Scott Wilkinson interviewed Datacolor Product & Technology Manager C. David Tobie on the floor of the NAB 2014 tradeshow. The topics included calibration for video, what that means for 4K, and what the new SpyderHD bundle can offer for both still and motion calibration. Thanks to Scott and TWiT.TV for including us in TWiTbits coverage of NAB.
Since this interview covers the use of the SpyderCUBE, it is interesting to actually white balance the video. The image below shows a frame from the interview that includes the SpyderCUBE. At the top of the image, the frame is direct from the video. At the bottom the same frame has been white balanced using the SpyderCUBE as the reference. If you have a calibrated display, you can judge of the value of this correction yourself.[Read More]
Luminous-Landscape contributor, Kevin Raber, sat down with Datacolor’s Global Product Technology Manager, David Tobie, at the Wedding Portrait Photographers International (WPPI) Trade Show & Convention in March. In this video by Chris Sanderson, David tells us how photographers and videographers can successfully achieve correct color, light and white balance and exposure by utilizing the SpyderCHECKR and SpyderCUBE. David also goes into depth on how to use these Spyder tools and how they interact with today’s DSLR cameras.
Read more about Luminous-Landscape’s visit to WPPI.[Read More]
Gradient adjustments are some of the most powerful, yet also most simple modifications that can be applied to your images. A gradient adjustment describes a change, be it a color or tonal adjustment that is applied so that there is a gradual fading from the adjusted to unadjusted area. In composites, gradient masks can be used to seamlessly blend different image elements together. In part 1 of this article, we’ll take a look at gradient adjustments that can be applied in the camera, via a graduated neutral density filter. In subsequent parts, I’ll cover post-capture gradient adjustment techniques in both Lightroom and Photoshop.[Read More]
Wacom tablets — and especially the Cintiq portable touch-enabled display versions — have been wildly popular with serious photographers and graphic artists for years. Until now, using one on the road has meant bringing along both a laptop and a tablet. With Wacom’s new Cintiq Companion, Windows users can have it all in one device. The Companion runs Windows 8.1 — including all of Adobe Creative Cloud’s applications — on a high-end pressure-sensitive display that supports both multi-touch and a Wacom stylus.
Unlike most Android and iOS tablets, the Companion is essentially a full laptop — minus the keyboard. It features a powerful i7 processor, 8 GB of RAM, and either a 256 GB or 512 GB solid-state disk for storage. It has mini-DisplayPort for driving an external monitor, as well as two USB 3.0 ports — handy for high-performance card readers and an external mouse or keyboard. Wacom also sells a small — but not backlit — Bluetooth keyboard.
The Companion provides a great starting point for a full, mobile, digital darkroom, but putting a workable system together still requires some planning and effort.[Read More]
Dropbox has become a handy tool for many remote file storage and transfer tasks. It was the go-to cloud storage solution before most other cloud systems existed, and even with more recent competition from the big names in web services, it is still a leading player.
However, in its attempts to be ever-more useful to us, Dropbox has added features and functions that we may not actually want Dropbox to perform. An important example for photographers is camera import.[Read More]
In Part 1 of this article I covered the fundamentals of blend modes, and how each mode affects the image. These are accessed using the mode menu at the top of the Layers panel in Photoshop. In this follow-up, we’ll take a look at a few useful ways that you can use blend modes in Photoshop.[Read More]
Blending Modes in Adobe Photoshop are some of the most powerful ways to quickly transform an image, either for creative explorations, or for more practical purposes that address fixing a specific issue. Most people are probably familiar with blending modes from the Mode menu at the top of the Layers panel, but they also make appearances in other areas of Photoshop, such as options for any of the painting tools, and as key elements in the Apply Image and Calculations dialogs.[Read More]
In addition to my work as an advertising and industrial photographer, in recent years I have increasingly devoted my time to artistic landscape photography.
In contrast to a fully planned advertising production within a team with lots of light, props and photo shooting technology, all that counts in landscape photography, besides uncontrollable aspects such as climate and time, is the simplicity of the equipment, as well as reducing volume and weight. After all, as my colleagues will surely confirm, the specially selected scene can usually only be reached on foot over long, difficult paths.
Meanwhile, I have been able to reduce my equipment to such an extent that in fact I don’t miss any part of the photo shooting technology, just carry a minimum weight and yet still achieve maximum resolution and colour depth.
Today I would like to open my photo bag exclusively for the Datacolor blog and show what I need for my pictures. Maybe this will trigger an approving or also critical reaction from a photo enthusiast and give us all a chance to extend our horizons and lenses.[Read More]
David Saffir has recently written an article for the SpyderBLOG on Timelapse Tips and Notes. He did an excellent job of covering many of the technical considerations. So this article is intended to look at the scene-selection side of the process. We have all learned how to “see” a good photo op when it appears, but what makes for a good timelapse opportunity? And do we have the gear to capture it?[Read More]
I’ve been climbing the learning curve in timelapse photography. (For some how-to details, see my previous article here. It’s a satisfying area in many ways – particularly because the result gives one an opportunity to see things that might otherwise be out of view, or imperceptible to the eye.[Read More]