david king
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Nice paper weight or perk for a Goldman Sachs executive. I bought a Bauer Rogue last year that has the smoothest drag I’ve ever experienced. One thing for sure there a plenty of great reels for way less than 8K!
The way that I used the chart in studio and under controlled lighting was to achieve RGB densities. The density for the darkest patch would read 50R-50G-50B, 18% grey 121R-121G-121B and the white patch would read 245R-245G-245B. The camera software I used allowed me to hit these targets exactly with a combination of a eyedropper white balance tool and curves. I would shoot with those settings knowing my exposure and color was controlled.
Just because I hit those densities didn’t mean that every image was exactly “perfect” but I had all the data to work with if I wanted to enhance the image going forward. Working in the field I would shoot the chart at the beginning of a session and whenever lighting changed. Then when you start to edit images you can batch white balance for each lighting setup and apply a color correction to a entire group of images.
The Kodak gray card is a old but useful tool that goes back to the days of film. I would think more of a neutral white balance than gray for digital.
Here is a link to Jim DiVitale’s website with some in depth info on white balance. Jim is a fine Atlanta based photographer. He teaches and shoots a lot of varied subjects and really nails exposure and color down.
http://divitalephotography.blogspot.com/2009/02/theres-something-that-really-drives-me.htmlWhy don’t you get some paper and some ornaments and gather a few products arrange them in some nice window light and shoot your own cover. That would save you a hat!
Will you would be balanced for 18% neutral grey but you wouldn’t know where your white balance was or your deep shadow. I would be more concerned with a white balance that kept the highlights controlled unless you wanted to blow them out as in your pipe shots.
There is usually a pretty good buzz about a revision of this magnitude but that dosen’t seem to be the case for L3. This may due to the depressed economy and poor sales in the photo market. The only area that is holding its own is wedding photography. That would be good news for Lightroom due to the large number of market specific presets that are available. Many people may well be suffering from update saturation! It just takes to much time to try everything thats new and I haven’t heard a thing about L3 that make me want to try it yet.
PhaseOne Capture Pro 5 just came out and I would like to try it. Mostly because it is so widely used in my market segment. Aperture 3 is just around the corner and as a current Aperture user I hope its a really good upgrade. I have never liked the Lightroom interface. If anyone tries it especially a current L2 user post you impressions.
The great thing about using the chart is that you have a consistent starting point but I have had the chart read dead neural and the color of fabric or yarn be off sometimes quite a bit. Subtle nuanced colors suffer most as well yarns and feathers that can bend light through their fibers. You can usually get the color right in PS though.
Ben I have noticed that my second monitor has been behaving strangely since I upgraded to to Snow Leopard. Upon waking up from standby the monitor comes back on light and blue and I have to reselect the profile in system preferences.
I would think gamut would be mostly dependent on the monitor. If you have a high end monitor that displays 95% of Adobe RGB and it is calibrated and you have a good stable viewing setup you are in a good position. I haven’t heard anything about Snow Leopard as far as perceptual or absolute gamut. There are so many factors in color management at capture, during editing and output. It is easy to miss a setting especially if you have multiple output scenarios.I once had 5 different experienced Pre-press Techs correct the same set of files and originals on the same system. Each result was slightly different! Even with all the tools we have now it comes down to a person looking at the image and saying yes thats the color.
Neal your images are exceptional! You could easily shoot jewelry. Thats one of the most difficult subjects I’ve ever shot commercially.
I use the Sage Quiet DT Line on my LL 8’9″ rod and it works very well and is available up to 5wt. I think it now comes in a stealthy Moss color. Rio Selective Trout DT is a nice line as well.
Neal if you are going to try for “color correct images” for on screen viewing yon need to calibrate your monitor and use a 5000k viewing light setup. I shot tens of thousands of images for the carpet industry that were color critical. Profile your system and output your web files as srgb. Everybody has a monitor that is different. Use the MacBeth chart that David shot a picture of for reference set you black to 50-50-50 and the white to 245-245-245 middle gray at 118-118-118. That is a good starting point you will have to adjust for dye anomalies and the extreme color saturation associated with tying materials and how you want to interpret your creations. You can’t be sure what other people see but you can control what your file looks like and have confidence that it is correct if you control your setup for web images.
Do not shoot directly into srgb because the color space is very small.
Use adobe rgb for color correction and output to srgb for the web.Your images look very good on my MacBook Pro screen and my second monitor attached to the MacBook Pro but they are both different. I’m running Snow Leopard. If you use the numbers on the chart as a neutral starting point you know you are close. If you want to get real serious you can buy software and hardware from Macbeth/ X-rite to calibrate your monitor and output devices.
The link worked yesterday! Try this one. It will take you to the podcast page, this one is 3rd or 4th down. Lauren you might find some more interesting titles there. http://www.lenswork.com/lensworkpodcast1-1.htm
Try going to http://www.lenswork.com and on the left under education find the podcast page.
My list of cameras that I would really like to get my hands on is down to a very few since I’ve made my living as photographer. I would like to work with a Leica Rangefinder for a while. I know how and why to pick a certain shutter speed combination without all the technology getting in the way
Fly fishing gear… well I fished a lot more when I had less of it but when I do get out I enjoy it more. I have been thinking about getting back to essentials more and getting rid of some of the things that spend a lot of time in the closet. I’m gonna make a new rule, if I buy a new rod then one old one has to go. Anybody interested in a Scott S3s 8 weight in great shape. I just picked up a new Heliply 8 weight.
First offer 350.00 or better. I will pay UPS ground shipping in the lower 48. Otherwise I guess its juniors X-mas present!
1.5K for a cover was what I thought was the going rate and non exclusive as well. Check out the video in the link in my previous post on how to register images.
This John Harrington has a great book on Photographic Business Practices
http://photobusinessforum.blogspot.com/Shooting a project for a day rate plus expenses is the way a lot of photography gets done. Then its just a negotiation for duration of usage etc worked out up front. I have seen some images in the Orvis catalog that were used in other companies materials. Most were by Val Atkinson which I would think were licensed for a specific use and period. He probably retains all rights to his images since he does some excellent coffee table books.
I don’t know what the rate would be exactly. It should be calculated on how and where it would be used. Is it a one time use? Is it a cover etc? Will it be used on the web. I think ad photography probably pays a little better than editorial. The Orvis image standard is quite high based on the catalogs that I have seen. This may just be a fun contest to engage customers but a 1000.00 of product is not the same as 1000.00 cash. The winner might want a pair of G4 waders!
Maybe someone who has sold some images for a similar use could weigh in and inform us on a fee amount. Did the back cover of the Scott catalog pay more than a magazine image?
Getting away with something that is cheap and decent may well sum up where the market is right now. That was my point when I compared the Scott catalog to the Winston catalog. One was decent and one was excellent. Really fine photography combined with design adds value and drives sales. Thats why a photographer shouldn’t be shy about asking for reasonable compensation.
I’ve never heard of him before but a guy on the Scott FB page pointed me to him in a post I made about the Scott catalog. I looked at probably 85 or 90 images and they were as good as anything I’ve seen reproduced for fly fishing. This guy is a excellent photographer shooting fly fishing instead of the reverse and it shows.
Learn to read a histogram. You can’t trust the LCD for exposure.http://www.luminous-landscape.com/tutorials/understanding-series/understanding-histograms.shtml
I Love that Ritz grip which you can put on some of the lighter line rods. the cigar grips is ok but kind of skinny. It is a little bit pricey but for your prime rod or just to treat yourself its kind of nice to have choices and a factory warranty.
Kudos to Scott I hope this turns into a good niche for them and is profitable.
