david king
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Nice shot! If it were mine I would try to do some highlight recovery if it was shot RAW for the bright side of the mens shirts in Aperture, Lightroom or ACR. Darken all the corners to help keep the eye in the picture. Bump the saturation and blacks. Sharpen at output size proof and adjust.
Neal not that I have anything against Lightroom but have you tried Aperture. If you like Keynote I think the synergy with another Apple app like Aperture might be more streamlined. I have seen some nice stuff on Keynote but I have never used it. Nice pictures by the way!
I think its useful to think of shooting RAW as if you were shooting a negative on film. If you were close to optimum exposure you could make a image and interpret it in many different ways, lighter darker shift the color one way or the other burn and dodge etc.
I would compare shooting JPEG to shooting a transparency or slide. If you were off on your exposure you had little or no options so you would bracket and make selects of from the brackets and thats what you would deliver to the client. This is a good convenient workflow because you make selects and your done.
I think workflow is as import a issue here as RAW VS JPEG. If you shoot RAW Adobe RGB and use Aperture or Lightroom Capture NX etc you can export or email a JPEG when you rate and make your selects. Just give every image that you want to send a 5 star rating. You could make a some presets that make your JPEGS pop and apply them to the selects as a group, sort by that rating and email or export at the scale you want.
I don’t shoot any pictures that don’t get some kind of post production. It may be a color tweak or a slight crop and just about eveything gets the edges darkened. Other than the original “seeing or visualization” of the image its what makes it your image and not just a record.
Accomplishing that in a reasonable amount of time is what I’m looking for and the whole RAW VS JPEG final file format issue becomes somewhat irrelevant because you can output whatever you need at any time.Ben what is your workflow process like? It would be interesting to know how people are processing their images and what software is being used.
I use Eyelike Capture Pro, Photoshop 3.0, Aperture 2.1 and Noise Ninja.Having to shoot stills and motion video of the same things can be a lot to rap your head around sometimes. If your are shooting a scene and you shoot a Hi-res still and then you shoot video with sound and motion within the same basic composition its no big deal assuming you are using daylight, tungsten, HMI lighting, or maybe your flash modeling lamps would work.
If you had a small Steadicam rig and a little LED light, or a couple of Dedo lights and a tripod with a fluid head you could be a small production company.
Its going to be interesting to see how people use this camera thats for sure.
There is a pretty good review of the features on this camera at Rob Galbraith’s site: http://www.robgalbraith.com/bins/multi_page.asp?cid=7-9316-9607
Nice shots! I would encourage you to download the free 30 day trial of Aperture from Apple and try it. Use the tutorial resources and videos on the Aperture site to get up to speed on the workflow. Check out the lift and stamp tool its a blast. Adjust one image in a series and stamp the adjustments to the others. If you are on PC try the free trial of Lightroom. I don’t like it as well as Aperture but its the best option for PC. If you are using a Nikon camera Nikon Capture NX is really good too. RAW is the way to shoot. I would hold of on Photoshop for a while since a new version is going to be available soon and its about double or triple the cost of anything I’ve mentioned.
I used to shoot a Sony Betacam SP a lot. This video is as good or better and you can get a really cool look with still lenses. I think cut length is limited to 2 minutes so you couldn’t do long takes but thats not a big deal. Its impressive!
This is one cool camera! the video out of this camera is awesome and it has pro audio in and its a super still camera. I might switch!
Check out the video http://www.usa.canon.com/dlc/controller?act=GetArticleAct&articleID=2086You spend a lot of time on the Winston forum don’t you?
Glad to see you over here! You still lovin the green stick?You really have a fine selective eye but your landscape compostions are really really good. Your BXW images are stunning. How did you do them? I really like Las Noches de las Luminarias Series. What is that all about.
This has been an interesting topic. What works for you in many cases is what works, but its not like this workflow topic hasn’t been worked through by many respected industry experts and photographers. If your looking for optimum results you should be shooting RAW in Adobe RGB. If you do that at least and you save the RAW files out you can start over with maximum latitude. If you have a camera that shoots 14 bit RAW files why shoot JPEG SRGB and limit you data from the start.
If you are getting a big saturation shift going from Adobe RGB to SRGB I would check the color settings in PS. I don’t get much of a shift going from Adobe RGB to SRGB almost none. If your using a Apple monitor it won’t display all of Adobe RGB anyway you need a EIZO or another high end monitor. If you are using a Apple monitor your probably only seeing 85%.
Working in the world of the pleasing color standard you have a lot of latitude. I saw a cover on a recent fishing magazine where the big brown trout looked ok but the guys face that was holding the thing was a horrible shade of red and the sky was featureless blue. My guess is most people looked at it and said hey nice fish! I thought wow that looks like hell!
The thing about SRGB is its small and limited, good enough for the web but thats it. JPEG compression just makes things worse with artifacts.
Maybe some wizard at Adobe is working on something better!Well Andrew Rodney aka the digitaldog pretty much knows it all when it comes to profiling and color management. He has a good site at digitaldog.net if any you are interested.
Going forward we will probably see more intense efforts to get really accurate color on the web. It makes for a pretty good “Green Story” as they say in the carpet business. If you can save resources energy paper etc thats a Green Story. It makes sense from a enviromental and business standpoint.
Makes a really good portrait lens on the smaller chip cameras with a effective focal length of 70mm. Sweet bokeh too.
If you have a image that is color correct to your liking in any color space then correct conversion to another color space especially a small color space like SRGB should be a given, its the whole reason for the embedding of profiles. I think you need to shoot and correct in the largest color space possible and then use convert to profile to convert to SRGB. The Apple or Adobe color engine will automatically convert to SRGB using a Look Up Table and reproduce what the file looked like on your monitor.
There is no reason why you couldn’t correct in SRGB first if you wanted to and you just used the files for the web. If I were going to spend the time working on a select file I would stay in Adobe RGB optimize and save a PSD and then save a SRGB version. If I did all my work in Aperture I would export a JPEG version and could re-edit the image as I wanted in the future without color or bit depth loss. You could probably do the same thing in Lightroom.
My main point is don’t shoot JPEG or SRGB it limits your options from the moment you make the exposure. If you shoot and save your RAW files you have a lot more control.
I think the more moderate action rods are a pleasure to fish. I have a Sage 8’9′ 3wt. LL that I paired with the Quiet Taper line and its just great fun to fish. The Scott G 8’8″ 3 and 4 wt. rods are super smooth as well as the Winston TMF and the rest of the WT rods are really nice.
That’s right Zach. The main thing is not to commit to JPEG or SRGB in camera. That way you have maximum color gamut and bit depth latitude with the file. JPEG really locks you down, if your exposure is a little hot you can’t recover like you can in RAW. You are going to tweak the image anyway. If you shoot RAW+JPEG when you go into Lightroom or Aperture PS etc you have the JPEG so your software dosen’t have to create previews so you can go right to work editing. With the price of media cards is coming down so storage is not such a big issue anymore.
Think about your magazine images. Make them look primo in Adobe RGB on your monitor and let the printer convert to the press or stock specific profile from a file with maximum color data. If you could get a copy of your printers profile you could soft proof it on your monitor.
