*00:01** Intro - How this channel keeps being a pioneer **01:30** Six calibrations with three calibrators (one found defective) **02:13** AdobeRGB vs. sRGB anxieties **04:12** What is calibration? (not to get "correct colors") **05:23** Example (Gamut Warnings etc) **10:35** What are Fine Art Prints and how much they cost*
Back in the day my photography professor had us make our own mats. The importance of the negative space should not be overlook when presenting your photos.
There are exceptions (th-cam.com/video/kzq0LtG_AEU/w-d-xo.html) although for exhibitions with plenty of space, and guests not familiar with the subject, yes, you're absolutely right. And many times they do it to avoid guest crowding. Family/friends is a different connection though, and tight framing helps in grouping prints and in limited wall space. I was expecting your comments in the new video - have a great Sunday.
Thanks for another great video ❤!! I’ve never heard of true life acrylic before! Took your advice and switched to all SRGB. Bought a decent SRGB BenQ monitor and am very happy with it. I came to a slightly different set of settings to lock the color profile in Windows 11. Calibrite offered a license upgrade for my i1 Display and that works great. I learnt that the older and cheaper color spyder calibrators used plastic lenses and that caused them to be less accurate over time due to the lenses degrading. Been busy of late setting up a dual boot windows and linux setup which has taken me away from my photography for a bit. But once again… a huge thanks to you sir for moving me along on my journey towards getting more prints made!!!
Thank you, although this is a very boring video that I had to make to have the [tech] archive more complete. What you say about the older calibrators with the plastic lenses is valuable information! Thanks again!
Another day, I was testing Capture One and I was surprised at how bad the colors were, even Adobe Color was better. That's sad. I'm testing now shooting in JPG. Perhaps that's a challenge for you, shoot RAW+JPG and try to use the JPG. Getting the picture straight out of the camera is good, and the color profiles are right.
-- *Abobe Camera Raw* has a new profile called "Adaptive Profile" and it's AI-based. In some pics it works well (not in most). Worth considering in boring winter photos, and you don't have to engage the entire Photoshop new AI module which is nightmarish slow. -- I pointed out years ago in this channel that Capture One has a very high contrast/saturation preset when opening Nikon files, causing skin patches, reddish skin tones, and making editing difficult. But some Landscape photographers like it, because of the high saturation. I also prefer the traditional "Windows-based" way in file management, others prefer the Lightroom or C1 solutions (nightmare to me, I'm a control freak with files/folders). That aside, my protocol/settings for the D850/D500 is: -- Shooting *RAW on Card A and JPEG Fine on Card B* (saves space and have them nicely separated). -- Shooting profile "Neutral" for the D850 (gives the camera better control of exposure, softer on bright highlights), and "Standard" for the D500 (amazing SOOC images).
@@l.rondon9387 In my routine, I edit RAW files and send them for prints (most 5x7 or 9x12, very few 13x19). The jpegs in Card B are just backup: they are smaller so Card B is like a time capsule. But they also serve another function: the preview in your camera backscreen is based on the embedded JPEG. When you chose "Fine", the preview tends to have more fine detail, helps sometimes with critical manual focus.
So what is the point of having 45+mgp camera ,if one can print great photos from 6or 12 mgp? really what is the point?even for art gallery what's the point?
*I made a video which is Unlisted at th-cam.com/video/0Q5Qp7hleDM/w-d-xo.html let me know if you can access it.* The reason I am not making it public for now, is that it contains snapshots of official government documents (published by the BBC), testimonials and national experiences. This is SERIOUS STUFF. So it's not meant for the average TH-cam viewer who flips back and forth through videos holding his d*ck in his hands.
*1.* Yes, the camera records in ProPhotoRGB, but you CANNOT SEE IT ON YOUR MONITOR! There is no monitor that can display ProPhotoRGB. If you open a file in ProPhotoRGB in Adobe Camera Raw, the colors you see are a bad conversion, because your monitor can't display the ProPhoto color space. *You cannot see a ProPhotoRGB file on your computer, because there's no monitor in the marker to display it.* There are only very few very expensive monitors that can display 99% or 100% AdobeRGB, and no monitor that can display ProPhotoRGB. *2.* What I indicate in 08:39 'set your camera to AdobeRGB' is only when you have a Wide-Gamut monitor that can display at least 98% or 99% AdobeRGB, as I say in the line below it. I also indicate "high-end prints" only. It's self-explanatory. And why set your camera to AdobeRGB? Because the color channel histogram which the camera uses internally to set the White Balance of the embedded jpeg is more accurate when you set the camera to "AdobeRGB color space and Neutral color profile". You see, White Balance is NOT measured by the camera according to some colorimeter (colorimeters are every expensive stand-alone devices), it is determined according to the perceived white point in the internal camera histogram of the jpeg file! Yes, no camera manufacturer has yet produced a camera that measures WB from the RAW file! See also th-cam.com/video/jvRABil2Hls/w-d-xo.html See also related references at Llloyd Chamber's website. *3.* TH-camrs who recommend opening the file as ProPhotoRGB in AdobeCameraRaw or C1 other converter, always have color mismatches between one image viewer/converter and another, because they can't see ProPhotoRGB in the first place, they only see a different conversion according to a different color profile each time. I have simple instructions on how to ensure 100% color consistency between different software suites (for Nikon files at least) at th-cam.com/video/FiGuSSu7tSs/w-d-xo.html And you cannot achieve this consistency if you open the files in ProPhotoRGB in your Raw converter software (you can't even see a ProPhotoRGB file, no monitor can display it!).
![[tech] Hyperfocal distance outdated || Close-Focus DOF differences | Context & Dimensional Rendering](/img/n.gif)
*00:01** Intro - How this channel keeps being a pioneer **01:30** Six calibrations with three calibrators (one found defective) **02:13** AdobeRGB vs. sRGB anxieties **04:12** What is calibration? (not to get "correct colors") **05:23** Example (Gamut Warnings etc) **10:35** What are Fine Art Prints and how much they cost*
Back in the day my photography professor had us make our own mats. The importance of the negative space should not be overlook when presenting your photos.
There are exceptions (th-cam.com/video/kzq0LtG_AEU/w-d-xo.html) although for exhibitions with plenty of space, and guests not familiar with the subject, yes, you're absolutely right. And many times they do it to avoid guest crowding.
Family/friends is a different connection though, and tight framing helps in grouping prints and in limited wall space.
I was expecting your comments in the new video - have a great Sunday.
Thanks for another great video ❤!! I’ve never heard of true life acrylic before! Took your advice and switched to all SRGB. Bought a decent SRGB BenQ monitor and am very happy with it. I came to a slightly different set of settings to lock the color profile in Windows 11. Calibrite offered a license upgrade for my i1 Display and that works great. I learnt that the older and cheaper color spyder calibrators used plastic lenses and that caused them to be less accurate over time due to the lenses degrading. Been busy of late setting up a dual boot windows and linux setup which has taken me away from my photography for a bit. But once again… a huge thanks to you sir for moving me along on my journey towards getting more prints made!!!
Thank you, although this is a very boring video that I had to make to have the [tech] archive more complete. What you say about the older calibrators with the plastic lenses is valuable information! Thanks again!
Another day, I was testing Capture One and I was surprised at how bad the colors were, even Adobe Color was better. That's sad.
I'm testing now shooting in JPG. Perhaps that's a challenge for you, shoot RAW+JPG and try to use the JPG. Getting the picture straight out of the camera is good, and the color profiles are right.
-- *Abobe Camera Raw* has a new profile called "Adaptive Profile" and it's AI-based. In some pics it works well (not in most). Worth considering in boring winter photos, and you don't have to engage the entire Photoshop new AI module which is nightmarish slow.
-- I pointed out years ago in this channel that Capture One has a very high contrast/saturation preset when opening Nikon files, causing skin patches, reddish skin tones, and making editing difficult. But some Landscape photographers like it, because of the high saturation.
I also prefer the traditional "Windows-based" way in file management, others prefer the Lightroom or C1 solutions (nightmare to me, I'm a control freak with files/folders).
That aside, my protocol/settings for the D850/D500 is:
-- Shooting *RAW on Card A and JPEG Fine on Card B* (saves space and have them nicely separated).
-- Shooting profile "Neutral" for the D850 (gives the camera better control of exposure, softer on bright highlights), and "Standard" for the D500 (amazing SOOC images).
@@CameraMystique what you do with the jpeg files?
@@l.rondon9387 In my routine, I edit RAW files and send them for prints (most 5x7 or 9x12, very few 13x19). The jpegs in Card B are just backup: they are smaller so Card B is like a time capsule.
But they also serve another function: the preview in your camera backscreen is based on the embedded JPEG. When you chose "Fine", the preview tends to have more fine detail, helps sometimes with critical manual focus.
So what is the point of having 45+mgp camera ,if one can print great photos from 6or 12 mgp? really what is the point?even for art gallery what's the point?
For small and mid-size prints, indeed you don't need that many pixels. And there's a fine line between "more than 24" and lens sharpness.
*I made a video which is Unlisted at th-cam.com/video/0Q5Qp7hleDM/w-d-xo.html let me know if you can access it.*
The reason I am not making it public for now, is that it contains snapshots of official government documents (published by the BBC), testimonials and national experiences. This is SERIOUS STUFF. So it's not meant for the average TH-cam viewer who flips back and forth through videos holding his d*ck in his hands.
"If you regularly print...
-- set your camera to AdobeRGB" - it is a nonsense! The camera records photos in a color space larger than AdobeRGB.
*1.* Yes, the camera records in ProPhotoRGB, but you CANNOT SEE IT ON YOUR MONITOR! There is no monitor that can display ProPhotoRGB. If you open a file in ProPhotoRGB in Adobe Camera Raw, the colors you see are a bad conversion, because your monitor can't display the ProPhoto color space.
*You cannot see a ProPhotoRGB file on your computer, because there's no monitor in the marker to display it.* There are only very few very expensive monitors that can display 99% or 100% AdobeRGB, and no monitor that can display ProPhotoRGB.
*2.* What I indicate in 08:39 'set your camera to AdobeRGB' is only when you have a Wide-Gamut monitor that can display at least 98% or 99% AdobeRGB, as I say in the line below it. I also indicate "high-end prints" only. It's self-explanatory. And why set your camera to AdobeRGB? Because the color channel histogram which the camera uses internally to set the White Balance of the embedded jpeg is more accurate when you set the camera to "AdobeRGB color space and Neutral color profile". You see, White Balance is NOT measured by the camera according to some colorimeter (colorimeters are every expensive stand-alone devices), it is determined according to the perceived white point in the internal camera histogram of the jpeg file! Yes, no camera manufacturer has yet produced a camera that measures WB from the RAW file! See also th-cam.com/video/jvRABil2Hls/w-d-xo.html
See also related references at Llloyd Chamber's website.
*3.* TH-camrs who recommend opening the file as ProPhotoRGB in AdobeCameraRaw or C1 other converter, always have color mismatches between one image viewer/converter and another, because they can't see ProPhotoRGB in the first place, they only see a different conversion according to a different color profile each time. I have simple instructions on how to ensure 100% color consistency between different software suites (for Nikon files at least) at th-cam.com/video/FiGuSSu7tSs/w-d-xo.html
And you cannot achieve this consistency if you open the files in ProPhotoRGB in your Raw converter software (you can't even see a ProPhotoRGB file, no monitor can display it!).