The first 12 people to register will also have a print prepped and printed by me on a fine art paper of your choice. Below are two testimonials from recent attendees of the same workshop at Calumet Photo:

“Andrew gave a clear and detailed overview of printers, inks and most importantly settings that control the final quality of the prints.  I love knowing that there is such a vast range of papers to choose from and how to get the best results from them. I stayed up quite late last night experimenting with the settings discussed in the class and I ended up with a print that I am pleased with! This is great, thanks so much for unlocking this mystery! The workshop more than exceeded my expectations.” – Polly W.

“I am a platinum printer with the need to make enlarged digital negatives and have been contracting this work out because even though I have followed the various blogs, I didn’t understand the requirements of what it means to be a digital printer.  Andrew’s class gave me the framework to understand the process.  He discussed the various options for hardware (equipment AND papers) and software from an unbiased, user viewpoint. This is VERY important.  The week before I took Andrew’s class I went to the NY PhotoPlus Expo hoping to get a handle on my digital printing questions by talking to the various company reps and came away even more confused!

Andrew clarified all the sales hype and in a very straight forward manner showed what is needed to make great digital prints.  Using participant’s digital files, he printed the images on various papers demonstrating the strengths of each and he also demonstrated the power of using Photoshop in such a clear manner that it is no longer a scary, black box, but a tool to be used. I highly recommend this class for anyone wishing to make digital photographs, and for experienced digital printers who wish to make better digital photographs.” -Lyle Allan

For more information or to register, visit this page.

I hope to see you there!

If you have any questions or if you’d like to inquire about one-on-one in-person, phone or online consulting, please send an e-mail through this page.

The Imaging Buffet

The Imaging Buffet

Once you decided to search through affiliate of these rental companies like Maui, Jucy Rentals and Kea, the convenience starts right away. On the first page of their site, you can see a form that you can fill out to get started in your search for motorhome hire Australia. Specify the location, the dates and the time you’ll need the vehicle. On the second page, you’ll mostly likely have a selection of vehicles that can accommodate exactly the number of travelling party that you have. As you can see, you can put some filters in the beds section in order to access the motor home size that you need.

Instead of sleeps six, you can input sleeps two or sleeps four. When you click on the filter button, you’ll have many more vehicles to work with but you can always filter out the campers, the caravans and the 4WD. In doing that, you’ll only be left with the motor homes that can accommodate your camping party. Focus on the capacity of the motor home and you’ll narrow down your list of options for a great camping vehicle. For example, if you have a group of four campers, you can rent out the Euro Camper or the Platinum Beach from motorhome hire Australia.

If I were to summarize what the app does, it helps to expand one’s ideas for what to photograph by suggesting a variety of specific criteria, such as a place, as well as other content, such as one or more feelings (energetic is one feeling that you’ll see in the screen shots below). Paul Pierson explains the app in more detail: “By incorporating just the right amount of randomness, CSA’s goal was to help photographers evolve and expand their ideas. If you’re stuck, the app can generate billions of unique image concepts from scratch in just two taps. We think this tool will help today’s photographers, who are now expected to conceive ideas, not just execute. It’s a serious tool in a fun and distinctive package.”

During a hands-on demo, I was impressed by the way in which the app guides you through the criteria, resulting in a beautiful graphic using black and red text, as well as some graphics. Now that I look more closely at the screen shots and other materials, I realize that the inspiration for the graphics came from Canon’s L-series lenses, which is very cool (almost as inventive as those Canon L-series lens mugs!).

I’m not sure when the app will be available for download, but I’ll announce it on my Facebook page and my Twitter feed when I find out.

Related Links:
PDF Press Release for the Canon Idea Mine App
Article on Pixiq.com with some great ideas and insights from Damien Franco

The Imaging Buffet

The first 12 people to register will also have a print prepped and printed by me on a fine art paper of your choice. One of the printers I’ll be using for the workshop is the Epson Stylus Pro 3880. For more information or to register, visit this page.

If you are not planning to attend the workshop, you may still want to stop by on Saturday 11/5 or Sunday 11/6. Ron Wyatt will be answering questions and doing free 30 minute tours of the current show on exhibit at 11am, 1pm, 2pm and 3pm (no registration is necessary). There are 31 prints total in the show, including 11 framed prints from the 2008 Beijing Olympic Games.

I hope to see you there!

The Imaging Buffet

Last year I wrote an article entitled: 10 Tips for Navigating the PhotoPlus Expo in New York City, which you can find here. With the exception of some specific events that I mentioned from last year’s show (and booth numbers from last year), the information still applies.

I’m also very happy to be speaking again at the PhotoPlus Expo 2011. My seminar, entitled Lightroom Power Printing: Tips for Getting the Most from Lightroom’s Printing Capabilities, is on Thursday, October 27 from 3:30-5:30PM. During the seminar, I’ll be sharing a lot of the techniques I use to prepare, proof and make final prints using Lightroom, whether outputting to inkjet printers or photo labs. A two-and-a-half minute video promo of my seminar can be seen here, and to go directly to the registration page and a full description of the seminar, visit this page.

I hope to see some ImagingBuffet readers there! If you see me on the show floor, drooling over the latest lighting gear, lenses, etc., please say hi!

The Imaging Buffet

World Photography Events and Opening Reception in New York City

The World Photography Events will be taking place in New York from October 13-November 6, 2011. The events include an exhibition of photographs from the 2011 Sony World Photography Awards, a free Student Focus program, and other events. Opening night for the World Photography Events is Thursday, 10/13/2011 from 6-9 pm at the Chelsea Art Museum, 556 W. 22nd St., NY NY. The event is free, but an RSVP is required for entry. To RSVP, send an e-mail to giulia@worldphoto.org.

“City Project” Workshops

As I mentioned earlier, a series of three-day workshops will be offered in New York City under the title “City Projects.” This text from the WPO offers a good overview of the City Projects.

The City Projects are the most exciting events on our New York programme, for budding and established photographers alike. These workshops will enable you to improve on your photographic skills and connect with other equally passionate photographers. You will also be given the unique opportunity to display and promote your work to a global audience.

The global theme is ‘Portraits of a City’, which over the year will see City Projects taking place in London, Edinburgh, Manchester, Birmingham, San Francisco, Chicago, São Paulo, with plenty others to be announced throughout the year, see our City Projects page to see if your City will be involved.

All the projects will culminate in an exciting exhibition of all participants work, ‘Portraits of a City, a Mirror of the World’, exhibited in London, April-May, 2012.

City Projects Workshop Itinerary

Day 1: Introductory Seminar and Workshop – the technical bit!
In a 3-4 hour masterclass, the workshop leader will deliver the brief to the participants. The workshop leader will then discuss technical and creative approaches, exploring lighting and composition, location scouting and subject matter.

Day 2: Independent Shooting – the creative bit!
The participants will go solo and use the knowledge gained from the masterclass to execute their assignments on the streets. The workshop leader will be at “base camp” for part of the day, should participants wish to return to get further advice and feedback.

Day 3: Editing and Critique – the post-production bit!
Each participant will have a two-on-one, 90 minute editing session with a professional editor on Adobe Lightroom software, teaching you how to get the most out of your photography in post-production.

Additional information re: Day 3: Before arriving at their 90 minute editing session, participants will need to narrow down their work to no more than 30 images. During editing, 10 images will be selected as their “shortlist” of best images, and then one single image will be selected and showcased throughout various WPO platforms, including for display and review during a group discussion led by the workshop leader.

Contest for ImagingBuffet.com Readers

The WPO has generously made available four spaces in the 3-Day “City Project” workshops in New York City for four ImagingBuffet.com readers. Please see the details below to be entered into a drawing to win:

Contest Overview: Win a complimentary 3-day workshop (value up to $ 300) at the Chelsea Art Museum organized by the World Photography Organization:

Prizes:
- 1 place to attend a “City Project” 3-day workshop with Steve Pyke – November 11th – 13th (visit this page for a full description)
- 1 place to attend a “City Project” 3-day workshop with Cheryl Dunn - November 11th – 13th (visit this page for a full description)
- 1 place to attend a “City Project” 3-day workshop with Nick Turpin – October 21st – 23rd (visit this page for a full description)
- 1 place to attend a “City Project” 3-day workshop with Jez Coulson – October 21st – 23rd (visit this page for a full description)

How to enter:

To enter, simply send an email to info@worldphoto.org
In the subject line enter: ImagingBuffet.com 3-day workshop “City Projects”
In the body of the email, enter your WPO username. If you don’t have an username, please create a free account (standard membership) here:
http://www.worldphoto.org/become-a-member/individual/

Deadline: October 15, 2011 at 8:59pm PST (11:59PM EST – New York City time)

Note from Andrew Darlow: Please only enter if you are reasonably sure that you will be able to attend one of the workshops.

A few rules and information regarding the announcement of winners:

1. Residents of any country are eligible (except where prohibited by law).
2. This contest covers only the cost of a 3-day “City Project” workshop. Winners are responsible for all lodging, travel and other expenses.
3. Winners will be informed which City Project they have won, and are required to confirm via e-mail whether or not they will attend.
4. Prizes are not transferrable to another individual.
5. Winners will be contacted privately via e-mail by October 17, 2011.

For more information about the next City Project in Chicago, IL, visit:

http://www.worldphoto.org/festivals-events/buy-tickets/city-project-chicago/

The Imaging Buffet

Andrew Darlow: Your upcoming City Project focuses on New York Diners. What are a few things people can do to prepare themselves (mentally, physically and equipment-wise) for the City Project workshop, a similar workshop, or even a “Photo Walk”?

Jez Coulson: Well I think anyone attending a photography workshop…….  but especially one led by me, should be ready to have fun………  but also be ready to work really hard……… it’s a chance to try to do something really “lifted” and come away exhilarated by having made fantastic pictures. Consequently it’s good to be in a place where you are feeling energized and ready to roll. It’s also good to be feeling ready to interact with others…….  as reportage photography often needs a little rapport with the general public.

You will need a reasonable digital camera. I myself always use two SLR’s when I am shooting……….  one with a long zoom one with a shorter zoom…………. this in my view is the best way to work……. but it’s by no means essential…….. one camera ideally with a couple of lenses or just one reasonable zoom would be fine…… someone was asking if they could do it with their iPhone camera…….. it could be done…… you would still learn and have fun  ……….  but I feel you will probably get more out of it …….  if you have a slightly better rig…….  ideally something you can control a little……  like a classic SLR.

It is also good to have a good number of digital camera cards……. so that you can really shoot and not be constrained by the amount of digital information you can write to your cards.  If I am shooting all day, it is not unusual for me to shoot 3 or 4 thousand pictures…….. or more. I often emphasize the importance of good clothing when out shooting ……. for me reasonable rain protection is part of my essential equipment………  If it rains I want to carry on shooting…….. I know I have often shot fantastic pictures in the rain when I know most people would have  gone home )

But equally, you do not want to be bulked down with things to carry………  so it’s essential to remain mobile without stuff to carry in hand bags……….  as your hands must be free…… and you must be able to move about freely. I have, as part of my shooting kit, small umbrellas and rain jackets that I wear in a belt bag/ fanny-pack/bum-bag arrangement………  so if it does not rain you don’t need to hold coats or wear them if it’s too hot………. I have rain covers for my cameras too……. for me they are essential………..  in torrential rain I always want to shoot………  these covers are great things……..  but entirely optional on this workshop (certainly not a requirement).

Screenshot from Jez Coulson's Inspiration Gallery on worldphoto.org. Photo © Jez Coulson, All Rights Reserved

AD: I was especially drawn to the photos in which you’ve employed the use of shallow depth of field and motion techniques (located in the inspiration gallery for the workshop, as well as your photos on insight-visual.com). Is there a specific way in which you like to teach either of these concepts?

JC: I do a lot of things that a classic photography text book will tell you not to do. I will make sure everyone understands what are more normally accepted parameters as a starter. But as I shoot totally wide open (aperture at widest setting, often f/2.8), I also often shoot hand held at very slow shutter speeds (Shutter speeds of say 1/8th sec., for example) . I will talk to people in the workshop about the risks of this and the potential pit falls…….. but also the sometimes amazing images that can be achieved by doing this……. I will be showing them how I do it……… there are useful tricks to some of this……….  and I will encourage attendees to be brave…..  to attempt things that may not work…… but equally might be amazing…… I will get people to aim to be successful at things they may not have attempted before in low light with movement, etc. This will be done through demonstration, and people trying the suggested methods.

In diners, there is often not tons of light as in many other urban situations ……. and I will not be emphasizing the use of photographic lights or strobe……… so we will be exploring how to see and use the ambient light to best effect …….. and combine that with raised ISO, wide aperture and low shutter speeds (all hand held). I will also cover how to steady a camera using supports like tables and chairs, and the stances to adopt, etc. …….. these things are not rocket science………  but need a little instruction with practice and confidence in real situations to master them.

AD: Can you talk a bit about the content of the 3-4 hour Masterclass on the first day?

JC: The Master Class will really look at my philosophy and practice as a photojournalist and reportage artist ……..  and the kind of stories that I am drawn to. This will take the form of looking at examples of my work, running through the stories and my approach. The human aspects of making the images. Both in terms of the concepts I am trying to illustrate and the emotions and physical realities involved for both the subjects and myself during the actual shooting process. I will talk at some length about the human aspects of interacting with others in a public space, plus being accepted with your cameras. I will run through the way I talked with and won the confidence of the subjects in certain pictures.

We will be looking at the resulting images in terms of the reaction of viewers at the end stage, and the how pictures can be displayed and used. I will help the photographers who take the course produce a range of images that would properly constitute a story submission for a magazine or other editorial outlet.

Putting to one side the vitally important human skills and approach required by photojournalists, I will also run through the images in terms of how they are achieved in the camera. The camera techniques…….the settings……. the forethought……  I will analyze images in terms of why they work…… normally emphasizing the primacy of the composition ….. even in images that appear to be working by depicting all action or by demanding an emotional response. I will talk about how composition and ambient light are, for me, normally the primary consideration in approaching most photography (if you put aside human interaction considerations). Action and movement can be essential, but even then you cannot put aside considerations of light and composition, so these need to become almost second nature. We will discuss how to read and understand the composition and light that can be seen to work in existing images………  and how you can apply that knowledge of controlling composition and understanding light in photographs you are about to shoot.

We will also be looking at how photography meets the World Wide Web…… How photographers can be involved with social media and blogging to gain exposure and to be in contact with others for support and learning……….. and for those wishing to take it further, how to reach potential clients through digital projection and networking.

There will be a relatively small section on how one might become a freelance photojournalist and reportage artist in terms of the type of work a professional in these fields might undertake. The kind of clients and the type of jobs one might expect, especially given the demise of some of the classic photojournalism outlets.

AD: If one of your students had 10 minutes of time with a news magazine editor (in person or via e-mail/online), is there a specific way in which you would recommend he or she present a specific body of work for each situation?

JC: If someone is approaching a news magazine editor………… The most important thing is to make sure the work you are showing is specific to what the magazine is actually running………….. Picture Editors will be polite (normally) without waking up about images that are not specific to them. They will say nice things and you will never hear from them again……. they will have forgotten your name by the time you are in the elevator………. you must show them stuff specific to them……… ideally you must show them stuff they actually want right now……… if by the end they are ringing the features editor to say they have a fantastic set in that she must see, and is then introducing you, they have registered your presence………

I know that sounds obvious…….. but I have been asked to look at other photographers’ work by the picture editor of certain magazines…….  because after 30 seconds he knows his time is being wasted…… and the picture editor knows I will say nice positive things about where that folio should be shown……..  or how a change could be introduced. If the magazine is unrelentingly positive and ‘up beat,’ they do not want depressing stories…….. If they only run color, they don’t want B&W…….. If they only run women’s issues, why are they looking at a set of men’s wrestling instead of a set of women’s wresting? ……. Again totally obvious but its amazing how this can be overlooked by some. If you do not have a set of pictures that could be bought by the magazine immediately……. you must at least have an idea for one…….. “Well you know you always run those engineering stories on the back 2 pages”……. “I have access to the new dam project on the Hudson if you are interested in commissioning it I could….blah blah” ………..  If you leave it to the Picture Editor to think of the stories……..  he will give them to other photographers…… people who have already established a relationship with him……. they will only give you a chance because you have already shot it ….. or you have an inside track on a story that is your idea.

AD: Can you share a favorite quote that might apply in some way to the workshop, or photography in general?

JC: My favorite quote is from Nelson Mandela. It’s not directly about photography……. but it is indirectly ……. because it’s about a philosophy for living that suits me and my photography )

“For to be free is not merely to cast off one’s chains, but to live in a way that respects and enhances the freedom of others.” -Nelson Mandela

One of my favorite photography related quotes comes from Richard Avedon …….. it applies to this “Diner on the Edge of America” workshop, and to my whole life:

“If a day goes by without my doing something related to photography, it’s as though I’ve neglected something essential to my existence, as though I had forgotten to wake up.” -Richard Avedon

AD: Do you have any additional comments to share about the upcoming City Project workshops in New York ?

JC: I am really excited about leading the WPO “Diners on the Edge of America” workshop. I enjoy so many aspects of New York City………. and the classic Diners are one small, but fascinating aspect……… I like to just be in them to grab breakfast ……… or sometimes lunch…..  or more often, a coffee and a meal in the middle of the night, having been out shooting on an assignment ……. and I never go in one of those places without taking a camera and shooting something …….. either of the Diner and its staff and customers, or the scenes of the streets from inside………. it’s a bit of an obsession……… so I am looking forward to introducing others to the joy of this passion )

JC: I am totally delighted with the news that the buzz around this “Diner on the Edge of America” 3-day “City Project” workshop in New York City has been so great that the WPO have asked me to do another one in Chicago ……… of course I am thrilled……… and it’s good news for a few friends of mine from that neck of the woods that follow my blog at www.jezblog.com too ……. they will be able to attend now……. Having said they could not afford the travel costs to NYC from Chicago …….. they had been asking if I was going to be doing one in Chicago……… well now I am ) …… Yes, for me it’s fantastic news!! …….. I have shot pictures in the diners of Chicago in the past ……. they are also just perfect for this ……. but I don’t go there everyday myself……….  so it’s great to get more time to hang out and shoot in Chicago……….  and have all the fun and excitement of another WPO Festival, and of leading another workshop.

For me, looking through a viewfinder is like entering another world, my world, and I would love others to come to these workshops and join me in my enthusiasm for a life in photography.

Cheers,

Jez XXXXXXXXXXXXXX

AD: I’d like to sincerely thank Jez Coulson for sharing so much great information with our audience! For a direct link to Jez Coulson’s New York “City Project,” visit this page, and for his Chicago “City Project,” visit this page. And to see more of Jez Coulson’s work, visit jezblog.com and insight-visual.com.

The Imaging Buffet

All of the Epson 1700 Series Projectors, including the 1730W and 1735W look like this from the front. A sliding lens protector is hidden when the projector lens is exposed (control for it is located just above the lens). Photo courtesy Epson Inc.

Enter the Epson PowerLite 1735W Multimedia Projector. In this review, I’ll give an overview of the 1735W as well as a similar widescreen projector in the line (the PowerLite 1730W), and I’ll cover the topics I believe are most important to photographers and video professionals/aficionados. I’ll end with some overall Pros and Cons and give my thoughts on the product as a whole.

WHY USE A WIDESCREEN PROJECTOR?

If you’ve done presentations using a projector, you’ll know that it’s common to look at a laptop with you facing the audience, while the projector is shining on a wall or projector in front of the audience. Most modern laptops have a native resolution higher than XGA (1024×768). So if your projector can only sync at 1024×768, you’ll be looking at a distorted image on your screen. That’s just one of the advantages of a Widescreen projector like the Powerlite 1735W. You can usually view your screen at its native resolution, or sometimes at a resolution slightly off, but still much better than XGA (1024×768). Believe me when I say that this is a big deal–I have an XGA projector and I now clearly see the advantage of a widescreen projector when teaching Photoshop or Adobe Lightroom. The higher the resolution, the more windows you can fit on the screen.

The Epson PowerLite 1735W and 1730W can both be set to scale to the following resolutions (1280×800 is the native resolution):
640 x 480 (VGA), 800 x 600 (SVGA), 1024 x 768 (XGA), 1280 x 1024 (SXGA), 1400 x 1050 (SXGA+), 1440 x 900 (WXGA+), 1680 x 1050 (WSXGA+), 1600 x 1200 (UXGA)

OVERVIEW & FEATURES

Before I started testing the PowerLite 1735W I had no idea how much technology would be packed inside. If you want to delve deeper than the information I provide here, you can start by downloading the product specs in PDF form for the PowerLite 1735W and the PowerLite 1730W:
PowerLite 1735W specs (PDF)
PowerLite 1730W specs (PDF)

The primary differences between the PowerLite 1735W and the PowerLite 1730W can be seen in the chart below from Epson.com (they are all related to wireless and PC-free functionality):

Some specs for the 1735W are below, with separate info about the 1730W where applicable:

Projection system: 3 LCD, 3-chip system
Dimensions including feet (W x D x H): 11.2 in x 7.9 in x 2.8 in
Weight: 3.96 lbs. (3.74 lbs. For the 1730W)
Lumens: 3000
Lamp Life: 4000 hours in Low Light Output Mode, and 3000 hours in High Light Output Mode
Connectivity: Computer/Component Video: Mini D-sub HD 15 pin x 1
S-video x 1
Composite video: RCA x 1
Audio in: Mini stereo x 1
USB connector: Type B x 1
Audio Output: 1 W mono speaker
Contrast Ratio Up to 2000:1
Fan Noise: High Light Output Mode: 39 dB
Low Light Output Mode: 30 dB

Please note that some additional information and features are noted in the PROS and CONS section below.

The back of the PowerLite 1735W. Photo courtesy Epson, Inc.

IMAGE and VIDEO QUALITY

The Epson Powerlite 1735W performed very well in just about all the tests I ran. Under very low light conditions, test images such as the PhotoDisc Target (download targets here under L2.2) had excellent color and contrast, and the gray tones were very close to neutral to my eyes when projected on a high quality white matte projection screen. For optimum results with any projector, I recommend using a hardware calibration device like the X-Rite ColorMunki or ColorVision Spyder 3 to create a custom projector profile. Video from DVDs and from downloaded files was smooth, and dark areas held a good amount of detail without being washed out.

The projector did an admirable job even in a room lit with some overhead lighting (about the equivalent of 3-50 watt light bulbs). Some other projectors I’ve used are barely usable in these conditions; this is important because instructors and business people often have to use projectors in rooms with a considerable amount of light streaming in from windows or from overhead lighting.

I also tested the projector in a large studio and projected images up to a diagonal width of about 100 inches. The image was sharp and evenly lit without any noticeable hot spot using a roll of white seamless paper as the projection screen. In the same studio, a “high gain” projection screen resulted in images that looked grainy, with an annoying hot spot. I would avoid high gain screens and use matte white fabric screens in all cases with today’s multimedia projectors.

At my home, I used a Da-Lite Deluxe Insta-Theater® 80 inch diameter screen (about $ 215-300) with a matte white fabric. It is an outstanding screen, and a much better experience compared with projecting onto a paper background or a typical white wall. I’ve also seen the Epson Duet Ultra Portable Projection Screen which is less expensive (about $ 150), and I can recommend that product as well (see photo below). An advantage to the Epson Duet is that you can adjust it horizontally to fit either a 4:3, 16:9 or other ratio image. It really makes a difference when you can fill the screen with a projected image, especially when projecting video.

Epson Duet Ultra Portable Projection Screen. Photo courtesy Epson.com

I observed a noticeable difference when switching from High Brightness mode (up to 3000 hours of lamp life) to Low Brightness mode (up to 4000 hours of lamp life), but in cases when you want a quieter environment and when you don’t need maximum brightness and contrast, Low Brightness mode does a great job, especially in darkened rooms.

WIRELESS OPTIONS

The wireless capabilities of the PowerLite 1735W are partly what set it apart from so many other projectors. Quick-Connect Wireless mode allows wireless plug and play projection on most Windows Operating Systems with a special USB key. I didn’t test this feature, but below is Epson’s description of how it works: Simply plug the USB key provided into the projector. In a matter of seconds, it downloads the information necessary for setup and tells you when to remove the key. Next, simply plug the key into your computer. Soon, you are wirelessly displaying your presentation. And, when you’re done, simply disconnect the USB key, and your original settings are restored, with no re-configuration required. Now, you can wirelessly project your presentations, hassle-free, without carrying and connecting bulky VGA cables.

Wireless mode allows wireless projection with an installable application on Macintosh OSX or Windows computers. I tested this mode on a Mac laptop, and it worked fairly well (especially after adjusting a setting to allow for faster displaying of content. However, the image quality was not nearly as good as when I was directly attached to the projector via a monitor cable, and I would not recommend wireless mode for projecting images or video when quality has to be its best–connecting the cable really makes a difference.

USB Plug ‘n Play allows most computers running Windows Operating Systems to connect with a USB cable, which is a great feature to have. I tested this with a Dell laptop running Windows Vista and it worked pretty well, but I wasn’t able to get a full-motion video on DVD to play perfectly over the connection (the image and voice were slightly out of sync). The image quality was better than when I was in wireless mode (see last section), but not as good as when I was connected directly via the VGA cable. That’s not to say that you can’t get very good results via USB Plug ‘n Play–I just think that if what you are projecting is important imagery or video, the VGA cable connection will give you the best results.

PC-free presentations are possible by downloading files to a USB key or via USB memory devices which can be a big help for those who’d rather not including hard drives and digital cameras.

ROUND LENS, RECTANGULAR IMAGE

Though the image I was able to project on a screen was almost perfectly rectangular (see photo below), I was unable to get a “perfectly rectangular” image on my screen with the PowerLite 1735W. The folks at Epson assure me that a perfectly rectangular image is possible, and I’m guessing that it might have something to do with the height of the projector relative to the screen. The keystoning controls are very easy to use and can be very helpful, but they should be used only when necessary because they can cause some areas to go out of focus. Below is a photo of the image I was able to display with a few adjustments to the angle of the projector to the screen as well as some minor keystoning adjustments (just the top is slightly bowed):

The projector is not billed as a home theater projector, but there is nothing keeping it from serving as one, except perhaps the fan noise and throw ratio (see below). It has an S-Video port for video input from an A/V device or receiver. I found the fan noise in High Light Output Mode to be a bit distracting in general when placed within about five feet from me. The fan noise is reduced in Low Light Output Mode (30dB vs. 39dB), but it was still louder than I would like if I were sitting near it while on a sofa with a bowl of popcorn in hand. That being said, if mounted high up on a ceiling, I doubt it would be objectionable, especially in Low Light Output Mode. In a classroom setting, unless the room had to be very quiet (and based on experience with other projectors), I don’t think it would be too loud, even in High Light Output Mode. While doing some research on fan noise, I came across this interesting DIY project for building a “hush box” to reduce projector noise. I also learned from www.sleepwellbaby.com that “decibels are measured on a logarithmic scale, meaning that every time the intensity increases by units of 10, each increase is 10 times the lower figure.” High Light Output Mode doesn’t seem to my ear to be 8-10 times louder than Low Light Output Mode, but that’s what the scientists say so I’m guessing they are correct.

You definitely won’t want to use the built-in 1 Watt mono speaker for home theater use. Instead, just run audio separately, like in many home theaters. Just hooking up a few high quality speakers and a subwoofer to a laptop can result in pretty amazing sound to complement video coming out of a laptop.

IMAGE SIZE (PRO or CON?)

The size of the image that the PowerLite 1735W projector projects (known as the throw ratio) can be a positive or negative feature depending upon how you plan to use the projector. In some settings (like a small classroom or conference room), it is usually a positive feature to have the projector throw a large image from a short distance, but in a home theater, it may not be as advantageous if you want to mount it far from the projection wall. The PowerLite 1735W has a wide throw ratio (lens focal length of 16.1-19.3mm). You should be able to achieve about a 30 inch diagonal image at 2.1 feet from the screen, and about a 300 inch diagonal image from 27.1 feet from the screen). I filled my 80-inch-diagonal Da-Lite screen from about 5-7 feet away. The manual zoom and focus controls just above the lens are welcome–I prefer them to fancy electronic adjustments.

This can be visually altered somewhat by changing the output resolution in your computer (the higher the resolution, the smaller the on-screen image will be-it’s like zooming out on an image). However, you may not get sharp text at certain resolutions. Unlike most modern displays, you can get surprisingly good results at resolutions other than the native 1280×800 pixel resolution. I tested about 6 different settings, and had the most success with 1280×800, 1280×1024 and 1440×900 on my 17 inch Mac Laptop. I had similar results on a 15-inch Dell Laptop running Windows Vista, and every laptop will perform differently so I recommend testing a few resolutions to see which are usable. If you plan to project video, you may find that lower resolutions are better, especially if you are playing and projecting a DVD.

This page has an excellent overview of Throw Ratios and Viewing Distances.

PROS and CONS of the Epson PowerLite 1735W Multimedia Projector

PROS

• Native WXGA (1280×800) Widescreen resolution matches current computer aspect ratios well, with the ability to select other resolutions.
• Less than 4 pounds in weight, and very slim (under 3 inches tall).
• Outstanding color quality.
• Excellent brightness and contrast in High Light Output Mode, with easy to adjust settings for movies, text, etc.
• Very good brightness and contrast in Low Light Output Mode
• Very good sharpness (especially when using a high quality projection screen).
• Lamp does not appear to get nearly as hot as many others on the market and cools down in minutes.
• Bulb lasts up to 4000 hours in Low Light Output Mode, and up to 3000 hours in High Light Output Mode (replacement bulbs run about $ 300).
• Quick-Connect Wireless mode allows wireless plug and play projection on most Windows Operating Systems with a special USB key.
• Wireless mode allows wireless projection with an installable application on Macintosh OSX computers
• USB Plug ‘n Play allows most computers running Windows Operating Systems to connect with a USB cable.
• PC-free presentations via USB memory devices, including hard drives and digital cameras.
• Easy to adjust manual focus and optical zoom controls just above lens.
• Full-featured remote control, with excellent zoom-in controls (just select an area with the remote and start zooming in).
• Well-constructed sliding lens protector located just in front of lens.
• Projector comes with a very well made protective carrying case that includes extra compartments.

CONS

• Some color fringing was observed from close up (primarily in text areas). At normal viewing distances, this issue was either unnoticeable or barely noticeable.
• Fan noise at normal and high brightness could be distracting for home theater use or in some other situations.
• Full motion video may not be possible in wireless mode, and image quality may degrade compared with connecting directly via the VGA monitor cable.
• Full motion video may not be possible in USB Plug N Play mode, and image quality may degrade compared with the direct RGB monitor cable connection.
• No DVI input (only RGB or USB).
• No laser pointer on remote. (My recommendation is to just tape a small laser pointer onto the back of the remote!)

CONCLUSION

In a word, I’m impressed with the Epson PowerLite 1735W projector. It’s hard to believe that such a small and light projector can display such bright and vibrant images and video. Because of its size, it can fit alongside many laptops in a carry-on bag. Even if you just carry this projector around as a backup in case the projector you are asked to use doesn’t cut it (or if a projector bulb burns out at exactly the wrong time), it will be worth the investment. I would not hesitate purchasing this as a replacement for my XGA projector, and now that I’ve tested this one, I’m thinking seriously about buying the PowerLite 1730W (about $ 1000 street price) since the wireless functionality is not as important to me. However, I would miss the PC-free option that’s standard on the 1735W. It’s nice to know that if I had the 1735W, I could just load some JPEGs or PowerPoint slides onto a USB key, hard drive or camera and display my images anywhere without a computer. I highly recommend the Powerlite 1735W or PowerLite 1730W projector for just about any studio or individual who wants an affordable, high quality lightweight unit for multimedia projection.

RESOURCES

For a lot more information, including full specs and downloadable manuals (and there is a lot of information!) visit Epson.com and search for any of the PowerLite series projectors by typing “PowerLite 1735W” “PowerLite 1730W” or other projector model number in the Search box. Then choose Technical Support on the right side of the screen, and under Documents & Manuals, choose product documentation. From there, you will see just about all the documents related to the products.

You can also go to the main product pages for the projectors on Epson.com and watch some of the videos (below is a still frame from one them)

A very helpful image size calculator for determining how to set up an Epson projector can be found here

-Review by Andrew Darlow, Editor, ImagingBuffet.com

Please consider supporting this site by purchasing from one of our affiliate vendors below:

Epson PowerLite 1735W Product Page on Amazon.com
Epson PowerLite 1730W Poduct Page on Amazon.com
Search for Projectors on Adorama.com
Epson Duet 80-Inch Dual Aspect Ratio Projection Screen on Amazon.com
Da-Lite Deluxe Insta-Theater® screens on Amazon.com

The Imaging Buffet

I’m looking forward to trying out Content-Aware Fill in Photoshop CS5, primarily for quickly extending backgrounds. It’s very common for me to have to extend a background to create a more panoramic look, or just to add some background to achieve a 4×6 ratio for a client who wants pictures in that very popular size.

Below are direct links to the ten Creative Suite 5 press releases with the headlines of each one linked to the release on Adobe.com (I think that reading the releases is one of the best ways to see some of the highlights of what’s inside each Creative Suite bundle).

1. Adobe Unveils Creative Suite 5 Product Family
2. Adobe Delivers Creative Suite 5 Design Premium
3. Adobe Announces Creative Suite 5 Web Premium
4. Adobe Debuts Creative Suite 5 Production Premium
5. Adobe Launches Photoshop CS5 and Photoshop CS5 Extended
6. InDesign CS5 Powers the Transition to Digital Publishing
7. Adobe Releases Illustrator CS5
8. Adobe Introduces Flash Catalyst CS5
9. Adobe Premiere Pro CS5 Redefines Nonlinear Editing
10. Adobe Helps Prepare the 21st Century Workforce with Creative Suite 5

For a great 45 minute overview of Photoshop by Terry White of Adobe, including a look at the new “mini Bridge,” which is an embedded version of Bridge available as a panel inside Photoshop CS5 and CS5 Extended), and a new Edge Detection tool for selecting challenging images (it looks especially good for hair), click here.

And for a directory of videos covering CS5 applications, visit this page on AdobeTV.com.

The Imaging Buffet