatically. Hot folder-based, set- by creating a PDF of a screen capture that TGLC, a Quebec-based developer of color the gamut requires compression or expan- ups allow source, simulation and destina- incorporates the source monitor’s ICC pro- management solutions, has announced the sion. Owing to the accuracy of the initial tion ICC profiles to be selected and applied file. Once transmitted to a remote location, release of PerfX Color Management Pro measurements, PerfX knows how much and automatically and transparently. Multiple the client software compensates, using its software and a suite of productivity tools. in which direction it can move each color input and output queues run simultaneous- own local ICC profile. PerfX generates ICC profiles for scan- and still have it “appear” to be a “match”. ly. Output files can be saved as TIFF, EPS TGLC’s Color Management Pro Kit ners, desktop printers, web and offset press- The software manipulates millions of or PDF raster formats. includes PerfX software, RX Wide Gamut es, digital still and movie cameras. Using color formulas, optimizing the profile to PDF Image Color Server (PICS) con- Target, X-Rite spectrophotometer DTP- a specially developed wide-gamut target, its output intent. The outcome, according verts all grayscale, RGB and CMYK images 41, and both Color Server and Color Rec- TGLC claims that a competent desktop to TGLC, is accurate output from low end found in PDFs. It can convert up to 20,000 ipe software. Pricing for the package is scanner can be calibrated so accurately that printers to wide gamut proofers. Combined images per document, and on even a basic CDN$11,995. For users with a compatible it can be used as a colorimeter to generate with a press profile, output is visually identi- PC can decode, convert and compress a colorimeter, the cost is CDN$7,900. For ICC profiles for digital and analog output cal to press results. 35MB image in less than ten seconds. more information, visit www.tglc.com.

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A professional directory of illustration, photography, digital imaging and design

Chong Wu Photography John Fraser Rick Etkin Photographs Brent Andrew Marshall Photographer Bubble darryl humphrey - photography Joshua Leipciger Illustration & Design Studio Gargitter Todd Lawson Allan Davey Photography & Digital Brad Forsyth Illustration & Design Kevin Hewitt Photography Inc. Sardinha Illustration & Design Imaging Jode Thompson Beatrice Favereau Sylvie Daigneault Craig Poulton Web Designer Greg Fess Photography Nicki Peters & Associates Doug Panton Jean Desjardins Christina Rother Illustration KC Armstrong Eric Colquhoun Neil MacLachlan Ashworth Photo Group Inc. John Martin Peter Schafrick Photography Olena Kassian Christopher Lawson Photography Kelly McLarnon Dan Kangas Illustration Malcolm Jones Kenton Palamar Aircom Murals Grandmaison Photography John Singer Illustration Brian Smale Nicolas Ruel Barbara Spurll, Illustration Pierre Manning Spyros Bourboulis Photographe Mike Webb Gary McLaughlin Overbrook Studio Jean-Francois Gratton Anthony Redpath Peggy Collins Robert G. Earnest Productions Pierre Arsenault Ron Giddings Stephanie Carter Jacobson and Fernandez Lorne Bridgman Photography Rocco Baviera Nancy Ruth Jackson Bill Bart Claude Charlebois Terry Collier Richard Thompson Jason Walker Shiny Pliers Chris Asimoudis Ron Berg Illustration Stuart McLachlan Dan Fell Illustration James Bentley Roger Hill Chris Asimoudis Shelagh Armstrong Artist Inc Illusion Mike Carter Studio Inc. Robin Wong Photography Inc. Greg Pascos J.C. Knaff Karen Patkau Illustration Adrian Oosterman Photography Hormoz Nabili Shoot Studio RhinoInk Illustrations Ltd. Derek Lea Ellie Arscott Coulas and Lourdes Inc Desmond Montague Dave Taylor Folia Studios Photography Colleen O'Hara Emmanuel Favas Gagnon Visuel Fellini Aerographics Josée Masse Sharpshooter Creative Representation Jock MacRae Stanley Wong Photography Mark Tellok Vince McIndoe John Hryniuk Photographer Janusz Wrobel Photography Kim Stallknecht Photography Marianne Hunt Creative Services Steen Michael Visser Photography James Quinn Illustration ? Christian Caprara Illustration Will Lew Photography Ron Elmy Photography Martin Girard Cracked Hat Illustration Sue Todd Illustration Edward O'Neil Photography Inc. Becq Photography International Flash Splash Personify Photography Ivan Otis Photography Brian Pieters Chris Woods Photography The Spot Productions Janet McLeod illustration William Somerville gX KC Rasmussen Hilary Leung gb.com unlimited 40 NEWS n with digital images, videos, PDFs, audio Macworld without Macs? files and other digital content, iView Medi- aPro helps you organize your data and view by Bob Connolly it without launching external applications. It’s like iPhoto on steroids. It had been over eight years since I last That was a nice gesture on the city’s part, What made the trip to Boston really attended a Macworld show, so I was really but apparently the promoters decided not to worthwhile was the Adobe InDesign confer- looking forward to the July event and seeing pass that saving along to vendors and attend- ence that piggybacked onto Macworld. That the new Mac hardware and software releases ees—and Apple decided to save its market- event was well-attended and featured great back in Boston, the place where it all began. ing dollars for another time. I guess other workshops from InDesign training profes- That city, known for universities such as vendors decided to follow suit. sionals such as Claudia McCue. Harvard and computer music schools like This decision rippled through the indus- But it looks like the future for Macworld Berklee, is also the home to the world’s most try, and the fallout was devastating. The in Boston looks bleak. Although the San famous users group—BMUG, the Boston show was a bust, and big vendors like Adobe Francisco show seems to be doing well, Macintosh User Group. were nowhere to be found. most industry insiders feel Macworld can’t However, upon entering the brand new Instead, niche market developers put on support two events in the U.S. every year. Boston Convention & Exhibition Center, I a brave face, spending time introducing However, Apple Expo in Paris was a huge was shocked to see no sign of Apple Com- their products to anyone who would listen. success—which may mean that it won’t puter. How can there be a Macworld with- And you know what? I kind of liked the be long before we’ll have to travel outside out Apple? attention. JBL’s OnStage iPod dock speaker collected a North America to see the latest in the world Best of Show award at Macworld, which was JBL won a Best of Show selection for Rumours circulated among the attend- of Macintosh. held July 18-21 in Boston. ees, and I had a chance to interview the its iPod sound stage dock speaker combo, show’s promoters, but there was still nothing called OnStage. Just drop it into JBL’s dock conclusive to explain Apple’s absence, other and the sound comes from its base. The than the fact that it seems Steve Jobs prefers International QuickTime VR Association the business centre of New York over Bos- was also out in full force, displaying mem- Professional ton. Although the promoters had done their bers’ panoramic photographs, giving dem- research with past audiences, and many pre- onstrations of how QuickTime VR works. Translations Services ferred the laid-back atmosphere of Boston, At shows like this, you’ll often find appli- the word from Beantown locals was that cations that aren’t well-advertised in maga- Translation from English to French the main reason for choosing the city was zines. My discovery was iView MediaPro, a Marketing, training and communication that officials at the convention center had media management, presentation and edit- Product catalogues: Air conditioning, cleaning products, fi shing, etc. allowed the promoters to use the facility for ing application. If you’re in the multimedia Localization and computer manuals free to support the local tourism industry. business and find yourself overwhelmed All inquiries are considered At the Translation & French consulting International Tap into the French markets. At Professional Translations, we will not only QuickTime VR translate your Website, catalogues and promotional documents, we will Association also service your French customers. display, attendees Test the market before hiring new employees. We will answer ? had a chance to your customers’ questions via email, phone or mail. view the best in QTVR panoramic Let Professional Translations open up new markets in a images. smooth easy way, and let us be your French representative. gX www.professional-translations.net 41 416-767-3211 • [email protected] NEWS n months. By simply registering a bogus U.S. address No iTunes in Canada? and phone number when he signed up at iTunes, and then purchasing prepaid cards, he could load up his account and download music any time he wanted. Think again... I sat there for a moment and thought, “Genius! by Diane Erlich This I gotta try!” So I said, sure. Then I had another thought. “Why would people Does the music in- who can download any song they want any time for dustry really believe free, buy online music—even if it was available?” that no one in Can- I asked some students about music downloads, ada wants to down- and predictably, they said that they did download free load music legally if the ability to share music is avail- music. However, if they liked what they heard, they, able to the user ‘legally’? in fact, went out to buy the CD. When asked if they The Canadian Recording Industry Association would do the same if music was available to down- (CRIA) recently lost a case that would have seen your load from a music store, many said yes, because then ISP turn over your records to the recording industry instead of buying the entire album, they could pick in order for them to “check up” on your ethics when and choose the songs they liked. it comes to what you download. By the way, this is Some argued that they still like visiting retail already happening in the United States. In a legal stores—they just don’t like the prices they have to pay action last year, 261 lawsuits were filed by the Record- for a whole CD, especially if they don’t like all the Watch where you pee -- in Quebec, Mol- ing Industry Association of America (RIAA) target- songs. This raises the question: does the record indus- son’s has begun testing the Wizmark ing users of Windows-only software Kazaa. One case try still need to think in terms of making “albums”? (right), a new marketing tool installed was dropped when it was learned that RIAA wrongful Couldn’t we go back to the original concept of in a urinal that talks, plays music, and accused a 66 year old sculptor who uses a Mac (see being able to walk into a music store, selecting the lights up when it senses motion (women’s Boston Globe article for more details). songs you want, and paying a flat fee to burn an version coming soon)...btw, according to So you might think that with sharing available as “album” on the spot?—much the same way you would a recent Harris Interactive survey, 15% of wireless an option to Canadians, maybe we wouldn’t need do it if you downloaded music and burned your own device users say they have sent e-mail while in the or want a music store. But for students I spoke with CD at home. washroom...Suffer from halitosis? A German company is recently, it would seem that this is not the case. This brings up yet another question. Free music is developing a mobile phone with new sensor technology Although Apple is now marketing iTunes through- something that the recording industry is against, so that can detect bad breath...Speaking of which, the out Europe as well as the U.S., it has yet to offer its why do companies like Sony have divisions that man- next wave of spam will be ‘spit’, according to U.S. service to Canadians. Nor is there any official expla- ufacture MP3 players? firm Qovia -- spam through VoIP (voice-over IP)...Re- nation forthcoming. However, if you’re one of those Canadians who searchers at MIT prove how good spinach is for you by For Canadian music fans, there is just one online wants to use iTunes right now, this is how you do it. generating electricity using lasers focused onto pul- store, and it’s strictly for Windows users. Despite its Get a prepaid iTunes card from the U.S. Then go verized vegeta- posted statement, “We value our Mac audience…” online and register with Apple, giving them a U.S. bles...A tech- etc, PureTracks offers Windows Media format only, address, phone number and zip. And that’s it. nology invented leaving Mac users out of luck. Having trouble thinking of a U.S. address, phone by Ottawa scien- So why am I telling you what you already know? and zip code? ? tist Dmitry Someone heading to the U.S. not long ago asked Here’s how I did it. I went online to Apple’s website, Gorodnichy lets me if I wanted him to pick up a prepaid iTunes card looked up a location of one of the Apple stores, and you control your for me while he was there—to which I replied, “Why created an address nearby using that information. (By mouse with your would I want one? Everyone knows iTunes still isn’t the way, it will get really suspicious if we all use the nose -- called available in Canada.” store’s fax number like I did, so use the area code and gX (naturally) a Then he proceeded to tell me how he had been make up your own number.) 42 “nouse”... purchasing and downloading his music for many Illegal alien music lovers, unite! n Free your photography

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? gX 44 RESOURCES n Events Cinema, Toronto ON different parts of the world will discuss Personal Currency Assistant—Need to October 14-16 GraficEurope—Second October 28-30 Pictoplasma Conference platforms for social innovation and how know how the Kwacha is doing?—for Annual Pan-European Conference for —first conference on contemporary char- to design them.” New Delhi, India those late night online shopping binges Graphic Designers, Berlin Germany acter design and art, Berlin Germany April 27-30, 2005—anima05, II Córdoba and the need to convert funds October 14-16 Stretch Design November 1-3 Dotmov festival—Digital Animation Festival, to support and PB Fix it cheap—Would you like to fix Conference—Step Inside Design presents Film Festival, Chuo-ku Sapporo, Japan recognize the art of animation both in your own PowerBook?—replacement a two-day conference for creative November 15-17 The Folio Show, The technical and cultural diversity, Córdoba, components for about 1/3 of the prices at professionals that inspires new ways of Hilton, New York NY Argentina Apple—plus they provide “fix-it guides” thinking about design, Washington DC November 20-22 PrintOntario, National June 11-14, 2005 How Design Conference, October 14-17 Photo New York—The First Trade Centre, Exhibition Place, Toronto ON Hyatt Regency, Chicago IL New York International Photographic Art January 10- Exposition, Metropolitan Galleries, New 14, 2005 Resources/Forums/User Groups Large File Transfers—Having problems York City NY Macworld Graphic Design Timeline: 1975-1995 sending large files by email? Try this site, October 21-22 Designthinkers Conference, Conference —Ever wonder what happened between send up to 1 GB free. Association of Registered Graphic & Expo, San then and now? The last 20 years brought Encyclopedia Mythica—6100 entries on Designers of Ontario, The Design Francisco CA to you by the people at the About network. gods and goddesses, heroes, legendary Exchange, Toronto ON January 12-14, 2005 Context Conference, Mac Games—If anyone ever tells you creatures and beings from all over the October 22-24 Resfest 2004—Digital Film San Francisco CA there are no games for the Mac, they world Festival. The festival is currently on Tour March 21-26, 2005 Doors of Perception haven’t been to this site—part of the Acrobat resources—Top resource page for with only one stop in Canada at the Royal 8—“Designers and entrepreneurs from Inside Mac games network all things Adobe Acrobat on the Web; they

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For information on all courses and workshops please visit gX www.studio-L.com, call 416-466-7188 (Toronto) or 45 email [email protected] RESOURCES n also have other software categories as about all of the software tools written and art of Adobe Photoshop—presented this is the car company, and they make well as a section on Mexican pottery. specifically for law office use for the by The National Association of Photoshop 3D software available to you. Deadline for MacMerc—One of the better sites for Macintosh.” Professionals entries December 8, 2005 News/Forums/Reviews and even a graph- O’Grady’s PowerPage—This one caught Area of Design—The Drench Award is ics tips area—check it out. our attention with the news headline held annually, honouring the best design Just plain cool things you can buy Ultimate Macintosh—“Still the biggest, “How to Void Your iMac G5 Warranty”— in each of the following four categories: Spy Stuff—Because you need to know that ugliest, and most useful Macintosh page all about mobile technology. Art and Illustration, Graphic Design, James Bond stuff really does exist— eve- on the Web” since 1995 Mac Design Magazine—Articles on soft- Photography, and Web Design; deadline rything from mail bomb detectors to tel- Origins of Phrases—If you’re ever caught ware, including some tutorials for entries November 1. ephone speech encryption systems in one of those “trivial pursuit” type Printworks Magazine—Information 9th Annual Webby Awards—More than 60 Coffee Shop of Horrors—Selling genuine moments and in need of looking for the resource for Printmakers categories for virtually any type of website, coffee with very cool original labels (watch origin of “Cold enough to freeze the balls DesignGeeks—”Her Geekness” the dig- deadline December 17 out for the monster kitty) off a brass monkey”, this is the website ital godess, offers a site with Tips, Pubs, Second Annual TGSNT—The Greatest for you. Freebies, and more. Story Never Told. Competition to recog- Apple Manuals—Need to find a manual nize and reward independent storytellers for that SE/30 in the basement? This is Contests/Competitions worldwide who use Flash or any software the place to look. Photoshop Hall of Fame—Created to hon- that can export to SWF. Deadline for sub- I want one of those!—As the website says Mac Attorney—If you practice law and pre- our and recognize those individuals who missions January 15, 2005. Fee per sub- “stuff you don’t need...but you really, fer to use a Mac: “This site is dedicated have made outstanding contributions to mission, monthly prizes for submissions really want”—located in the UK, gadgets to providing you with basic information the business, education, development, Third Peugeot Design Competition—Yes, of note on this website—how about the

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Too Much To Read? pdfPictures .com Interactive Electronic Documents Can’t Keep Up? Where Print, Video and the Internet Converge via PDF WE DO IT FOR YOU! pdfPicture Bios pdfPicture Music pdfPicture Books pdfPicture Portfolios pdfPicture Brochures Rich Media ? Embedded Video, Flash and V irtual Reality Photography Ask us for a FREE ISSUE. 24 Louisa Street • Toronto Ontario • M8V 2K6 • Canada ™ DESIGN TOOLS MONTHLY j Tel: 416-521-7462 Fax: 416-521-7467 www.design-tools.com • e-mail: [email protected] • 303.543.8400 [email protected] m gX See why graphic designers 47 have depended on us for 12 years! given distance. By measuring the distance relationships n Real-time depth-mapping may between computer-generated and live images, an entire scene can be composited that seamlessly merges mul- provide the “key” to 3D HDTV tiple elements in real time. The HDTV Axi-Vision Camera was announced last The Axi-Vision depth- year. It is actually a second generation invention capa- mapping camera pro- ble of reading and generating almost one million pix- cesses information on els (1280 x 720) of information per frame at standard the illumination intensi- broadcast quality of 30 frames per second. A prototype ty of a 1280 x 720 pixel image in 1/30 second. Axi-Vision model, first shown in 2000, delivered stan- The image is then dard TV resolution only. converted to an HDTV Unlike chroma key methods, which depend on “key- signal and output as ing” on a specific color to be removed (typically green NHK (Japan Broadcasting Station) broadcast Axi-Vision HDTV HD-SDI (Serial Digital depth-mapping on February 1, 2003 during a live show marking or blue), this technology puts no limitations on the the 50th anniversary of Japanese television. Interface signal). colors of objects which are used in a scene. Chroma Now you see it, now you don’t. keying with a green screen, for example, means that no Producing special visual effects on screen by merg- other object in the scene can be the same green, or it ing live subjects with computer-generated images will be eliminated. (CGI) has been a staple of TV and video production Axi-Vision is also much faster than three-dimensional for many years. Now a Japanese team has invented a camera systems which require stereoscopic images from camera that can capture a live high definition television multiple cameras as well as complex signal processing (HDTV) image and combine it with CGI on the fly. to determine depth information through “triangulation”. The new technology, based on “depth mapping”, The promise of 3D-TV has been around for years, but is called the HDTV Axi-Vision Camera, a device devel- Axi-Vision technology may offer the best solution yet. oped by University of Toronto professor Keigo Iizuka A description of the science behind this technology is and Japan Broadcasting Corporation research head available at Optics Express. Masahiro Kawakita along with a team of scientists in In a virtual studio using the camera, a woman appears to vanish Tokyo. Using Axi-Vision, objects appear to fly around into a prerecorded image of a sliding door. real people, people disappear into solid objects—even portions of live figures in motion can be isolated. Reading infrared light The Axi-Vision camera uses an ultra-fast shutter to reflections (left), Axi- sample the instantaneous distribution of light reflected vision depth-keys an from objects that are illuminated by high-speed, inten- image: (below left) the sity modulated infrared lighting. As the speed of modu- background; (below lation approaches the speed of light, the intensity of the centre) the middle depth range; and captured images becomes more and more dependent (below) just the hands on the time delay associated with the round trip time to in foreground. the objects. ? In a virtual studio environment, pre-recorded video can be integrated with live action in a variety of ways to produce the kind of special effects that were once the domain of high end systems. After depth information has been established for the various visual compo- nents, real or otherwise, a producer can make decisions gX about which objects should appear or disappear at a 48 TI_AD_FINAL1 10/13/04 1:05 PM Page 1 n photography

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Index. Click on the page icon to view a cascading menu of articles, advertisers 1. Why does type or line art 3. What about the Web links? n and rich media content in the publication, then click on your selection. in Acrobat Reader appear Web links are highlighted in bloated or jagged? blue. Clicking on a link In Acrobat Reader 5, under automatically sends your Acrobat Reader>Preferences> browser to the embedded Go to next page. Click on the clockwise arrow to advance to the next page. Display>Smoothing, make URL, which may be a sure that the Smooth Text, corporate location, a product Smooth Line Art and/or information page, or just an Go to previous page. Click on the counterclockwise arrow to go back to Smooth Images options are interesting related site. the last page. turned on (click checkboxes). In Acrobat Reader 4, under 4. How do I see the rich media Escape Full Screen Mode. Click on the bidirectional arrow to switch to File>Preferences>General, version of gX with videos, normal view. make sure that Smooth Text QuickTime VR, music, and and Images is turned on (click animations? checkbox). Full Embedded and Streaming gXo.com/Graphic Exchange online. Click on the gX logo to check latest versions of gX require Adobe gX news and product announcements or dig into the fully searchable Graphic 2. How do I switch my page Reader 6 and a high speed Exchange archives, by keyword, author, date, and subject. display to normal view Internet connection. mode? gX PDFs open automatically in 5. How do I get the latest Full Screen mode. To toggle versions of Adobe Reader or between Full Screen mode Apple QuickTime? System requirements and normal view, click on the Adobe Reader 6 is a free Windows Macintosh bidirectional arrows (just download from www.adobe. • Adobe Acrobat Reader 4 or higher • Adobe Acrobat Reader 4 or higher below the ?) at the bottom of com/products/acrobat/ • Microsoft Windows 98/NT 4.0/2000/XP • Mac OS 9 or higher the navigation bar, or use the readstep2.html. • 32MB available RAM • 32MB of available RAM Full Screen mode keyboard QuickTime 6.5 is a free • 40MB available hard-disk space • 40MB available hard-disk space shortcut, Command-L (Mac) download from www.apple. ? • Internet Explorer 5.01 or higher or Control-L (Windows). com/quicktime/download. gX