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 on: Today at 06:47:26 PM 
Started by Jeff - Last post by enduser
What helps sell one famous photographer's work is the tall, blond, Swedish female backpacker shop assistants.

 on: Today at 06:39:13 PM 
Started by lighthunter - Last post by MHMG
UC C6 isn't the same as Claria.

The ink for the L1800 is in a bottle, not a cartridge, and it's designed for a very different machine (one with large, refillable tanks) and it's dye, not pigment.

More than likely it is the same as Claria or Claria's successor (there's a newer PK black and photo gray when dilluted ink now in the product pipeline and Canon already has it available in the Pro-100. Epson will catch up to the Canon Pro-100's configuration sooner or later). Neither Epson nor Canon synthesize dyes, AFAIK. They turn to one or more expert formulators, more than likely Fujifilm which owns a subsidiary company that specializes in making stable, colorful synthetic dyes. Once a new dye gets vetted with superior properties for inkjet printing, it gets used in a wide variety of machines, but it also gets "disguised" by different brand names and configurations. That keeps the third party vendors guessing as to how to make "equivalent" ink sets. And none of the third party dye providers are even close to this level of light fastness since they are routinely just sourcing commonly available traditional dye stuffs to make their "equivalent" inks.


 on: Today at 06:32:11 PM 
Started by Stefan.Steib - Last post by Diego Pigozzo
What we are not being is a "copycat".
What if I take some shot in the style of another (famous or not, doesn't matter) photographer and lying about not knowing him?
Would you considered me a copycat?
I could surely be (along being a liar), but how do you know?

So does it really make sense all this copycat stuff?
What about judging and/or enjoying a photo for its own qualities?

 on: Today at 06:31:06 PM 
Started by texshooter - Last post by texshooter
I felt like this Youtuber about Lightroom the first, last, and only time I used it years ago...

If you don't need the cataloguing features of Lightroom, ACR/Bridge is worth it, clunky or not.

 on: Today at 06:27:16 PM 
Started by matt4626 - Last post by Shalimar Beekman
Thanks so much luxborealis!

This is very helpful - I'll probably end up renting either the 300mm or the 400mm. I'm a portrait photographer so I wouldn't really have a need (or the budget!!) to purchase either of these lenses. But, I want to be able to take some good, sharp photos of what we will be experiencing. Which based on your previous posts will be AMAZING!!

The photos will be for personal use - this is a family trip with my husband and children and in-laws.

Thanks again!

 on: Today at 06:24:55 PM 
Started by Nir_Hason - Last post by Jim Kasson
Multi shot stitching, exposure compositing and focus stacking are very useful tools, but they are work arounds that 1) take time to execute, 2) take some additional equipment/software/training and 3) do not substitute well for moving subjects.

Below is a scaled down version of the 5 shot stitch that I did down and dirty yesterday at the Alabama Softball Game.  Look at the blur on the pitcher to see the limitations.  Oops hard to see.  Added a detail of the pitcher.

While not denying the limitations of stitching that you pointed out, I'd like to say two things:

1) You did a great job on that stitch.
2) You could eliminate the blur on the pitcher by masking all but one exposure in that region in the stitching software.


 on: Today at 06:14:24 PM 
Started by Erland - Last post by MHMG
Does this suggest there is some inherent limitation of dyes on baryta papers?

I'm not sure about that, however, the baryta is typically incorporated in a subbing layer, so I don't see why one couldn't get vivid color from dyes on a baryta type inkjet paper given that the top coat ink receptor layer is going to be classic microporous alumina-silica PVA-PVB binder type chemistry. I get very beautiful prints on Hahnemuhle Photo Rag Pearl using the Canon Pro-100.  Although HN Photo Rag Pearl is not a "baryta" paper, it is a "traditional fiber" paper in that it is has no PE subbing layers, and it exhibits a beautiful luster type finish on a 100% cotton fiber base sheet.

I do have some HN Photo Rag Baryta in house, but HN Photo Rag Pearl is my preferred paper. I will make a print on the photo rag baryta with the Canon Pro-100 and report back soon as to initial image quality.


 on: Today at 06:12:19 PM 
Started by seamus finn - Last post by seamus finn
Ben Bulben, Co. Sligo, Ireland, this morning.

 on: Today at 06:06:16 PM 
Started by Redcrown - Last post by samueljohnchia
I downloaded the zip folder and took a look at the DNG files. I think the cause for the differences is very simple. The eveness (or uneveness) of light illuminating the target is very different. The 5800K has quite a bit more illumination on the top portion of the target than the 6250K exposure. The surfaces of the patches are also not perfectly lambertian (diffusing), and it looks like some direct light is reflecting off the patches in the 5800K, making them brighter but unevenly across individual patches even. and You can see it easily by comparing the cursor readout numbers for each patch, or by cropping both to the same size and layering one over the other and toggle the visibility. Since the original 5800K has more washed out (less saturated) patch colors, it follows that the DNGPE makes the correction for them to appear more saturated than the 6250K.

 on: Today at 06:03:28 PM 
Started by Art Sanchez - Last post by BernardLanguillier
Thanks for sharing, superb imagery and outstanding image quality!

The dynamic range is particularly impressive in the sections where natural light shines through the windows.


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