Whether you take your travel photography seriously enough to go on specialized trips, or simply want to do a better job capturing memories from your vacation, there are plenty of useful tips and techniques in the talk I gave at B&H this Spring. The good news is, even if you missed it in person, it is now online and free to watch, courtesy of the team at the B&H events center. Topics covered range from selecting gear, preparing for your trip, how to schedule your shooting day, best tactics for great photos, the ethics of travel photography, and how to correctly process and show off your images. Special thanks to our sponsor, Datacolor, and to Photodex for the slideshow software illustrated.[Read More]
One of the oldest problems with photography is getting the lighting conditions in which you capture your images under control. Today stand-alone light meters are less frequently used to gather your exposure and capture information as digital cameras have evolved to have good metering capabilities in themselves. Whether you choose to use an external meter, which can add extra control and accuracy to the process but also additional complexity (and weight to your camera bag) or want to work ‘in camera’ or maybe just ‘sort it out’ in post-process, two key elements to capture and control at the point of pressing the shutter are the contrast range of your shots and also the white point (i.e. a true known white for the shots that can allow you to remove major casts). Find a way of recording this accurately and you won’t need to guess what the conditions were like in hindsight when you retouch your images, you’ll have a point of reference to compare with.
Read more about controlling your shots, in Richard West’s latest article for Datacolor, here.
While the main purpose of using a Spyder5 is to calibrate and profile your monitors, many users don’t realize that it can also perform a variety of advanced tests on your monitor. In this article we look at the specific tests you can do with the Display Analysis module, how to do them, and what they measure.[Read More]
The cornerstone of any digital workflow is an accurate display. Your display is the window into your digital world. If your display does not show an accurate representation of your image, you cannot make informed adjustments. Generally speaking, monitors are natively too saturated, too cool and too bright for a photographic workflow. As a consequence, these are attributes you are compensating for when you edit an image on an un-calibrated display. This means your image will not accurately reflect true-to-life color, nor print the way you intend without adjustment or test prints.[Read More]
Getting color right is an essential part of effective photography. There is a lot we can do both within the camera and in post processing to accomplish that. In this article, we’ll look at some steps you can take to identify the cause and potentially fix some of the most common issues with color.[Read More]
With digital photography, the first view of our images is on the screen on the back of the camera. But just how reliable is that image preview, as well as the histogram that can also be displayed on the camera? And, more to the point, are there times when it is giving you less than accurate information about the photo you just shot? In this article we’ll take a look at that question, concentrating mainly on how it relates to exposure with Raw files.[Read More]
Datacolor speaks with Sarah Silver, an established fashion, beauty and movement photographer, to see why monitor calibration is important to her.[Read More]
In a new post on his blog Cardinal Photo, David Cardinal who is a Datacolor Expert, weighs in on the new Datacolor Spyer5 line of products. “This week Datacolor released a sleek new version – the Spyder5. I’ve been using it for a while now during its beta test, and am impressed…” Cardinal explains. He walks readers through some of the major differences between Spyder4 and Spyder5, touching upon changes in design and software, which have made significant impacts to his color-managed workflow.[Read More]
From the 5-part Lynda Online Video Course, Photographing the Night Landscape, Seán Duggan shows us how to photograph successfully during nighttime with a fisheye lens. Throughout the videos that make up this course, Duggan takes a nocturnal road trip to illuminate the techniques involved in capturing the nighttime landscape. He covers many topics, some of which include finding compositions, exposing and focusing at night, creating an image with reflections, and shooting with a full moon. He explains that when the sun goes down, landscapes take on entirely new personalities; the moon and stars light the sky and transform the landscape below, creating image-making possibilities that are not found in the daytime. Filmed on location along the surreal shoreline of the Salton Sea and in the Anza-Borrego Desert, the course offers real-world examples and insights into a professional landscape photographer’s thought process and composition techniques.[Read More]
I clearly remember my first steps into the world of digital photography. I was a student, had little money to spend and therefore a D-SLR was a big investment. Due to the immediate feedback I started climbing a steep learning curve and soon after I started sending out images to magazines for publication. However, I was never satisfied when it came to the print-results. Although I couldn’t really afford it, I made one of the best decisions ever and bought the original Datacolor Spyder. It took me a while before I got used to the new look of my CRT monitor, as colors looked a bit too warm at first. However, after a couple of days I got accustomed and noticed why my prints didn’t look good. And although I had to process the images again, I couldn’t be happier with the result.
Whenever you start using the camera’s RAW-format, the post-processing becomes a necessity in regards of contrast and colour. It is essential to work on a calibrated system and to develop a proper workflow. These things should not be underestimated as you can see in the image attached. On the left the unprocessed RAW file, on the right the processed version. The smallest of changes in contrast can make a whole lot of difference.[Read More]