Podcasts about colorchecker

Season 3 Episode 23 - The Magic of 1.2 Hello & welcome back to another episode of Bringing It All Back Home. Today's podcast is all about the irrational but heartfelt love for the latest take on an ultra fast 50mm prime: the modern version on the sliver of depth of field magic known as f/1.2 - in this case the Sony FE 50mm f/1.2 GM. An astounding, jaw-dropping, overachiever of a lens - with an equally breathtaking list price. Tune in to see if this piece of glass might be a contender for your next rental! Topics: Sony FE 50mm f/1.2 GM, X-rite ColorChecker, Lensrentals.com. Ilford Perceptiol --- Send in a voice message: https://podcasters.spotify.com/pod/show/charles-kershenblatt8/message

「Calibrite、「Calibrite ColorChecker Passport DUO」発売。写真＆動画のカラーマネジメント用ツール」　米国キャリブライト社 は、ColorChecker Passportシリーズの新製品「ColorChecker Passport DUO 」を2022年10月下旬に発売する。市場想定価格は税込38,500円。

Im 80. Electronic Yard Podcast erzählen Eski & Erik über die neue Panasonic GH6 & die M4/3 Kamerenwelt, Peak Design x OPEN Collab, professionelle Film Carts von Adicam, Backofenvorheizmysterien, Sony's Aufsteckblitz, Godox' Kugel Softbox, Paul Ripke's Rodecaster, Sigma's neues 20mm, ColorChecker & Weißabgleich Tools, Bilderrahmen Lieferprobleme mit Höffner und Kanye West. LINKS des Podcasts Eski's Video der Woche: jeen-yuhs: Eine Kanye Trilogie: https://www.netflix.com/de/title/81426972?s=i&trkid=13747225&vlang=de&clip=81577091 Erik's Video der Woche: Badlands 2021 | The Film: https://youtu.be/-pEraFKPfd0 muahstuff Art & Screenprinting aus Dresden: https://www.instagram.com/muahstuff/ Peak Design x O.P.E.N Collab: https://www.instagram.com/p/CaAac12r3mi/ Professional Film Carts: https://adicam.pl

Ross, Esther, Jim and Matt chat to Ashley Bowman from Color Confidence about all things that can improve your photography colours and imagery. Recorded at Color Confidence HQ.This week we are joined by Ashly from Color Confidence to help you understand the importance of colour (color) management and how easy it is to achieve fantastic results.Website: https://colorconfidence.comKeep in touch with Talking Shot updates and new episodes by subscribing to our Podcast on your favourite Podcast App. We'd love to hear your suggestions or wishes for future guests.Website: http://www.talkingshot.co.ukTwitter: @talkingshotpodInstagram: @talkingshotFacebook: https://www.facebook.com/talkingshot/

Episode summary: When is the right time to choose two prime lenses over one zoom lens? Additional questions regarding a better color management workflow. And how to set up the lighting in your photo editing workspace? These questions are answered in this  PPN Q&A episode #24.   Please submit your photography-related questions to us here: http://www.photopodcasts.com/contact.html  This episode is sponsored by: Marco Larousse Street Photography Workshop October 25-27, 2019: https://www.marcolarousse.com/street-photography-workshops   Skylum Luminar 3 - Supercharge your image editing and organizing http://bit.ly/PPN-Luminar3    Here are the questions that Marco answers in this episode:   Hey Marco, just a quick general question: Would you prefer one camera with either a zoom lens or with two prime lenses? Question from: Marcel, Vienna, Austria I have a few questions regarding the most recent Photography and Gear Show (#24) with Ross Grieve. (Link-> https://www.photopodcasts.com/podcasts/photography-and-gear-24-ppn-color-management-is-easy-with-ross-grieve)  Though I love the results I get with my Colorchecker Passport, I've found it can be a bit cumbersome managing all of the profiles in LightRoom. Does Ross recommend keeping them all, or does he delete some of the more specific or odd ones after he's finished with the images from that shoot? If he does delete them, does he have an easy way to do it? Because all of the tutorials I read online were a bit involved.   He commented that he used the grey/white card part of the Colorchecker and also the part with all the colored squares. But the colored square part has a white square on it. Why do both?   Do either of you have any recommendations for the types of light bulbs and lamps used in the room where you do your post-processing? And where should the lamp be in the room, relative to the monitor?   Also, he commented on doing images on way home from a trip once, which was interesting because the light would continuously change conditions in the car. Did he feel confident in post-processing on the move because he had previously calibrated his device via the color management systems and therefore trusted that the device had it right even if it looked different to his eyes? Thank you so much for your time and expertise. Questions from: Jennifer, Toledo, Ohio Gear discussed in this answer:   X-Rite ColorChecker Passport Photo: B&H: https://bhpho.to/30Gou5A  Amazon Germany: https://amzn.to/2LbtVmn    X-Rite ColorMunki Photographer Kit (Standard Display Calibration & ColorChecker): B&H: https://bhpho.to/30HYjLU  Amazon Germany: https://amzn.to/2zqel0L    X-Rite ColorMunki Smile (Very Basic Display Calibration): B&H: https://bhpho.to/30DEJQY  Amazon Germany: https://amzn.to/2LbjvU1    X-Rite ColorMunki Display (Standard Display Calibration): B&H: https://bhpho.to/2oKEKkE  Amazon Germany: https://amzn.to/2KZ40zs    X-Rite i1 Display Pro (Display and Projector Calibration): B&H: https://bhpho.to/30Q24z3  Amazon Germany: https://amzn.to/2PjYdJe    X-Rite i1 Studio Spectrophotometer (Display, Projector, Scanner, and Printer Calibration): B&H: https://bhpho.to/30JOHAc  Amazon Germany: https://amzn.to/2Zr6EqQ    Philips Hue White Ambiance LED Light Starter Kit B&H: https://bhpho.to/2nLIkyg Amazon Germany: https://amzn.to/2oDMhoM   Please support our show by using our B&H affiliate link (click here) or Amazon Germany link (click here) that will not cost you a penny more than when you are buying at B&H or Amazon without our link.   Check out the Skylum LUMINAR 3 software: Link: http://bit.ly/PPN-Luminar3 (use the discount code “PHOTOPODCASTS” at checkout for extra savings)   And please share this podcast with your friends and subscribe via Apple podcasts, Google Podcasts, or search for “PPN” in your favorite podcast app. We would also love to get your feedback. Is there anything that you want us to cover on the show in the future? And we would appreciate if you could take a short moment to rate or post a quick review for our shows on iTunes.   Links to Ross Grieve: Web: http://www.rossgrieve.com  Twitter: @RossGrievePhoto Instagram: https://www.instagram.com/rossagrieve/  Facebook: https://www.facebook.com/ross.grieve  Podcast: http://www.talkingshot.co.uk   Links to Marco Larousse: Web: www.MarcoLarousse.com  Twitter: @HamburgCam Instagram: https://www.instagram.com/marco.larousse/  Facebook: https://www.facebook.com/MarcoLarousse1    Links to PPN: Web: www.PhotoPodcasts.com or PPN.fm Twitter: @Photopodcasts Facebook: https://www.facebook.com/photopodcasts/  YouTube: http://www.youtube.com/c/PPNPhotoPodcastNetwork Apple Podcasts: http://bit.ly/ppn-apple-podcasts  Google Podcasts: http://bit.ly/PPN-GooglePodcast

The following is the formal exposé to the topic. It was written to Tabatha for her professors and her to read for her photography class. As such, there is much overlap between the podcast and the written version below, but not entirely: This was supposed to be a review of my experience with my intern Tabatha, but it evolved into a commentary of theory vs. practice. Let me first be clear that my time with Tabatha was short. 30-40 days spread out a couple times a week a couple hours at a time is hardly enough to truly assess someone. I think that Tabatha satisfied all the criteria of the internship. She followed me to nearly every single shoot during that time period. She assisted me with every aspect of every shoot and every task and even helped me assemble 3x 4’10’ aluminum sheet panels. Truth be told she was a better presence than I expected. I usually don’t allow assistants and interns to come to my shoots. Usually they are more of a distraction and obstacle to my workflow. Tabatha proved useful and did not get in the way of my process. My goal during this time was to demonstrate to Tabatha how I work. What I am driven by and why I do what I do. The purpose of even the smallest tasks was simply to reveal the inner workings of my mind; how I approach things, how I react to them, and most important how I solve problems. To this end, I believe I succeeded in delivering a unique and intensive internship to Tabatha. As a result, there exists no other person on Earth that understands how I work as a photographer, more than Tabatha Gallais. We routinely had philosophical discussions about my approach to photography. Admittedly Tabatha’s internship was an eye-opening experience for me. I don’t have any formal training in photography. While I am no stranger to higher education (BA in Economics, MA in Psychology and an MBA), the academic approach to photography is somewhat foreign to me. I have created several educational programs during my tenure as a photographer instructor. I created a “New Media" class at the New York Film Academy where I taught MA Photography students how to manage their websites, social media, SEO, etc. Under the LUCIMA brand, I created webinars for fashion photographers to systematically learn retouching and other aspects of fashion photography. Also under the LUCIMA brand, I created live weekend workshops that taught pre-production, production and post-production for both still photography and videography. Despite all the classes I have taught, there exists a fundamental difference between how I think-learn-teach photography and how formal education systems think-learn-teach photography. This discovery culminated at the end of Tabatha’s internship in a conversation with her assessment of my philosophy as a photographer. Her conclusion was that I had no philosophy towards photography. In my feeble attempts to explain to her and concede that many aspects to my work are not driven philosophically, I failed to define and defend my true position as a photographer. Theoretically, I am driven by a love of beauty in the female form. Practically I am driven by everyday constraints and problem-solving. It is at best a conjugal relationship between two warring factions. At the time of our conversation, I tried to explain to Tabatha that my approach to photography was more “mechanical” and that I approached photography the way a robot or a computer would approach photography. To solve existing problems. To simplify and remove all extra variables and “moving parts”. Philosophically, I attempt to distill my process down to its very core. A basic and raw interaction between two human beings through the art of fashion photography; devoid of all the bells and whistles that you would find on a typical shoot. What Tabatha visually observed was a task-oriented photographer that wasted little words and got straight to the point of achieving his desired outcome. In other words she observed a very efficient photographer at work. But I think what Tabatha could not truly appreciate was the evolution of this process. Throughout the past seven years I’ve learned much of the theoretical side of photography. I’ve spent countless hours on web forums pixel peeping and arguing with armchair quarterbacks about the ideal methodology to extract maximum dynamic range and resolution to achieve the sharpest and noiseless images. I’ve watched videos ad nauseum, about lighting, the use of lightmeters/grey cards/colorcheckers, profiling your camera/monitor/printer, and other technical and sometimes esoteric pursuits. I’ve read hundreds of pages in various forums about retouching at the highest levels, espoused by programmers that write the code for retouching software (Photoshop), scripts (like the spatial-frequency separation), and other editing techniques designed to back-solve certain styles of editing whether it be Dave Hill, Amy Dresser, or Guy Aroch. But it’s all just theory. I will borrow a reference from one of my favorite movies. Reading/Researching stuff on the Internet is like living in the limbo dream world of Inception. You can spend an entire lifetime there and still accomplish nothing. As a result, I have taken all the knowledge that I acquired on the Internet and applied it in real-life. And in that process I have stripped away all the unnecessary parts of my workflow, including but not limited to strobes/Pocket Wizards, tethering/computers, reflectors, lightmeters, spatial frequency separation scripts, Colorchecker passports, makeup artists, stylists, hair stylists, focus tuning each unique lens, assistants/interns, excess conversation with models, modeling agents, most of social media, analog film/developing/scanning, and more. 99% of my Instagram feed was created with a model, a camera, a 55mm lens, and some “light” retouching. Not only have I removed many of the moving parts from my own “machine” but I break many rules espoused by theory. I dodge and burn on the base layer in Photoshop. I retouch in 8-bit with the sRGB profile. I delete all images that I don’t intend to edit. OMG. That’s the typical reaction I get from workshop photographers. But if you apply the espoused theories (that cause the reaction of horror to my practices), you’ll find that they are often unrealistic. Think about it. Every time you copy your base layer you are doubling your file size. In a perfect world, file size doesn’t matter. But we live in the real world. I have 207,000 images in my library and multiple backups of that library. I would need twice my existing capacity if I copied the base layer of each image just once. Yes, once. If I copied the base layer twice, I would need 3x the capacity of my existing library. And so on and so forth. So I learned to dodge and burn on the base layer and I seldom make copies of the base layer. Constantly managing the size of my library requires that I delete images I don’t intend to retouch. And ultimately through thousands of edits, I learned how to retouch more efficiently, effectively bypassing the need for non-destructive editing techniques. Which is to say, I basically don’t make mistakes in editing and/or need to revert back to some lesser version of my edits. My workflow evolved through real-world constraints. What about the 8-bit files with sRGB profiles? I prefer the look of 8-bit files because they appear a little more “broken up” (256 vs. 65,536 shades of grey). Considering that many photographers add digital grain to their images, retouching in 8-bit shouldn’t require a stretch of their imagination. We are after the same thing. A less digital image with a little more texture and grit. Try it and let me know what you think. Let me reiterate. Theoretically, I am driven by a love of beauty in the female form. Practically I am driven by everyday constraints and problem-solving. Which brings me full circle back to Tabatha. The great thing about Tabatha is that she demonstrated a high-level of curiosity about everything. What I want her to learn is how to create her own questions and then answer her own questions. This is the greatest skill any photographer (or other) could ever develop. The photographer’s journey is often an independent one. Without developing the ability to wonder, try, fail (and fail willingly), you wind up sitting at your desk reading about what others have done and never arriving at any real answers one way or another to support or refute your wonder. In other words, do. As the Nike slogan says, “Just Do It”. Doing is the only answer. Doing is the only way to get from A to B. And don’t be afraid to do. Don’t put so much pressure and importance on the act of doing. Look at doing as another data point in the infinite set of data points. Never as an end point. Most of us fail not because we try, but because we fail to try. Never assume you and your principles are more important than the act of discovery and you’ll never be too afraid to push the boundaries. To do the things other people say, are wrong, not worth doing, impossible. Never cease to wonder. But most importantly never cease to try. Always try. And when you do, you’ll find that all the philosophy in the world fades away like noise in the background. And all you’re left with is what you’ve created. And all they’ll be is just what they are. No more and no less. As I often say, “They’re just pretty pictures”.

PIP 31 – Gravado dia 08 de junho de 2010 01:07 – iPhone 4 04:31 – Review sobre Colorchecker 05:33 – Nikon D700 como primeira DSLR? 12:20 – Canon 5DMKII e o desgaste do sensor gravando vídeos 19:07 – Sony Alpha 900 descontinuada 20:00 – Sony e sua filmadora com lentes para DSLR 22:57 – […]

PIP 29 – Gravado dia 22 de abril de 2010 Quase enferrujados neste episódio, mas demos boas risadas. Até falamos de iPad. 01:47 – Joey Lawrence – Olha o vídeo do evento… 08:40 – X-Rite anuncia seu ColorChecker 12:50 – Comparativo da Nova Sigma 50-500 com a Canon 100-400 16:00 – Notícias 22:10 – Dicas […]

Today I'm going to take you through some of the basic operations of the X-Rite ColorChecker Passport. Blog post with video: https://mbp.ac/227

Today I'm going to take you through some of the basic operations of the X-Rite ColorChecker Passport. Blog post with video: https://mbp.ac/227