C. David Tobie: The Retina iMac for Photo and Video Work, Part II
Oct 2014 29

Visual color assessment of the Retina iMac’s display shows it to be close to the target values, closer than many off-the-shelf displays. Its color and densities, out of the box, would be better for general consumer use than almost any other solution, short of top-end dedicated graphics displays.

That’s great news for most users, but not quite enough for those doing serious color work, including photography, on the iMac. The display we tested was just a bit denser in the midtones than would be ideal, and the colors are a bit punchy.

[Read More]
C. David Tobie: The Retina iMac for Photo and Video Work, Part I
Oct 2014 28

In a few short years the iMac has moved from being a rather slow, utilitarian looking machine that could not be recommended for photo or video work, to a big, beautiful device with wide viewing angles, high resolution displays, and full external display support. Apple’s new 27-inch iMac with Retina Display takes this evolution a big step further.

Until recently the question has been: is the iMac an acceptable image-editing machine for basic users, who can’t justify more expensive equipment? And once IPS (In-Plane Switching) screens with wider viewing angles, wider ranging dimmer controls, and better external display support were added, the answer was finally “Yes”.

[Read More]
Be Our Guest at the PDN PhotoPlus Expo – New York, NY
Oct 2014 24

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]
C. David Tobie: SAD (Seasonal Affective Disorder) and its effects on Photo and Video Editors
Oct 2014 23

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]
Hunter McRae: Before and After: How to Take Beautiful Images in Minimal Light
Oct 2014 15

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.

[Read More]
Seán Duggan: Choosing a Color Working Space, Part II
Oct 2014 08

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]
Seán Duggan: Choosing a Color Working Space, Part I
Oct 2014 02

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]
C. David Tobie: Testing the iPhone 6 Camera
Sep 2014 24

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]
Datacolor at Photokina
Sep 2014 19

[Read More]
David Saffir: The Shane Hurlbut Illumination Experience Video Tour
Sep 2014 17

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]
Page 1 of 2512345...1020...Last »