Fazal Majid's low-intensity blog

HP introduced a new line of printers recently, with one model starting at $40, or barely more than the ink cartridges for it that cost $21. A British consumer magazine has exposed the deceptive and price-gouging practices of inkjet printer manufacturers. No wonder most of HP’s profits come from their printing business, their computer division being a mere hanger-on, and they have adopted King Gillette’s “give away the razor, sell the blades” business model with a vengeance.

Printing photos on an inkjet paper is particularly expensive since most of the paper surface is covered in ink, unlike conventional documents where the ratio is only 5% of so. If you are a digital photographer needing to make prints, you should look beyond the low purchase price for these printers, as there are far better options available.

There are many processes to produce prints from digital originals. You can use inkjet printers, dye-sublimation printers, Fuji’s Pictrography, and digital minilabs. Color laser printers are relatively economical, but are best used for office documents rather than photos as their output is not particularly vivid. Inkjet printers have vivid colors but their results fade very quickly (apart from a handful of pigment-based ink models from Epson in their 2000/2100/2200 series). Dye sublimation printers have excellent smooth colors, and last longer thanks to their protective overcoat layer, but are usually expensive to run and have limited paper size options. Fuji’s Pictrography process is a true photographic process, but both printers and media are expensive, and it is most suitable for professional photographers who need to produce in-house proof prints for clients on a deadline, but cannot afford a $175,000 digital minilab.

This leaves what is in my opinion the best option for obtaining prints, digital minilabs. These are machines that expose conventional (silver) photo paper with lasers or LEDs. The key players are Fuji with their Frontier system, Noritsu (Kodak’s partner) and Agfa with their d-Lab. All of these systems will yield excellent, smudge-proof and durable prints, and are invariably far more cost-effective than the alternatives. You can get 4in x 6in (10cm x 15cm) prints made for as low as 20 cents each online or at many places like Costco. In many cases, you can just insert a memory card or CD in a kiosk system like the Fuji Aladdin, select your pictures, crop and adjust contrast, and they will be sent to the minilab to be printed within an hour.

Digital minilabs are usually limited to 8in x 10in or 11in x 14in prints. For larger sizes, you need to use a professional lab that uses high-end large-format machines like the Cymbolic Lightjet or Durst Lambda, which use lasers as well, but operate on large rolls of photo paper for advertising and other high-end applications. I have had a 4in x 100in panoramic print (yes, you read that right) made on a Lightjet by Pictopia.com, with excellent results. These services are usually more expensive, about $10-15 per square foot, but use higher quality professional grade paper rather than the consumer-level kind (usually thinner and not quite as durable) used by mass-market shops.

The Canon EOS 10D, like most modern autofocus cameras, has a viewfinder screen that leaves somewhat to be desired for fine manual focus. Manual focus is still required for special applications like macro photography or the use of Canon’s TS-E Tilt-Shift lenses.

The only way to improve the accuracy of the laser matte ground glass is to use a focusing magnifier. One is built into the Angle Finder C, but that is a very expensive accessory (not quite as princely priced as the $250 Leica Viewfinder Magnifier M 1.25x, however…).

Another, cheaper option is to use the Canon Magnifier S. This accessory has been discontinued by Canon, but it can readily be found on places like eBay. I paid $56 for mine (mint “old new” stock), including shipping.

This is a focusing loupe that slides onto the 10D’s viewfinder using the supplied Adapter S as a replacement for the standard eyecup, as shown below. It magnifies the central portion of the image only by a 2.5x factor. Unfortunately, it seems Canon does not make a wide-field magnifier equivalent to the DW-4 viewfinder for the Nikon F3, which offers 6x full-field magnification!

The advantage of this setup is that the magnifier can easily be flipped out of the way as needed.

Update (2003-09-12):

I got to handle the new Canon EOS 300D (Digital Rebel) last Wednesday, and the Magnifier S fits it as well.

Update (2005-09-04):

Yes, it also fits the Rebel XT.

After three months of development, I have finally migrated from Radio to Mylos, my home-grown weblogging software. It is far from finished, but there comes a point where you must just do it (the fact my laptop’s hard drive died on me was also a good catalyst). I have tested it with major browsers and RSS aggregators, but if you notice any errors, specially on the RSS feed, I would greatly appreciate it if you could email them to me.

I switched to WordPress at the end of 2009 for the reasons expressed elsewhere, then to Hugo in 2017, which is going back in the opposite direction, and this entry is here for historical purposes only.

Mylos is my home-grown weblog management software. I wrote my first web pages by hand in Emacs and RCS in 1993, but stopped maintaining them in 1996 or so. I only restarted one with Radio last year. After a year of weblogging, however, I find I am frustrated by the limitations of Radio as well as its web-based user interface (I am one of those rare people who prefer command-line user interfaces and non-WYSIWYG HTML editors). I guess I could have extended Radio using UserLand’s Frontier language it is implemented in, but I have no interest in learning yet another oddball scripting language.

I decided in April 2003 to roll my own system, implemented in Python. In my career at various ISPs, I had to kill home-grown content-management system (CMS) projects gone awry, and I was certainly aware that these projects have a tendency to go overboard. Still, it has taken me three months of (very) part-time work to get the system to a point where it generates usable pages and imports my legacy pages from Radio without a hitch.

The implemented requirements for Mylos are:

• Migration of my existing Radio weblog entries and stories (done, but not in an entirely generic fashion, is theme-dependent)
• All pages are static HTML, no requirements for CGI scripts, PHP, databases or the like
• Implemented and extensible in Python
• Separation of content and presentation using themes (based on Webware Python Server Pages and CSS)
• Support for navigational hierarchy
• Articles are stored as regular files on the filesystem where they can be edited using conventional tools if necessary, no need for proprietary databases
• Extensible article metadata
• Atom 1.0 syndication, with separate feeds for subcategories
• Use only relative URLs in hyperlinks to allow easy relocation
• Automatic entry HTML cleanup for XHTML compliance
• A CSS-based layout where the blogroll doesn’t wrap around short bodies (e.g. on permalink pages for short articles).
• reasonable defaults, e.g. don’t try to create a weblog entry for an image that is colocated with an article, just copy it
• Built-in multithreaded external link validation.
• Automatic URL remapping (/mylos/ becomes relative to the Mylos root, relative URLs in an entry are automatically prefixed in containers like home pages).
• Ability to review an article before publishing
• Lynx compliance
• Automatically cache external images in weblog entries in case they disappear (but do not use them as such due to potential copyright issues)
• Set robots meta tag so only permalinks are indexed and cached by search engines, for better relevance to search engine users (albeit at the cost of lower rankings for the home page).
• Sophisticated image galleries fully integrated with the navigation
• Automatic code fragment colorization using Pygments

These features are planned but not yet implemented:

• Keyword index.
• Enhanced support for books via Allconsuming and Amazon.
• Automated dependency tracking to re-render only the pages affected by a change (via SCons)
• Multi-threaded rendering (via SCons)
• Automatically add height, width and alt tags to img tags
• Auto abbreviation glossary as tooltip help using tags
• Typographically clean results, as done by SmartyPants
• Feedback loop via on-page comments
• Notification of new comments by email
• Ability to promote a weblog entry to a story if it reaches critical mass

These features are “blue-sky”, don’t hold your breath for them:

• Updates by email
• User-submitted ratings for articles
• Support for multilingual weblogs

Features thet are not planned at all (anti-requirements) include:

• Synchronization or upload to server – rsync does this far better
• Text editor – use $VISUAL or $EDITOR, whether Emacs, vi, or whatever
• Web user interface – Radio’s web interface has very poor usability in my personal opinion, and this is due to the fact it is web-based, not any fault of Userland’s
• RSS 1.0 – RDF seems like an exercise in intellectual masturbation
• Blogger API or similar – although someone else could certainly write a bridge in Python if needed

The software is currently not in a state where it can be used by anyone else. I am not sure if there is any demand for such a tool in any case, if so, I would certainly consider documenting it better and making a SourceForge project out of it.

By the way, the system is named “Mylos” after a city in the magnificent illustrated series “Les Cités Obscures” by Belgian architects and writers Schuiten and Peeters, more specifically L’Enfant Penchéee

Edward Tufte

Graphics Press, ISBN: 0-9613921-5-0 Publisher

Edward Tufte is probably the single most influential authority on communicating complex information graphically. He pretty much wrote the book(s) on the subject in his classic series The Visual Display of Quantitative Information, Envisioning Information and Visual Explanations.

In this short booklet (24 pages), he devastatingly takes to task the shoddy quality of Microsoft PowerPoint presentations, and makes the case this information poverty is intrinsic to the tool itself, due to its limitations such as low resolution (cannot use complex data), poor typography, strong bias towards hierarchical outlines and fluff over substance. In Tufte’s own words:

The PP slide format has probably the worst signal/noise ratio of any known method of communication on paper or computer screen.

This echoes one of the reasons why Sun Microsystems banned PowerPoint slides, their abysmal information per kilobyte ratio. More worryingly,

In day-to-day practice, PowerPoint templates may improve 10% or 20% of all presentations by organizing inept, extremely disorganized speakers at a cost of intellectual damage to 80%.

The booklet is short and sweet. Tufte’s wicked sense of humor comes out in comparisons to Stalinist propaganda or in a set of slides by Peter Norvig showing how PowerPoint could have denatured the Gettysburg Address.

In my experience, PowerPoint slides are mostly used to vehiculate marketing garbage presentations. As such, there isn’t much content to damage in the first place, and the act of showing a PowerPoint presentation is in itself an excellent cue to the audience that they can do their crossword puzzles, tick off their grocery lists on their Palm Pilots or whatever other discreet way is at hand to salvage otherwise completely wasted time.

Tufte’s suggestions for improving the quality of presentations (give high-content handouts, eschew PowerPoint for anything but projecting low-resolution images, and above all, do not read out slides) are mostly useful for scientific or engineering presentations, which is probably a tiny proportion of PowerPoint’s market.