Archives for category: General


Over the past 4 weeks I have noticed an issue with my WeTransfer account.

Mainly that my uploads would get to about 14% (5Mb) and then the transfer would suddenly drop to 0%

Not ideal. In fact the transfers would never make it out.

I have tried sending files via WeTransfer from 3 different Mac’s, 2 different service providers and using 2 different browsers (Safari & Chrome) and nothing seemed to solve the problem.

Having contacted WeTransfer support, they put me onto the possibility that there might be a problem with Sophos Anti-Virus software.

I did notice that Sophos recently updated their GUI and software and I sort of remembered that this was about the time that the WeTransfer problem started. So this morning I decided to play around and see if Sophos was causing my WeTransfer problem.

Hey presto! Sophos IS the culprit. Don’t get me wrong, I love Sophos. It is always catching ‘stuff’ in my emails and quarantining them, so I guess I’m just happy in the back of my mind that it is doing good in the background. But to kill my WeTransfer account so as to render it unusable… Well, that just isn’t good. SO here is the solution I have found.

I’m using the current version of Sophos Home Edition 9.4.0


WeTransfer support said to disable the Sophos software. Not entirely intuitive when the Sophos software just loads at startup and is already running when you login, so how do you ‘quit’ it?

You need to go into Sophos>Preferences and then into the ‘Web Protection’ tab. Here you need to switch OFF both of the options to Block.


WeTransfer now starts to work again immediately and uploads start to move along in 0.1Mb increments, just like it did before the update.

Problem solved!

Today’s figures for The Association of Photographers Image Magazine


So Philip,

You have this picture that you say you shot in Glasgow…


You’d like to try and find out who it is?

Well a quick Google of Churches in Glasgow identifies the Church as St. Mary’s Cathedral…

Screen Shot 2015-01-04 at 20.50.54

and from Google Earth we can see this:


A quick comparison of your image with the Google Earth image suggests that your photograph was taken from here:


Going down to street level we can see the alley here:

Screen Shot 2015-01-04 at 20.52.36

So looking at the address, we can see that the picture was taken at 300 Great Western Road, Glasgow G4 9JB.

So I guess you’d need to ask yourself what you were doing at this address and who lived there?

Have you got a rough year?

Next stop would be the census data…

Give me just a little bit more and I recon we can solve the puzzle.

For too long now a sense of paranoia has been propagated amongst the photographic community, in part by those within the community and mostly by those that stand to profit from selling ‘solutions’ to that community.

CMYK file delivery is something that every photographer can offer and should offer. It enables us as photographers to stay in touch with our images further down the supply chain. It is also a very useful skill to understand and equally is an exciting addition to our knowledge.

The days when huge mistakes were made when converting from RGB to CMYK are long gone. There really is not that much that you can do nowadays that is going to render your images irretrievably unusable. In the early days of digital file supply there were many a printer who – when waking up one day to realise that their revenue stream was suddenly no longer going to include scanning (which accounted for some 40% of the litho costs on a photographically heavy project) and the RGB to CMYK conversions (some 20% of the litho cost if done and supplied with Cromalin’s), tried to make life difficult for the poor photographers who dared to supply ‘press-ready’ files.

Not only was there no open-loop colour management control, just about all presses operated a closed loop (within the building of the printing press) system of judging colour and the stability of the press conditions.

So, for any photographer to deliver press-ready files in those days was only going to cause trouble. Not only were we unlikely to generate a useful CMYK conversion for the press, but the printers weren’t interested in giving us the chance. Consequently many horror stories of photographers making unforgivable mistakes which ended up printed on millions of items of packaging that were then stored in warehouses until blame could be attributed and a solution found, were rife.

The fact is, that with the release of Photoshop 6.0 in September 2000, colour management came to the fore and started to allow us to dabble with it. This single event gave photographers the power to test, predict and control their images through various colour spaces – namely CMYK conversion and hugely accurate proofing using inkjet printers.

This was the beginning of the demise of C-type and R-type printing as we could now print our own images quicker, better and cheaper than using a lab.

So back to CMYK.

There are 2 proviso’s regarding anyone who ventures along this path.

1. The majority of photoshop installations that I have come across in this industry are set-up as North American + Web default.

This is obviously wrong, but is unfortunately how Photoshop chose to install itself by default for too long. No one realised that once you got Photoshop onto your computer you then had to look in the settings and set it up according to the jobs that you required Photoshop to perform. An obvious mistake which has been rectified in the recent releases of Photoshop where the application will ask you what settings you want to use for the application before installing.

This is how your Photoshop Color Settings should look:

2. You do not make your RGB to CMYK conversions in Photoshop by using IMAGE>MODE>CMYK color…

This is a ‘blind’ conversion. You cannot see what RGB Colour Space you are coming from NOR what CMYK Colour Space you are converting to OR how the conversion is being made. That is bad.

To convert to CMYK you need to use EDIT>CONVERT TO PROFILE
Check your RGB space is correct
Select the CMYK space you want
Use the Adobe ACE engine
Use Relative Colorimetric intent
Use Black Point Compensation
Use Dither

and here is what that should look like:


So long as you select a Fogra CMYK profile for Coated / Uncoated stock as necessary for the printing of the document, you will get a very useable result. This method will work for 90% of all images that relate to ‘normal’ photography.

The problems only start when you have images with particularly ‘difficult’ colours (out of CMYK gamut) or ‘extreme’ RGB photographs (i.e. over saturated, over contrasty, over retouched).

Nowadays, printers are more interested in getting paid by their clients than making photographers look like amateurs. They have also adopted a more forgiving file delivery method whereby they can receive a diverse range of image data and control the variance in house on their systems.

So, where does that leave us?

We can do an RGB to CMYK conversion with a high degree of confidence, but we would still like to ‘proof’ it.

Easy. All you need is an Epson.

For years Epson printers have been more than capable of reproducing the full gamut of CMYK. SO all we need is a way to get the Epson to ’emulate’ a CMYK press.

I’ll deal with this in a separate post.

Someone popped into the studio the other day and showed me this.

What the Fuck should I eat for dinner?

Genius. That’s all I can say.

…having said that, I’m not an advocate of the site that it links to… but it’s got me out of a lot of trouble when deciding what to cook in the evening. Now if only it would take the contents of my fridge and tailor the suggestions to fit… ahhhhh.

I’m not one for getting lost in YouTube, but this is one of those clips that makes you realise how mad the world we live in has become.

Someone get me my horse. I’m off home now.

Ted Talks are amazing.
-If you’re having trouble sleeping.
-If you want to be inspired.
-If you just never realised how many interesting people there are out there and what they have to say.
-If you want to sound intelligent amongst your peers.

Fact is that there is one Ted Talk that has always remained with me – Jonathan Harris, ‘The Web’s Secret Stories’.
This is a lovely tale of just how small we are but how much we count when someone is listening. Jonathan has invented the machine through which we can hear these voices.

Next time you hear the words ‘cabin crew prepare for take-off’ or ‘arm doors and cross check’ for that matter, cast your mind aside to the bigger picture of what you are about to undertake. I recently went to the Future Digital exhibition at the V&A in London where I saw this video.

I remembered loving it at the time – I have a healthy fascination with the visual display of large sets of numerical data. Anyway, the next time I boarded a plane, there I was imagining myself as one of the yellow dots coursing its way around the globe. In fact, only last week, coming back from Dubai I was one of the yellow dots that first arrives in London in the morning.

I’m told that Heathrow closes at night – to let the rest of us sleep – and that they are only allowed to land planes after 6am… In fact I think the rule is that they are only allowed to land 5 planes before 6am (to allow for emergencies). So if you land at 6.05am, you’re one of the first!

Thanks to my Dad who reminded me about this video when he sent it through the other day…

So here’s us setting up our new Libec Jib arm – JB30.

setting up the Libec JB-30 jib arm (graded) from Michael Harvey on Vimeo.

I’m really having fun with this quirky little app for my iPhone – hipstamatic…

You can choose your lenses and the film you want to shoot and the app does the rest for you! Kinda takes me back to my days of shooting with my Contax T2 and cross-processing E6 through C41. A cross between using a Holga and a Lens Baby.

Here’s another one – look out for the rolling shutter on the iPhone

For an in depth review of this app see the My Glass Eye site