Check out our exclusive interview with Andy Peeke and the International Press Association’s IMPress Magazine at this year’s PDN Photoplus Expo! The video highlights the Datacolor SpyderCHECKR 24, our new portable color target product, as well as our newest bundle the SpyderHD, which includes a full-size SpyderCHECKR (with 48 color targets), the SpyderCUBE, and Spyder4ELITE. This bundle not only allows customers to calibrate computer displays, but video-reference displays and TVS as well. “[The Spyder4Elite] allows me to edit my pictures and the color is awesome!” says one of our happy customers when Andy got a chance to speak to him at the expo. The video features more customer testimonials, so be sure to watch! “Datacolor products are very useful for anyone who is working in a visual element,” says Andy. If you are interested in learning more about Datacolor and our newest products, please visit our website.[Read More]
As much or more than in any other type of photography, it is the “pop” of an image that catches our eye when we first see a wildlife photograph. Once our attention is drawn to the image, we start to pay attention to the action, the species involved, and the setting. But without stopping the viewers’ eyes, none of that matters. It is imperative that you know how to bring the drama out in your images to be a successful wildlife photographer.[Read More]
One of the comments I hear frequently from attendees at my lectures is “Wow, you must be extremely lucky to pull up and get that shot!”.
The truth of the matter is that luck has a little to do with creating great images, however planning, patience and persistence are the key ingredients to creating great images, no matter what your subject is.[Read More]
There are points in which we all need a change in the scenery! You may be shooting for four years or forty years and you take a look at your work and feel that you need something to motivate you to see things differently than you are used to. How do we accomplish broadening our style, you might ask? Well, in order to see through new eyes, we need to make conscious decisions to look at different subjects, a new lens, or possibly a new format.[Read More]
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]
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]
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]