Terrell Lloyd: To Color Manage, or not to Color Manage?  That is the question.
May 2012 17

For many years now I have gone without having any type of color management on my computer, but I have always asked myself if this is the right thing to do. Am I on the right track in my photography business? Am I getting the correct colors in postproduction or in my final print output?

[Read More]
David A. Ziser: Reference “Prints” Anytime, Anywhere
Jun 2012 09

I was recently in Cabo San Lucas.  Our timing in Cabo coincided with Jeffery Cowart’s Help-Portrait Project. The Help-Portrait Project is Jeffery’s “once a year” global initiative to bring family portraits to families and individuals who would otherwise, because of limited means, never have an opportunity to have a family portrait made. It’s a great project and this was the second year we were working with missionaries in the area and photographing in the impoverished barrios of Cabo.

[Read More]
C. David Tobie: Top Ten Reasons to Calibrate Your Displays
Jun 2012 21

Have you been thinking about calibrating your displays? Are you wondering if it’s really necessary? It absolutely is, and C. David Tobie gives you ten fantastic reasons to get off the fence and take control of your color.

[Read More]
Gianluca Colla: Leonardo Da Vinci Meets SpyderCHECKR
Jul 2012 03

National Geographic, Leonardo Da Vinci and Spyder Checkr: do they have something in common? And why? Well, if it happens to photograph for the famous magazine a painting possibly made by Leonardo called “La Bella Principessa”, and accurate colors are required, the three will definitely combine together!

[Read More]
David Saffir: Datacolor Spyder4 Review: Software (Pt. 2 of 3)
Jul 2012 10

Spyder4ELITE software is unique – it operates in what Datacolor call “Step-by-Step Assistant mode (a type of Wizard), which consists largely of two series of functions, and in Expert Console mode, in which the software is highly customizable on one screen, and adaptable to a range of working situations. This article segment provides an introduction to some of the more important screens, and some new features, that you will see during the calibration and profiling of your display.

[Read More]
David Saffir: Datacolor Spyder4 Review: Advanced Features of the Spyder4 Elite (Pt. 3 of 3)
Jul 2012 12

Overall, the Spyder4 Elite solution, and its companion MQA software, provide a diverse and flexible toolbox that can meet the needs of almost any professional involved in workplace color management. It’s well suited to a single-workstation or multi-workstation environment, and managing offsite assets as well.

[Read More]
Photo Technique Magazine Covers Spyder4Elite In Detail
Jul 2012 13

The July/August issue of Photo Technique magazine features an article on monitor calibration by Steve Anchell. The intro to the article can be seen here. What doesn’t show outside the paywall is the wonderful walkthrough of Spyder4ELITE features which follows in the subscription-based article. For subscribers, please take a look at this excellent overview of Spyder4ELITE features and functionality.

[Read More]
Webinar:  Advanced Uses of the SpyderCUBE
Aug 2012 16

Watch as Datacolor Color Management Experts, David Tobie and David Saffir discuss the Advanced Uses of the SpyderCUBE. This webinar focuses on practical, production-oriented use of the SpyderCUBE, and give you a great head-start on effective use of this tool.

[Read More]
David Saffir: Why I Can’t Live Without SpyderPRINT!
Aug 2012 23

I’m a commercial and fine art photographer, and fine art printmaker, living near Los Angeles. My client base includes manufacturing and service companies, designers, photographers, 3D map-making, equipment distributors, and printmakers. And, of course, making my own large-format prints is a lot of work, but it is also a labor of love.

[Read More]
Rolf Nachbar: How Can I Capture a Perfect Ferrari Red?
Sep 2012 11

What a request for a photo production: “Mr. Nachbar, can you photograph four historic Ferraris for us, for illustration in a big format calendar?” My heart as an advertising photographer and aficionado of historic cars took a leap after the first sentence already. The extent of the production and the requirements towards my team and me were defined quickly and clearly: We had to stage four unique Ferraris, manufactured between 1952 and 1970, on location, that should yield a nice twelve-image series for a picture calendar.

[Read More]
Page 1 of 3123