Join us October 30th-November 1st at PhotoPlus as a complimentary Datacolor EXPO guest. The PDN PhotoPlus International Conference + Expo is the largest photography and imaging show in North America, attended by over 24,000 professional photographers and enthusiasts. Explore over 250 exhibits, see thousands of new products, and attend conference seminars, keynote presentations, special events & much more.[Read More]
Recent studies have found a new type of light sensor in the eye, in addition to the rods and cones we are familiar with for color, and black and white vision. This type of sensor has nothing to do with vision, but may have a big impact on photographers and videographers, as it relates to a condition commonly seen in those who edit images for a living. This article will describe that condition: Seasonal Affective Disorder (SAD), its symptoms and its triggers, as well as offering suggestions to avoid SAD when doing photo and video editing work under controlled light conditions. Lets take a look at how SAD works.[Read More]
You risk taking a blurry image if you don’t use the right gear and the most appropriate camera settings when working in low light situations. The goal is always capturing the highest quality, sharpest image possible. Fortunately, the combination of sophisticated post processing and modern equipment has opened doors not available to previous generations of photographers.
If you start by setting your camera to capture images in RAW format, you will have greater leverage to manipulate and brighten while post processing.
As described in the previous article in this series, digital images are essentially paint-by-numbers kits, with the color and brightness of each pixel expressed by a set of numbers for the RGB values. To attach meaning to the numbers we use profiles and color spaces. In terms of choosing a device-independent color space to use for editing your images, either those you process through Lightroom or Adobe Camera Raw, or as an overall working space in Photoshop, there are three likely choices to consider: sRGB, Adobe RGB, or ProPhoto RGB. In this article we’ll take a look at the pros and cons of each and provide some recommendations for you to consider.[Read More]
Both Photoshop, Adobe Camera RAW, and Lightroom let you specify a color working space for your images. In an earlier article, I explained how to interpret the missing or mismatched profile messages that you sometimes see when opening a file in Photoshop. In part 1 of this article, we’ll take a look at just what a color working space is, and offer some clarification on key working space concepts and practices.[Read More]
Every generation of new iPhone offers improvements to the built-in cameras. Now that the iPhone 6 is available, it is important to know how it will advance iPhone photography. This article includes sample images covering several aspects of the new camera, including its sharpness, lens distortion, detail, and color accuracy.
Lets start with lens distortion. Phone cameras use wide-angle lenses, and with the very short lens-stack possible in the thickness of a very thin phone, there isn’t much opportunity to correct for the types of lens distortion common in wide angle lenses. Typically, barrel distortion will mean that a rectangle filling nearly the entire field of the lens will have curved, not straight sides, as if it had been over inflated.[Read More]
I’ve spent the last few days supporting the opening sessions of Shane Hurlbut’s Illumination Experience Video Tour. Datacolor is a sponsor of these events, which will take place in 26 cities.
The sessions are “intended for any filmmaker seeking industry insight on cinematic lighting and cinematography” – but they are much more than that. These workshops cover a lot of ground – from lighting basics through full cinematic setups, to camera operation and exposure management, to on-set color controls, plus post-production tips and more – and, Shane is one of the top instructors in the field.[Read More]
When shooting celebrities, even though you may know them or are comfortable with the talent, you still need to make certain you create a good flow, with smooth transitions from set to set. They are most often in a very tight schedule, and keeping your sets pre-lit, helps them just step in and be part of the shoot. Part of this process is always having the proper white balance calibration for each set.
Eddie Griffin, my subject for this shoot, is a funny guy. I’ve been photographing Eddie’s personal work now for the past five years, and every time it’s a hoot. I let him do his own thing, and I just simply sit back and record the session, click by click.[Read More]
There is a lot of hype, if you’ll excuse the pun, about hyperlapse at the moment. That’s due to two recent announcements: one from Microsoft, in the form of a Hyperlapse Whitepaper and video sample, and the other from Instagram, who has released a hyperlapse iPhone App.
But first, in case you have been on safari for the last few weeks, and have never heard of hyperlapse, a quick definition: Hyperlapse can mean simply shooting time lapse with a moving camera. But here we are referring to a technique to stabilize action video capture, while reducing frame rate. The result is time lapse (high speed video) that is very smooth, even if the original video was very jumpy.
The question for the serious photographer is: what does hyperlapse mean to me, and should I be investigating it for my own work? The answer to this takes several forms. Lets start with those of you already shooting time lapse.[Read More]