What is the EG-S screen?

(as Ken Rockwell explains)

These precision surfaces simulate ground glass and greatly increase brightness for f/2.8 and slower zoom lenses so popular today. They are designed to be bright and contrasty with these slow lenses.

Oddly, these modern screens get no brighter when you're using a lens faster than f/2.8. Try it: put on an f/1.8 or other fast fixed lens and flick the depth of field button. You'll see no change in anything until you stop down to about f/2.5!

Still think I'm making it up? Look through the front of your fast lens at the focus screen. It's black outside the area of the lens that corresponds to f/2.5!

Standard focus screens see nothing coming from the lens at annular angles faster than f/2.5.

If you're using a fast lens and want to see the real depth of field or want to focus well manually at large apertures, you need a different screen.

The standard screen with which the 5D ships is the EG-A. The same screen with a grid is the EG-D.

For optimum use for manual focusing or seeing depth of field with the 5D and fast lenses, use the EG-S screen. Sadly of course this screen is great for your fast glass, but dim with slow lenses. Digital hasn't fixed this yet, sorry - you might wind up having to swap screens.

Since they differ in brightness, the 5D's meter needs to know what screen you're using. You set this in Custom Function 00.

Now I haven’t had this screen for very long, but I can tell it really does do the job when used properly.  The real test will be when I get to use it for my portraiture work.  It was amazing using it the first time, and I wish I could just leave it on all the time, but realistically I can’t.

Removing and replacing the screen is quite easy; I’d say it is just as easy as taking a lens off or putting it back on.  They provide a tool that allows you to pop the little plastic release that holds the screen's frame in place.  Once that is popped the screen frame will fall down, and the screen will be inside that frame.  Pop out, put your other screen in, and push the frame up so it clicks back in place.  TADA!

Here is what the screen looks like inside the package when you receive it.

First Test

For all of these shots they had the same settings and is straight out of the camera.  There was some exposure compensation and white balance adjustments in post, but that is it.  No sharpness other than what my camera is set at.

These following images will go through the standard EG-A and manual focusing EG-S screens with and without the custom function enabled, to show you how much of a difference it makes.  I will also show you the difference between the auto focus and manual focusing with the screens.  You do need the custom function enabled to fully use this screen, as the camera needs to know it has to compensate for metering.

1.  Auto focus with the standard EG-A screen.  Focus point is located on the bottom right corner of the screen, with the custom function set to EG-A mode.

100% crop

2.  Auto focus with the manual focusing EG-S screen. Focus point is located on the top left corner of the screen, with the custom function set to EG-A mode.

100% crop

Full Resolution (re-sized to 1000 X xxx)

3.  Manual focus with the standard EG-A screen.  Custom function set to EG-A mode.

100% crop

Full Resolution (re-sized to 1000 X xxx)

4. Manual focus with the manual focusing EG-S screen.  Custom function set to EG-A mode. (2ND SHARPEST IMAGE OVERALL)

100% crop

Full Resolution (re-sized to 1000 X xxx)

Second Test

1.  Auto focus with the standard EG-A screen.  Focus point is located directly on the highlight of the cup where the rim is, and with the custom function set to EG-A mode.

100% crop

Full Resolution (re-sized to 1000 X xxx)

2.  Auto focus with the manual focusing EG-S screen.  Focus point is located directly on the highlight of the cup where the rim is, and with the custom function set to EG-S mode.

100% crop

Full Resolution (re-sized to 1000 X xxx)

3.  Manual focus with the standard EG-A screen.  Custom function set to EG-A mode.

100% crop

Full Resolution (re-sized to 1000 X xxx)

4.  Manual focus with the manual focusing EG-S screen.  Custom function set to EG-S mode.  (THE SHARPEST IMAGE OVERALL)

100% crop

Full Resolution (re-sized to 1000 X xxx)

Final Thoughts

As you can see from the sample shots; the final image in the second test with manual focusing of EG-S screen set to the custom function mode of EG-S, is the sharpest of every image in both tests.  The second sharpest image is the image used with manual focusing of the EG-S screen set to the custom function of EG-A (which is the incorrect custom function, but still the second sharpest image).  I was surprised to see how awful the auto focusing performed on these shots.  The cup faired better than the screen shots, but still was terrible.  This would not suffice for my portraiture work.

This screen is great for me, as I have always had a problem manually focusing on subjects.  I also adjusted my diapter a couple turns to make sure the eyepiece was sharp with my eyes as well.  For the screen being a merely 40 dollars and free shipping (from BHP), I think this is some money well spent.  Especially having the piece of mind knowing my images will be more detailed than what I originally was shooting.  This will enable me to enjoy manual focusing more often, and allow me to maximize my camera’s ability.

©2010 Ryan O. Hicks. All Rights Reserved.

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In this tutorial I will be walking you through how I created my digital piece, “What weather do you want?”.  This will be a simple photo manipulation tutorial that combines some adjustment layers, filter effects, and pen/lasso tool work.

What you need to get started

You will need to gather your stock images and for this piece I used the following photographs.  The main subject (which is me) is my own stock image because I took it solely for the making of this piece.  You can download it at the link provided below if you do not want to make your own.
My stock image - http://www.rohicks.com/blog/wp-content/uploads/2009/06/WW_meStock.jpg
Sky Stock - http://alegion-stock.deviantart.com/art/Sky3-stock-94057280

Step 1

Open the sky stock image in photoshop because we will be working directly on the sky file.  Double click the background layer and click ok on the dialog box to unlock it.  Now duplicate the background layer by pressing command+j (mac) or ctrl+j (windows).  Turn the visibility off to the original background layer to preserve it so we do not accidentally do something to it.

Step 2

Now we are going to do a quick photo fix (you can apply this fix to any photo to drastically improve it, as long as the tonal values are needing fixed).  We will be correcting some of the tonal values in the image.  Go to “Image > Adjustments > Levels” and set the 3^rd box (white point box) on the far right to “234”.  Then set the far left box, the 1^st box (black point box), to “2”.  This will allow the image to utilize the full tonal range of its histogram and not look so washed out.

Step 3

Now open my stock photo of myself if you are using it, or open your own stock photo of yourself or someone else.  Now using the pen tool or lasso tool, whatever comes easier to you outline your body.  After you are done outlining, if using the pen tool, right click and select “make selection”.

When the dialog box comes up enter “.1” as the radius and hit ok.  Now go to “Select> Inverse” and hit delete twice on your keyboard.  This will delete everything, but your subject and feather the edges of it.

Step 4

Now drag your subject onto your sky canvas or copy and paste it in, whichever you prefer.  Go to “Edit> Free Transform” and while holding down the shift key (to resize it constrained) resize your subject to your liking and move it over towards the right bottom corner.  Make a new layer and drag it underneath the sky layer so it is the bottom layer and fill this layer with black.
*Note* While using my free transform tool to resize I also leveled myself out by turning the corners of the free transform tool to line my feet up level on a ruler I had dragged out randomly on the screen.*

Step 5

With the subject layer (or me layer) selected go to “layer> New Adjustment Layer> Levels” and when the dialog box comes up make sure “Use previous layer to create clipping mask” is selected and hit ok.  This will bring up your levels adjustment and then set the far right box (the white point) to “226” and then set the middle box (the midtone box) to “1.14” (you may have to play with this if you are using your own stock subject and not mine).  This bumps up the highlights and midtones in the image to take out some of the dullness in it.

Step 6

Now go to “layer> New Adjustment Layer> Color Balance” and when the dialog box comes up make sure “Use previous layer to create clipping mask” is selected and hit ok.  When the color balance box comes up set the followings settings.

click on the shadows radio button
set the 3^rd box to -6

click on the midtones radio button
set the 1^st box to +15
2^nd box to -5
3rd box to -15

click on the highlights radio button
set the 1^st box to -5
2^nd box to -10
3^rd box to -20

Now click your subject layer (or me) to activate it, and go to “Image> Adjustments> Brightness/Contrast” and lower the brightness down by “-10”.

Step 7

Now we are going to work on the sky to get that peeled back look.  Click on your duplicated sky layer.  Create a new layer and make sure it’s filled with white (you can turn the visibility off of the “me” layer so it’s not shown for now).  Go to “filter> Render> Fibers” and set the variance to 20 and the strength to 5.

Go to “filter> Artistic> Plastic Wrap” and make sure the settings are 15 for highlight strengths, 9 detail, and 7 smoothness.

Now go to “Filter> Blur> Gaussian Blur” and set it at 2 pixels.

Next go to “Filter> Blur> Motion Blur” use 90 for the angle and 800 for the pixels.

Last go to “Image> Adjustments> Levels” and set the far left box at 60, the middle box to 1.10, and the far right box at 200.  And set this layer’s blend mode to “hard light” and merge the layer down (command+e for mac / ctrl+e for windows).

Step 8

Now turn back your subject layer on (me layer).  You will need it on to adjust how you want the sky peeled back to fit your or my hands properly.  With it turned back on and the sky layer selected go to “Edit> Transform> Warp”.  Now using the different points on the grid transform the sky to look like it’s being peeled back and fitted to your hands as if you are dragging it from the left of the screen to the right (try to picture what it looks like to drag a big curtain across a stage).



With that done, we have a few more things to make this a little more realistic as if you were actually pulling it.  With the sky layer still selected go to “Filter> Liquify”.  Now select the “pucker tool” and make sure on the far right at the bottom the “show backdrop” is checked so you can see the rest of your layers.  Now with the pucker tool slowly press over the parts where your hands are to pucker the curtain to make it seem as if you were grabbing it at those two spots.

Step 9

This is our final step and now we need to add some shadows underneath our hands to look as if it’s over the top of the curtain.  Simply duplicate your subject layer (me layer).  Command+click (mac) or ctrl+click (windows) to bring up a selection of the me layer.  Fill it with a solid black and move it underneath the original me layer.  Now go to “Fliter> Blur> Gaussian Blur” and put in 5 as the pixels and hit ok.

Duplicate the shadow layer and set the opacity as 50% and merge it down with the original shadow layer.  That’s it you are done!

Step 10 (optional – sharpening)

This is a way to sharpen the full image (only sharpen images AFTER you have resized them to what you will be submitting to the web, your final print, etc.)  Select the whole image ctrl+a (windows) or command+a (mac) and go to “Edit> Copy Merged”.  Now hit ctrl+v (windows) or command+v (mac) to paste the layer in.  Move it to the very top of the layer palette.  Set this layer to overlay and 40% opacity.  Go to “Filter> Other> High Pass”  and set it as 2 pixels (this will vary depending if you resized the image – rule of thumb is set the high pass filter so the image looks just a TAD over sharpened).  And now you are done and with a sharper image!

I hope you enjoyed this tutorial, feel free to comment if you have any questions or feedback.
Thanks.

©2010 Ryan O. Hicks. All Rights Reserved.

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Final Image

In this tutorial I will be walking you through how I created my digital piece, “Mother Nature”.  This is a simple photo manipulation of a few stock photographs and some brush work.

What you need to get started

You will need to gather your stock images and for this piece I used the following photographs and the brush set for the bokeh.
Female - http://mjranum-stock.deviantart.com/art/May-Queen-S-11-117077616
Butterflies - http://Shoofly-Stock.deviantart.com/art/Butterfly-Stock-4-36155021
Leaves - http://godsmonster.deviantart.com/art/wall-eeq1-86517794
Brush Set - http://m-ajinah.deviantart.com/art/Night-Lights-Brush-Set-106015559

Step 1

Open a new document with the document’s width set to 1200 pixels and the height set to 1920 pixels.  The background color of the background layer is irrelevant, as we will be covering it up with a gradient, but I set it to white for now.

Step 2

Now go to the bottom of the layer palette and click on the little circle that is half white and black to create a new fill or adjustment layer and select gradient.  When the dialog box pops up make sure dither is checked, align with layer is checked, the scale is 100%, angle is 90, and the style is a radial type.

Now click in the gradient box to set our gradient that we will use as the main background’s colors.  On the left side the green color is #a4c456 and the far right green (the darker one) is #021a02.  Click ok on both dialog boxes.

Step 3

Now open the stock image of the female and we are going to do a quick photo fix. We will be correcting some of the tonal values in the image before we start.  Go to “Image > Adjustments > Levels” and set the 3^rd box(white point box) on the far right to 228.  This will allow the image to utilize the full tonal range of its histogram and not look so washed out.

Step 4

This will be the most tedious part of the whole process, as you will need to outline the female with the pen tool or the lasso tool.  Use whatever is easier for you, however the pen tool allows for better control and smoother lines.  Once you have outlined her as you like copy and paste her into your canvas.  Now make a new group folder and name it “woman”.  Move her into that folder so you can keep your layers organized throughout this project.  The image below is how I outlined her and what I kept and didn’t keep on her body.  I cut out a lot of the hanging leaves/grass stuff hanging off of her arms and around her hair.  I felt they were too distracting to my final image, but you are welcome to keep it how you like.  I also used some of the healing and clone brush in combination with outlining her to clean up some of that extra grass and leaves.  Once she is pasted into your canvas go to “Edit > Free Transform” and size her accordingly to fit on your canvas.

Step 5

We will now sharpen the female a little.  Now duplicate the woman layer by dragging her layer to the new layer button at the bottom of the layer palette or pressing ctrl+J (windows) or command+j (mac).  Set the layer blend mode to overlay and 40% opacity.  Go to “filter > other > high pass” and set it to 1.5 pixels and hit ok.

Step 6

Now go to the little half black/white circle again at the bottom of the layer palette and select hue/saturation.  Enter -20 for the saturation and leave the rest at 0.  Then go to “Layer > create clipping mask” to apply it directly to the just the female layer.

Step 7

Now we are going to do some brush work to make some of her stand out and pop more.  Command+click or ctrl+click on the woman layer to create the selection of the woman.  Create a new layer and fill it with 50% gray and deselect the selection.  Now using your dodge and burn tool go over the layer in spots that you want to enhance by darkening and lighting the female.  Use a lower opacity dodge/burn brush set to midtones and go over it till it looks good.  Here is how my layer looked like after I got done with it (I changed the blend mode to normal so you can see where I burned/dodged the layer).

Here is a before and after of what my dodge/burning made her look like.

Step 8

This next step is optional, but it will add a nice subtle touch to the female.  Duplicate the original woman layer.
Then go to “filter > stylize > glowing edges” and use these settings.

Edge Width as 1
Edge Brightness as 13
Smoothness as 15

Now go to “image > adjustments > levels” and use the following settings.

Set the layer to screen and drop the opacity to 50%.  Some of the lines make the female look odd and are distracting because the edges are glowing purple and blue or just some random colors we do not want.  So make a layer mask for this layer and using a soft brush with black as the foreground color brush away some of the lines that is distracting.  I brushed around the edges of the female and around her chest area on her dress.  Duplicate this same layer and change the blend mode to overlay and drop the opacity to 10%.

The next step to finish off the female is to add a curves adjustment layer.  Once again go to the little half black/white circle at the bottom of the layer palette and select curves.  We are going to up the contrast a little bit more.  So select “increase contrast” from the drop menu in the dialog box and lower the opacity of the layer to 30%.

Step 9

In the layer palette create another new folder and name it weeds.  This is where we will create the weeds in the image and will be up to you on how you want your leaves or weeds in the scene to look.  Open up the stock image of the leaves.  I used the portion of leaves in the front of the image along the wall because they were in focus and had a little bug on one of the leaves.

Using a soft eraser brush to erase away the leaves and weeds to your liking.  Place them around the image and transform them to fit your scene.  Now merge all your weed layers together so it is just one layer.

Duplicate the weed layer twice.  Using the first duplicated layer set it to overlay with an opacity of 40%.  Go to “filter > other > high pass” and set the pixels to 1.5 and hit ok.  Merge this layer down with the original weeds layer.  This will sharpen the weeds up for us.

Now click on the other duplicated layer to activate it.  Now command+click or ctrl+click on the layer to bring up a selection of that layer and fill the selection with 50% gray.  Set the layer blend mode to overlay.  Once again using your dodge and burning tools set to midtones and go to work on the weeds layer to make them stand out more.   View my image to see where I did some of the brush work.

Another thing I did was copy some of the dirt in the leaves stock image and place it underneath her feet as you see in my photos above.

Step 10

Now create a new layer and drag it above our gradient adjustment layer.  Load the brush set from the link at the top of this article.  Use the spot 007 brush (or whatever you like the best) and make your bokeh and set the layer opacity to 15%.

Step 11

Now you need to make another new folder on top of everything and call it effects.

Create a new layer and name it blue line.  To create the blue swirl I used the pen tool and wrapped the lines around her body.  After you make the lines with your pen tool select your brush tool and make sure you have your brush settings with a diameter of 5 and hardness set to 0%

Click back on your pen tool (p), right click and select “stroke path” and make sure “brush” is selected in the drop down box with “simulate pressure” unchecked.

Now use the eraser tool to erase certain parts on the blue line to make it appear as the line is wrapping around her.  I erased every other line so it looks like it is going in front and behind her.  I also used a soft brush and erased some of the end of the blue line to make it look like it was disappearing.  I could of used the simulate pressure command, but I chose not to because I didn’t want the end of the line to get smaller.  I just wanted it to look like it was vanishing towards the end.  Now go to the layer styles of the blue line layer (double click the layer icon) and go to outer glow and inner glow styles and use the following settings.

Do the same thing for making the green line and use the same layer style settings for the inner and outer glow except change the color to #00ff06. (the reason you see part of the green line erased is because that is where my butterfly will go in the next step)

Create a new layer and name it glow. Using the color #00ff06 for the green line and a soft brush, brush along certain areas of the swirl that flow across her body to make it look like the green line is glowing against her skin or dress.  Do the same with the blue line with the color #0012ff.

Now for the little wave like thing in her hand I used another brush I found on the Internet that was apart of an abstract brush set I found a while ago.  So I can’t remember the link to where it is, but search out some abstract brushes at brusheezy http://www.brusheezy.com/brushes?search=abstract and download some of them and use any that appeals to your eye.  I also applied an outer glow to this layer with the opacity of 41%, spread of 1, size of 1, mode set to screen, and color set to #12ff00, and everything else set as the program default.

Create one more layer and name it ball glow.  Using a bigger size brush with 0% hardness and the color of #99fa35 create a soft glow effect in her hand.  I also reduced the opacity of this layer to 50% so it wasn’t as strong.

Step 12

Now create a new folder on top of everything called butterflies.  Open the stock butterfly image and cut and paste each one of the butterflies into your image.  Arrange them how you want them to look around the image.

Now once again go to the little half black/white circle at the bottom of the layer palette and select hue/saturation.  Set the saturation to -19 and leave everything else at 0.  Go to “Layer > create clipping mask” to apply it directly to the just the butterflies.

Step 13

The last thing we are going to do to finish this piece off is bring the highlights up just a tad.  For the last time go to the little half black/white circle at the bottom of the layer palette and select levels.  In the far right box (the white point box) set the number to 250.

And that’s it!  Hope you enjoyed my first tutorial and if you have any questions post away.

©2010 Ryan O. Hicks. All Rights Reserved.

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My name is Ryan O. Hicks and I am a creative graphic designer and photographer based out of West Lafayette, Indiana.

This blog will be a source of inspiration for some, a source of tutorials, a place for designers to gather and exchange information, and a place for photographers to explore different ideas and techniques. I will do my best to keep this blog updated as my time allows. If this expands beyond my control I will look to the community for support in putting a staff together to run the site for me when I can not be of service.

I'm currently still getting all my quirks worked out on this blog, so if something does not work or does not seem right do not fret I will get it fixed ASAP. However if you see something and I am not getting it fixed or it bugs you feel free to drop the admin an e-mail about the problem.

Please feel free to subscribe to our feed to stay updated about what is going on.

Thanks.

©2010 Ryan O. Hicks. All Rights Reserved.

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