C. David Tobie: “Leap Frog” Application of SpyderCube Presets in Adobe Lightroom
Jun 2012 11

Lightrooom users who own SpyderCUBE or SpyderCHECKR are familiar with the process of building SpyderCUBE white balance and lighting correction presets and SpyderCHECKR camera calibration presets in Lightroom, and then applying these presets to an entire series of images at one time. But many users are not familiar with the “Leap Frog” method of applying adjustments to images one after another. This method is particularly useful with SpyderCUBE lighting presets, as these may be adjusted a bit at a time as lighting or location changes.

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Tutorial: Set white balance with DxO Optics Pro and Datacolor SpyderCUBE
Jul 2012 23

In this tutorial we will show you how to adjust the white balance to compensate for the color casts that can be caused by certain kinds of artificial lighting (such as tungsten or neon), so as to give your images a more natural look.

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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.

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CD Tobie: Directions for Using the SpyderCUBE with Lightroom 4, Photoshop CS6 & Camera Raw 7.1
Aug 2012 28

Lightroom 4, Photoshop CS6, and Adobe Camera Raw 7.1 use Process 2012 introducing improved adjustment controls which require a new method of adjusting images when using SpyderCUBE.

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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.

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Datacolor Introduces SpyderCAPTURE PRO
Sep 2012 19

Photographers have long understood that the most important element in controlling their color is display calibration. And those that are serious about making their own prints also understand the value of custom printer profiles in getting the best results and reducing trial-and-error test prints. But many photographers are only recently becoming aware of capture calibration.  Datacolor’s new SpyderCAPTURE PRO product is designed with this new interest in capture calibration in mind.

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C David Tobie: Editing Fall Foliage Photos
Oct 2012 18

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.

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Batch Applying SpyderCUBE and SpyderCHECKR ACR Presets in Adobe Bridge
Jan 2013 01

Adobe Bridge is often used for a range of housekeeping and batch functions by Photoshop owners who do not use Lightroom as their image management application. It is possible to apply presets built in Adobe Camera Raw from within Bridge for convenient batch processing of groups of images. This can be useful for SpyderCUBE and SpyderCHECKR owners.

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David Saffir: Managing Exposure, Lighting, and Color
May 2013 16

This is the first in a series of articles discussing proactive management of key elements involved in creating high-quality digital images. In this segment, I’ll review use of the SpyderCUBE in managing dynamic range and exposure.

The simplest take-away from the oft-misunderstood Zone System, is that an image should be exposed to utilize the most or all of the range from black to white, without unintended clipping of near-whites, or blocking up of near- blacks. If the image does not incorporate the full dynamic range in a scene, the photographer should have done this by intent.

In digital photography, the most commonly recommended camera settings involve protecting detail in the brightest parts of the image, and correcting everything else in post-processing.

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David Saffir: Managing Dynamic Range In Post-Production
Jun 2013 06

I discussed capture management processes in the first two parts of this series. In this segment, I’ll review a method you can use to manage dynamic range in post-production, focusing on use of the white and black face of the SpyderCUBE.

The SpyderCUBE is fabricated from a spectrally-neutral hybrid resin, which is through-pigmented and is highly durable. The spectrally-neutral bit is very important; it ensures accurate color balance under any light, or in mixed light. One of the other things I particularly like about the SpyderCUBE is its 3-D design – it’s always easy to identify the primary light source: just look for the brightest face on the right or the left of the device.

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