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.

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Datacolor at Photokina
Sep 2014 19

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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.

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Hernan Rodriguez: Celebrity Photo Shoot With Eddie Griffin
Sep 2014 10

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.

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C. David Tobie: Hyperlapse, and What it Means for Serious Shooters
Sep 2014 04

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.

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David Cardinal: Nikon D810 Raises the Bar for Image Quality: Still Benefits from SpyderCheckr 24® Calibration
Aug 2014 27

While the Nikon D810 is not a massive upgrade from its predecessor, the Nikon D800 (e-version), the sensor has been tweaked for improved color and dynamic range. The result is apparent in test results – with DxOMark rating it a new record 97, compared to 95 – and in images. I’ve been able to shoot in a variety of challenging lighting situations with excellent results. Similarly, images from the camera show excellent color, even before being corrected. Even starting from such an excellent base, there’s room for further improvement with a SpyderCHECKR-based profile, which we’ll cover later in the article. While even the D810 can’t create detail where there is none in the white sky, it is good enough to keep the detail in the shaded flowerbed in front, while also showing detail in the sunlit buildings in the background – all with no exposure compensation.

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Seán Duggan: Understanding Photoshop’s Missing & Mismatched Profile Messages
Aug 2014 20

In Photoshop’s Color Settings dialog (Edit > Color Settings) you can specify a working space for RGB (the spaces for CMYK, Gray, and Spot pertain to to images that will be reproduced on a printing press). The RGB working space should always be set to a device-independent color space (i.e. Adobe RGB, sRGB, or ProPhoto RGB). Even though the profile for your monitor is available in this menu, you should not use a profile that represents a particular piece of hardware for your RGB working space.

In terms of which working space to use, and with what type of files, that is another article all on its own, and I’ll delve into that topic in more detail in another column. The important thing to understand is that the RGB working space you choose in the Color Settings is only used as a default setting for any new files you create in Photoshop (i.e., totally blank documents), or as a baseline for how to interpret a file that has no embedded color profile. You can choose to work in other color spaces on a per-file basis.

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Trip of a Lifetime: Datacolor Contest Winner Rosemary Romito’s Week with Cardinal Photo and the Bears of Alaska
Aug 2014 12

Rosemary Romito is the lucky winner of our Datacolor Sweepstakes contest, co-sponsored by Sigma Photo. She won an all-expenses-paid trip with me on one of my Alaskan Grizzly Bear (aka Brown Bear) and Puffin photo safaris.

Coming from the intense heat of Las Vegas, the cool weather of Alaska was a refreshing change for Rosemary as the trip started. The first evening we all went out to dinner at a restaurant overlooking a seaplane lake in Anchorage — not the sort of thing you’d see in the desert environs of Nevada — then had a quick briefing on what to expect during the week, and finally got some rest before our charter flight to the Silver Salmon Creek Lodge in Lake Clark Park.

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David Saffir: The New SpyderCHECKR 24 From Datacolor – Camera Color Correction for Photo and Video
Aug 2014 05

I’ve been working with the new SpyderCHECKR 24, which is the latest addition to the Datacolor toolbox for still photography and videography. It’s convenient, portable, and most important, very effective.

Every combination of lens, camera, and sensor has a unique color signature, and this may change in different lighting conditions. And, of course, these devices don’t perceive or record color the way the human eye does. And that’s where the SpyderCHECKR 24 comes in.

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Seán Duggan: Working with One Lightroom Catalog on Multiple Computers
Jul 2014 31

Most photographers’ digital life doesn’t revolve around a single computer. In this article we’ll explore some of the ways to use one Lightroom catalog on multiple computers.

One Catalog on an External Drive

The easiest way to use one catalog on multiple computers is to keep the Lightroom catalog file on an external hard drive, and move that drive between the computers. Since there is only one catalog file, it will always be up to date, no matter what computer you’re using.

To move your Lightroom catalog onto an external drive, first quit Lightroom. Then move the catalog files to the new drive. The default location where Lightroom stores the catalog files is in a folder named “Lightroom”, which is stored in the Pictures folder on a Mac, and in the My Pictures folder on a Windows machine (so, for example, the file path would look like something like this: Drivename>Pictures>Lightroom).

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