About Bruce T. Martin

Bruce T. Martin is an American fine art photographer who uses photography to document the world, explore perceptions, and question our viewpoints. After graduating from Syracuse University in 1977, he began working as a Historical Preservation photographer, using photography to help put endangered buildings on the National Register of Historic Places. His photographs are in a number of private and public collections and have been exhibited throughout the U.S. and Central America. Today, along with exhibiting his fine art photography projects, he is a leading architectural photographer, making photographs for the nation's foremost architects, designers, and publications. His book, Look Close See Far, A Cultural Portrait Of The Maya , published by George Braziller, Inc., NYC, is a collection of images and ideas gathered while traveling throughout the Maya region of Central America. Since 1987, he has taken more than 10,000 photographs over a range of landscapes and attitudes in an attempt to make a distinctive portrait of this singular culture. These reveling images are of the Maya Indians and region of Central America, an area both beautiful and complex in its nature. It is a place where the delicate balance between society and the environment dominates life and challenges one's view of reality. Look Close See Far, A Cultural Portrait Of The Maya blends a unique mosaic of visual details to create a fresh perspective on the Maya's endangered worldview and disappearing legacy.

Look Close See Far Exhibit is up at The El Paso Museum of Archaeology

Look Close See Far, A Cultural Portrait of the Maya Exhibit is up at the El Paso Museum of Archaeology from June 19 – September 9, 2012. I will be giving a talk at 2pm on Saturday June 23 followed by a reception from 3 – 4:40 pm. For more information click the press release link below. Hope to see you there!

PRESS RELEASE – June 23, 2012 Exhibit Opening and Program_Look Close See Far, A Cultural Portrait of the Maya

Digital Verses Film Test

This test compares

-6×9 Ilford FP4 120 Film, Fuji NPS 120 Film and Canon 5DmkII Files

-Capture One 6.3.3 and Adobe Raw 6.2

-Capture One B&W Conversions, Adobe B&W Conversions and Photoshop CS5 B&W Adjustment Layer and B&W Film

Cameras Used

-Canon 5D MARK II with a Canon EF24-70MM f/2.8 ZOOM LENS Set as ASA 100, Daylight and Camera Raw

– TOYO AR FIELD CAMERA SCHNEIDER SYMMAR-S 5.6/135 COPAL 0 with a Mamiya 6×9 Roll Film Back

Scanner Used

Imacon 848 3.25 in x 2.16 in at 2000 dpi 16bit Adobe RGB

Example Files - The following are 10in x 7in in at 150 dpi  8bit srgb JPEGs. See download link to full size files at bottom.

01_CANON5D_adobe

Canon 5D MARK II  ASA 100  1/30 SECOND AT F22

EF24-70MM f/2.8 ZOOM LENS AT 70MM

Adobe Raw  PROCESSED 100%

02_CANON5D_adobe_bw

Canon 5D MARK II  ASA 100  1/30 SECOND AT F22

EF24-70MM f/2.8 ZOOM LENS AT 70MM

Adobe Raw B&W Conversion PROCESSED 100%

03_CANON5D_capture

Canon 5D MARK II  ASA 100  1/30 SECOND AT F22

EF24-70MM f/2.8 ZOOM LENS AT 70MM

Capture One 6.3.3 PROCESSED 100%

04_CANON5D_capture_bw

Canon 5D MARK II  ASA 100  1/30 SECOND AT F22

EF24-70MM f/2.8 ZOOM LENS AT 70MM

Capture One 6.3.3 B&W Conversion PROCESSED 100%

05_CANON5D_capture_cs5_bwfilter

Canon 5D MARK II  ASA 100  1/30 SECOND AT F22

EF24-70MM f/2.8 ZOOM LENS AT 70MM

Capture One 6.3.3 CS5 B&W Filter PROCESSED 100%

06_6x9_NPS

TOYO FIELD CAMERA SCHNEIDER SYMMAR-S 5.6/135 COPAL 0 ROLLBACK

120 FUJI NPS ASA 100   1/30 SECOND  F45       IMACON 848 SCAN AT 2000DPI

07_6x9_NPS_cs5_bwfilter

TOYO FIELD CAMERA SCHNEIDER SYMMAR-S 5.6/135 COPAL 0 ROLLBACK

120 FUJI NPS ASA 100   1/30 SECOND  F45       IMACON 848 SCAN AT 2000DPI

CS5 B&W Filter

08_6x9_FP4

TOYO FIELD CAMERA SCHNEIDER SYMMAR-S 5.6/135 COPAL 0

6X9 ROLLBACK120 ILFORD FP4 ASA 80    DEVELOPED N-1/3

1/30 SECOND  F32       IMACON 848 SCAN AT 3200DPI

These files have not been cleaned or adjusted in Photoshop except for the B&W adjustment layer conversion.  No additional sharpening has been applied.

 

Analysis

Film verses Digital

Film Used

Ilford FP4 120 Film ASA 80 Processed at Normal minus 1/3

Fuji NPS 120 Film

Contrast

-NPS (6) had less contrast than Digital and FP4 (8)

-FP4 (8) had more contrast than Digital and NPS (6,7)

-NPS B&W (7) had less contrast than NPS (6)

Sharpness

-NPS (6,7) and FP4 (8) had less sharpness than digital

-Note I scanned at 2000 Dpi to get comparable file sizes and it is also the scan DPI I normally use for NPS film, but cans can higher which I do for B&W film (3200dpi).

Different lenses might yield different results.

Capture One 6.3.3 verses Adobe Raw 6.2-all made at 16 Bit Color

Contrast

-Very similar between Adobe Raw (1) and Capture One (3) with Capture One showing slightly more contrast

Sharpness

Adobe Raw (1) opens the files slightly larger at

144M at 10.24 inches x 15.36 inches at 400 dpi

Capture One (3) opens the Files at 120.3M at 9.36 inches x 14.04 inches at 400 dpi

The Capture One File appears to be sharper with better clarity

And less distortion

Color

Capture One is set to output the files in ProPhoto RGB then when opening in Photoshop they are converted to Adobe RGB. Adobe Raw is set to output to Adobe RGB. Capture One color appears to be cleaner and more neutral after using the White Balance Eyedropper Tool on the Silver bucket in both programs before opening files from their raw state.

 

Digital B&W Conversions

Adobe Raw (2) and Capture One (4) seem very similar. Capture One with CS5 B&W Adjustment Layer made image slightly lighter, which reduced contrast

Film Cost

This is a somewhat unfair consideration, given the cost of Digital equipment and image manipulation applications but you need those for scanned film as well

2 rolls at Ilford FP4 120 Film $4.25 = $8.50

2 Processing at $8.25 = $16.50

2 Rolls at Fuji NPS 120 Film $5.59  = $11.18

2 Processing $8.25= $16.50

—————————————

Film/Processing Cost $52.68

Other Considerations

Approximately 30 Minutes to scan and clean Film Negatives

Approximately 10 Minutes to process and clean Digital Files

Approximately 15 Minutes to set up camera, take photo with Film Camera

Approximately 5 Minutes to set up camera, take photo with Digital Camera

Conclusions

Since I last made a comparison between Film and Digital Camera Systems, Digital Systems have moved forward dramatically for the better. As for color film converted to B&W, I think it gives you a lot of options with no loss of quality. I plan to do this test again with different and more colorful subject matter, add cameras that I use to this test, such as Toyo 4×5 View Camera with film, Arca Swiss with the Phase One P45+ Back, the Mamiya 645AFD II with the Phase One P45+ Back, and the Sony Nex-5 to see how they compare. For now, I think these test show for my upcoming photography in Mexico, the Canon 5DMKII Camera using Capture One will get me the best results in the most efficient way at the lowest cost (not taking into account damage or theft). I plan to add additional comments as I continue my analysis. You can down load the full size files (1Gig zip folder with 8 files-takes 10 minutes or so to download) to make your own judgments at

http://brucetmartin.com/exampleimages.zip

Isabella Stewart Gardner Museum Extension by Renzo Piano

Recently I had the pleasure of taking some of the photographs of the new addition at the Isabella Stewart Gardner Museum for Architectural Record Magazine. Click the link below to read the article.

http://archrecord.construction.com/projects/Building_types_study/adaptive_reuse/2012/Isabella-Stewart-Gardner-Museum.asp

Foto Fest 2012 Exhibit – HEALINGSCAPES: LAND & SEA

Eleanor Brown
Kent Krugh
Bruce T. Martin
Anne Rowland
Jim Vecchi
Hiroshi Watanabe

This exhibition of contemplative photographs provides a healing respite from the cares of contemporary life. Working photographers, from diverse backgrounds and geographical locations, create images of nature, culture and spirituality. In Jim Vecchi’s “Witness to Infinity,” we experience the vastness and timelessness of the sea. Nature is connected to spirituality in Hiroshi Watanabe’s view of a temple through snow-laden branches, while Eleanor Brown’s explorations in the Arctic return us to our primordial origins. Kent Krugh presents “Angel Oak,” a much revered 1400-year-old tree, and Bruce T. Martin’s cave connects us to the ancient Maya culture. The lyrical “Bittersweet Curl” by Anne Rowland, reminds us of a simpler, more bucolic era.
The goal of The Methodist Experience is to provide an exceptional culture of personalized service, satisfaction, and engagement for all involved in the healing process. The Healing Arts Exhibition Series promotes health and healing through the beauty, harmony and eloquence of the arts, and enriches the lives of all those who experience its programs.

For more information about The Methodist Experience, please contact
MethodistExperienceCentral@tmhs.org or call 713-441-5015

Click here to download exhibit card: Healingscapes