Camera Work

Color Temperature and the Color Rendering Index:

http://lowel.tiffen.com/edu/color_temperature_and_rendering_demystified.html


Why the sky is blue:
https://spaceplace.nasa.gov/blue-sky/en/



More on Color Temp and CRI:

https://www.fluxsmartlighting.com/b...vin-temperature-and-color-rendering-index-cri

http://www.lightbulbsdirect.com/CTGY/ColorTemp.html

https://en.wikipedia.org/wiki/Kelvin

https://en.wikipedia.org/wiki/Color_rendering_index


White Balance:
https://www.bhphotovideo.com/explor...-balance-and-color-temperature-digital-images

https://www.premiumbeat.com/blog/understanding-set-lighting-and-color-temperature/

http://www.cambridgeincolour.com/tutorials/white-balance.htm


PMS Color:
This is a little OT for most here, but if you ever deal with an art director, graphic designer or lithographer they will likely be using the "PMS Color" - Pantone Matching System. Rendering your subject colors accurately is important to them. Adjustments can be made in post, but it's best to be as accurate as you can when making an image.
http://www.cal-print.com/InkColorChart.htm

https://damnuglyphotography.files.wordpress.com/2016/03/mark_turner_wsfs_0096.jpg
Above image copyright Brad Trent 2016 all rights reserved
 
Tripods

I looked for good articles on tripod usage but found little other than AD based stuff. So, trust me, the use of a tripod contributes as much or more to image sharpness than any high end lens. I use a tripod about half the time when making photos outdoors and more than that indoors. This is regardless of a fast shutter speed. It helps in accurate composition. I always use one in the studio for portrait work, as it lets me work with a subject while being off camera.

A solid tripod is better than a light weight one because of the added mass. It also helps in windy conditions. I often sandbag the legs to add mass.

Here are some quotes from an article on TOP:

"So late last week I had chores to do at a place where there are plenty of test subjects for this problem. My earlier experiments were done at reasonable shutter speeds, hand-held, with the default ON setting of the in-lens stabilization. This time I put the camera on a tripod and turned off the stabilization (Panasonic—and everyone else who offers some form of anti-shake--instructs us to turn it off when using a tripod). Bingo! As soon as I looked at the captures on screen, I could see they were crisper. On critical examination at 100% view, there was a surprising amount of variation, but the general level was a big improvement, and a lot more of them than before were just plain sharp!"

"Featured Comment by Bill Pierce: "Boy, do I think you are dead on. Most digital photographers routinely look at screen magnifications of sections of their photographs that have no parallel to what we did in the film world. And after a while, we realize we are looking at a lot of camera shake. It's gotten to the point where I'll use a larger than optimum aperture or higher ISO before I'll drop that shutter speed. And in lower light, a tripod. I feel pretty silly with a little tiny camera on a big tripod, but it works. I think you just wrote the most important 'tech column' on the web in quite a while."

From Mike Johnston's TOP

"Big Prints From 4/3-Format Sensors
How Big Can You Go?"
By Carl Wiese
Monday, 23 January 2012

Copyright: Carl Wiese, Mike Johnston, Bill Pierce 2012 all rights reserved

http://theonlinephotographer.typepad.com/the_online_photographer/2012/01/raised-expectations.html

Lighting is next. It will be posted in installments.
 
Light

https://en.wikipedia.org/wiki/Light#/media/File:Light_dispersion_conceptual_waves350px.gif


http://www.rembrandtonline.org/

https://en.wikipedia.org/wiki/J._M._W._Turner

http://www.johannes-vermeer.org/

https://en.wikipedia.org/wiki/Macchiaioli

https://en.wikipedia.org/wiki/Pierre-Auguste_Renoir

"Monet has been described as "the driving force behind Impressionism".[56] Crucial to the art of the Impressionist painters was the understanding of the effects of light on the local colour of objects, and the effects of the juxtaposition of colours with each other.[57] Monet's long career as a painter was spent in the pursuit of this aim."
https://en.wikipedia.org/wiki/Claude_Monet

https://en.wikipedia.org/wiki/Leonardo_da_Vinci

https://en.wikipedia.org/wiki/Hudson_River_School

http://www.edwardhopper.net/edward-hopper-paintings.jsp
 
Adobe Creative Cloud and the Pros who don't like it.

I know I'm going astray here again, but I've found so many pros who are leaving Adobe for equal or better photo post production.

The following links were taken from Brad Trent's Blog from 2013. All content copyright Brad Trent and Lloyd Chambers 2013 - 2017 all rights reserved.

The first link below is a link to the anti-Adobe rant..witch I completely agree with. I've posted this stiff here for Archival purposes and as a heads up to those reading the technical posts. You should own your work. And not share financial benefit with a software co who's product you've paid for. I have used CS and LR for years. Adobe has been paid several thousand dollars over the years. They aren't satisfied with that. I don't subscribe to ACS .

Brad had this to say:
"Adobe claims the new “Creative Cloud” strategy “includes everything you need to experiment like never before”, and will allow you to “track comments posted to shared files, keep tabs on your work and your followers on Behance…”, and they drop buzz words like “Collaborate”, “Grow” and “Change” as though they are candies to be gobbled up by sugar-hungry children. I read this and couldn’t help but wonder if they have lost track of what a professional photographers work flow is REALLY like?!! Professional photographers aren’t looking to pay a $50/month license fee to ‘experiment’ with Illustrator, Premiere Pro or Dreamweaver! Professional photographers don’t use Photoshop as a social media tool. We don’t finish off an assignment by hitting the ‘Send’ button so our work posts in real-time on ‘Behance’ (which, in case you missed that press release, is owned by Adobe!). Professional photographers shoot, process, archive and retouch images in Photoshop. We send those images to our clients. And then it’s on to the next gig where we do it all again. I dare say that the overwhelming majority of professional photographers don’t waste too much time worrying about how Photoshop might aid them in ‘sharing’ their assignments on social media sites."

https://damnuglyphotography.wordpress.com/page/10/

https://macperformanceguide.com/blog/2013/20130506_1-Adobe-clouds-the-sun.html

https://macperformanceguide.com/blog/2013/20130508_1-Adobe-birth-date.html

https://macperformanceguide.com/blog/2013/20130508_1a-Adobe-legal-agreement.html

https://macperformanceguide.com/blog/2013/20130508_3-Adobe-why-no-buyout.html

https://macperformanceguide.com/blog/2013/20130508_2-Adobe-chat.html

https://macperformanceguide.com/blog/2013/20130508_3-Adobe-no-warning-no-fair-play.html

https://macperformanceguide.com/blog/2013/20130508_4-AdobeCloud-reader-comments.html

https://macperformanceguide.com/blog/2013/20130509_1-AdobeCloud-TheBigDeal.html

https://macperformanceguide.com/blog/2013/20130509_3-AdobeCloud-summary.html

https://macperformanceguide.com/blog/2013/20130510_1-AdobeCloud-version-support.html

https://macperformanceguide.com/blog/2013/20130511_1-AdobeCloud-activation.html

With really good software like Photo Mechanic and Capture One around, I wonder how many photographers are fully happy with CS5 or CS6..and didn't buy in to Adobe's scheme..
 
LIGHTING TERMS from Ross Lowell, an expert!
http://lowel.tiffen.com/edu/glossary/

3 point lighting .. rules were made to be broken in the lighting world:
https://en.wikipedia.org/wiki/Three-point_lighting

http://www.izzyvideo.com/three-point-lighting/

http://learnaboutfilm.com/film-language/picture/light-and-colour/

One rule that I generally follow if practicable, is, the main source of light, the main or key light, should be bigger, or larger than the object being photographed.

If a human face is the subject, then the light source should be bigger than the face. This is easy outdoors on a cloudy or mixed sun cloud day. With artificial light it's still easy. There are many options. But, if you're photographing an automobile, or an aircraft in the studio, the problems are tough to tackle. There are rental studios that specialize in auto photography. A small airplane is do-able. If you get bigger, like a locomotive .. it's an issue, often left to specialists.

Notice the size of the light being used in the 6th & 8th photos down from the top:

http://resourcemagonline.com/2015/0...-studios-from-around-the-united-states/46998/

I asked X-ray to comment on large lights (and anything else he feels helpful). He has much more experience with big lights than I have. My practical experience ends with 4 x 6' soft boxes and 5' diameter umbrellas.
 
PKR said:
Adobe Creative Cloud and the Pros who don't like it.

I know I'm going astray here again, but I've found so many pros who are leaving Adobe for equal or better photo post production.

The following links were taken from Brad Trent's Blog from 2013. All content copyright Brad Trent and Lloyd Chambers 2013 - 2017 all rights reserved.

The first link below is a link to the anti-Adobe rant..witch I completely agree with. I've posted this stiff here for Archival purposes and as a heads up to those reading the technical posts. You should own your work. And not share financial benefit with a software co who's product you've paid for. I have used CS and LR for years. Adobe has been paid several thousand dollars over the years. They aren't satisfied with that. I don't subscribe to ACS .

Brad had this to say:
"Adobe claims the new “Creative Cloud” strategy “includes everything you need to experiment like never before”, and will allow you to “track comments posted to shared files, keep tabs on your work and your followers on Behance…”, and they drop buzz words like “Collaborate”, “Grow” and “Change” as though they are candies to be gobbled up by sugar-hungry children. I read this and couldn’t help but wonder if they have lost track of what a professional photographers work flow is REALLY like?!! Professional photographers aren’t looking to pay a $50/month license fee to ‘experiment’ with Illustrator, Premiere Pro or Dreamweaver! Professional photographers don’t use Photoshop as a social media tool. We don’t finish off an assignment by hitting the ‘Send’ button so our work posts in real-time on ‘Behance’ (which, in case you missed that press release, is owned by Adobe!). Professional photographers shoot, process, archive and retouch images in Photoshop. We send those images to our clients. And then it’s on to the next gig where we do it all again. I dare say that the overwhelming majority of professional photographers don’t waste too much time worrying about how Photoshop might aid them in ‘sharing’ their assignments on social media sites."

https://damnuglyphotography.wordpress.com/page/10/

https://macperformanceguide.com/blog/2013/20130506_1-Adobe-clouds-the-sun.html

https://macperformanceguide.com/blog/2013/20130508_1-Adobe-birth-date.html

https://macperformanceguide.com/blog/2013/20130508_1a-Adobe-legal-agreement.html

https://macperformanceguide.com/blog/2013/20130508_3-Adobe-why-no-buyout.html

https://macperformanceguide.com/blog/2013/20130508_2-Adobe-chat.html

https://macperformanceguide.com/blog/2013/20130508_3-Adobe-no-warning-no-fair-play.html

https://macperformanceguide.com/blog/2013/20130508_4-AdobeCloud-reader-comments.html

https://macperformanceguide.com/blog/2013/20130509_1-AdobeCloud-TheBigDeal.html

https://macperformanceguide.com/blog/2013/20130509_3-AdobeCloud-summary.html

https://macperformanceguide.com/blog/2013/20130510_1-AdobeCloud-version-support.html

https://macperformanceguide.com/blog/2013/20130511_1-AdobeCloud-activation.html

With really good software like Photo Mechanic and Capture One around, I wonder how many photographers are fully happy with CS5 or CS6..and didn't buy in to Adobe's scheme..
Click to expand...

Isn't this like way old news? ;)

I must admit, I wasn't too keen on a cloud subscription at first, but I can see in a Pro environment that it's actually quite beneficial. Maybe not for certain Pro photographers, but there is so much more to Adobe cloud and other creatives that use the tools. Illustrator, InDesign, Premiere (I use them all professionally), etc. The fact that these apps can be used easily with each other is a bonus as well as storing files on the cloud to share with many other colleagues or clients is hugely beneficial.

I'm not a professional photographer (mainly), though I do some occasional commercial photo shoots for money, but I do use social media quite often, however I am not using any of the Cloud tools for this integration. Perhaps I should look into it. But there are many pro photographers who are doing social media, even the some of the greats you have posted links to in this thread. I don't agree with Brad's quote above at all.

I think there is a photo only package for $10 a month that includes PS and LR only. That seems very reasonable if Pro photographers don't want to "experiment" with Illustrator.

Anyway...that being said, I still gladly use LR4 because I can't stand how slow the cloud version is, or even LR5 was. LR4 is snappy and instant. I like to work fast.
 
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