Most articles on color management focus on the issues of reproducing product colors or skintones. But studio and portrait photographers aren’t the only ones who face color management issues. Even though wildlife doesn’t come with a set of Pantone chips that need to be matched, accurate color management and a full color-aware workflow is essential to creating the best possible wildlife and nature images.[Read More]
How can we control output to inkjet printers? Simply editing your images on a computer, and sending the file to the printer does not produce the degree of color control and accuracy your prints deserve. The first step is to calibrate your display with a display calibration tool. This assures that what you see on screen actually represents the file you are working on. Then there is the question of getting that file to print as accurately, smoothly, and consistently as possible. This brings us to the topic of custom printer profiles…[Read More]
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]
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]
Have you ever put a lot of work into getting an image just right and then sent it off to a friend or an editor and had them say it looked washed out? Or have you taken a perfectly good-looking image and sent it off to a service bureau only to get back a print that looked like mud? Or maybe you thought you’d tweaked out the ultimate in detail from a subtle sky and had your prints look posterized? If you’ve had any of these problems, or just wish you knew how to set up color spaces in your workflow, this article provides a survival guide to help.[Read More]
At the peak of fall foliage season the colors can reach fluorescent levels, by borrowing light from outside the visible spectrum and reemitting it in the red through yellow zones. Because of this, foliage photography requires careful editing to produce the type of image our eye recalls seeing. All too often people make the wrong adjustments, resulting in images that look false and unsatisfying. Lets look at a set of foliage photo adjustments, first by the numbers, and then tweaked to emulate the eye’s response, to see where photographers usually go wrong.[Read More]
No doubt the new iMacs will be the most attractive iMacs ever. And many serious imagers will be tempted to buy one as an imaging machine. Until it is possible to test the new iMacs it is impossible to be sure just how well they will function for such uses. But on first inspection, it appears that they may make a very good image editing system, at accessible price points.[Read More]
One of the best things about all the great cameras and photo tools we have access to is the excellent images we can share online. Whether it is , , Flickr, Picasa, or a personal website, almost every photo sharing service supports high-quality images. If you combine image quality with a proper color-managed workflow, your online photos can be awesome.
Unfortunately that also means your images are ripe for theft. If you are a professional that’s a business issue, but even if you are only sharing images for fun you probably want proper credit when they are used. Depending on how concerned you are, there are a variety of techniques and tools you can use to protect your images.[Read More]
Like many photographers, I feel that the eyes are the most important part of a portrait. They draw the viewer in, and create a mood or feeling that’s evocative and memorable.
Assuming we’ve captured what we want in-camera, we move on to image editing. We want the eyes to come to the front of the image we’ll be working on here, so step by step I normally edit:
With practice, this takes only a few minutes.[Read More]