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 91 
 on: May 27, 2017, 04:03:22 PM 
Started by Eric Myrvaagnes - Last post by graeme
That is very cool, Brian.

JR

+1

 92 
 on: May 27, 2017, 03:56:14 PM 
Started by Osprey - Last post by Rob C
No, probably not "popular", but does it matter?

The problem with this genre is this: it's been done to death; few people give a damn about the types that do the demonstrating, putting them instantly into the category of losers. Justly or otherwise doesn't matter: it is what it is.

But don't listen to moi: I haven't shot a shot in over a month. The muse has gone on holiday and didn't leave an address... I'd be perfectly willing to be unfaithful in her absence, but no other musette seems to be coming round - in any sense of the notion.

;-(

Rob

 93 
 on: May 27, 2017, 03:56:06 PM 
Started by colorforest - Last post by keithcooper
I took this pic just before my 8300 went off for scrap... :-(

Note how the stand feet stick out from front of the printer - hence removing it from the stand to get it through the doorway

You also save a bit of width by lifting the cover and the front of the platten

It went though the 29" doorway just fine (all our interior doors are on drop hinges so just lift off when open)


 94 
 on: May 27, 2017, 03:25:37 PM 
Started by keithcooper - Last post by deanwork
 There is a situation with the 8300\8400 printers that can blow the head board and I don't think most people don't know about it, I surely didn't. When a head is finished and needs to be replaced you get the error message. But if you Shut down and restart it will usually let you keep printing even with a nozzle color missing. But pretty soon it will start doing a head cleaning and then it fails again and you get that message. If you are in the middle of a job and really want to do another print or two you might be tempted to do another cleaning or two or keep restarting hoping it will let you continue - and that is the big mistake. When doing these cleanings your head circuit board heats up and that will kill it and cost you a very expensive service call. The tech showed me on the diagnostic data where the head had over heated twice while doing the extra cleanings that I had forced.. Now when a head needs replacing I just stop printing immediately and order the head. I've talked to a couple of people who have given up on the situation because of doing exactly what I did. The other thing that can kill the circuit boards easily is lightning power surges. I've been there too,
Killed my main board that way.

The printer has now gone :-(

The guys who turned up to move it had obviously not been told quite how heavy it was, so I had to give a hand.

Now waiting for Epson UK to send me that P5000 they mentioned ;-)

 95 
 on: May 27, 2017, 02:44:24 PM 
Started by torger - Last post by scyth
for DCP (two tabs for targets/illuminants) can we have in each tab a button saying something like "copy all settings from the other tab" ?

 96 
 on: May 27, 2017, 02:39:47 PM 
Started by torger - Last post by scyth
baseline exposure is taken if DNG

do you override this with the control in GUI or the value dialied in GUI is added to the value from DNG ?

 97 
 on: May 27, 2017, 02:35:02 PM 
Started by tintoreto - Last post by pschefz
I don't know Phocus, however if they can read a full raw file and send it over a wifi ink to a ipad to allow a zoom I am impressed.  Capture Pilot is only bringing over a jpg, for it's process. 

Paul Caldwell

check it out when you get a chance....on the H6 for example....i think the way it works is that the app makes the iPad work like the rear LCD screen...i don't think any files actually come over, it somehow seems to read the files the same way the back reads them when you zoom in (for example)....
i think capture does a similar thing in the capture pilot app....but that one obviously needs a computer to run.....

like i said, i don't really know how it works exactly, but i do know that once you have your iPad connected to the camera (or back) the thumbs pop up instantly, you can click on the thumbs, they open up instantly and you can pinch-zoom in all the way to 100% as fast as you can on the LCD screen on the back....and afaik no files are actually sent to the iPad.....i am assuming the iPad only reads the (bigger and bigger) previews as needed....

it is by far the best implementation of wifi, app, iPad i have seen...and i honestly don't understand why hasselblad are the only ones doing this....

 98 
 on: May 27, 2017, 02:34:15 PM 
Started by ErikKaffehr - Last post by Paul2660
Evening cc afterglow on Yosemite Falls early May 2017 by paul caldwell, on Flickr]

Afterglow on the the rocks at Yosemite Falls, IQ3100 and 75-150 @ 75mm, ISO 50.  Click on the link for a larger view. 

Paul Caldwell

 99 
 on: May 27, 2017, 02:31:09 PM 
Started by torger - Last post by scyth
I'm going to do a "middle way", the next patch release will have an extra "Custom Target with Raw Values". You will still need to load a target image (where the profile is applied, camera model and baseline exposure is taken if DNG), but the image doesn't need to contain a target. That way you can import CGATS with pre-scanned values, and you can use DCamProf to make CGATS with raw values derived from SSF, or scan with RawDigger if you prefer that. With the ability to load pre-scanned values I think it's overkill to make SSF support directly inside.

does it mean that I can use dcamprof to generate some artificial target using SSF data ("dcamprof make-target") and then load this file ("The file format is Argyll’s .ti3, with some DCamProf extensions. ") ? if so a nice point to take over dcamprof under the circumstances ...

 100 
 on: May 27, 2017, 02:03:08 PM 
Started by torger - Last post by torger
Pls apologize for this very basic question.
Is there any real benefit in using well designed profiles vs fine tone/color tuning in LR/CO (or others) starting from the canned profiles? I have already purchased the Lumariver Profile Designer and I am trying to get the best out of it.

I think there are many more or less subtle benefits that adds up. I think most photographers are quite hard to convince of the meaning of profiling your camera, and that's why camera profiling has stayed a niche mostly related to reproduction work. There's this idea that no matter which colors the camera start out with you can with post-processing adjustments in the raw converter get the colors to where you want, combined with that many do so heavy post-processing that there's not much left of the original color.

I don't think that it's that easy, the original color will shine through in one way or another. But even if you don't think it does there's the argument that why not start off with something you like, and something that's not way different between cameras and raw converters. Quite useful if you have more than one camera to be able to match them so you can carry your own look between different cameras more easily. I still see today that many switch from say LR to CO because of the colors, and well, you can fix that with a profile, you don't need to change raw converter... And why not start off with something that's actually neutral and realistic so you have a sane baseline. To me that's very important, I don't want a distorted starting point which someone else have designed, I actually want to know how my post-processing modify colors. I just don't get it why a modern camera shouldn't produce natural colors (and those working with product, architecture and other color-critical applications often say the same).

Say 10 years ago, camera sensor color filters responses differed a lot more than they do today. The hardware was often more saturated natively (with limited signal-to-noise ratio that was a wise design choice) and harder for a profile to control. Today camera hardware is more similar and matters less while profiles can control more of the final outcome. Knowing that you have the tools to control the color regardless of camera brand or model or raw converter at least I think is valuable.

Others may like it that their brand makes the look, a view not the least common in medium format community where there's a lot of prestige in the way colors are rendered and it's almost an insult if you claim you can improve on that :). There's string quite strong mythology around colors of certain brands. But actually, it's not so much about improving a look, it's about being in control of the color and make profiles that are aligned with your own taste, rather than adapting the taste to someone else. That said, it's not easy to make any crazy look with Lumariver Profile Designer, it's anchored in neutrality and realism and you work from there. So it helps if one at least has some interest in maintaining some of that.

To all this you can say -- "I don't care, I'm happy with canned looks the manufacturers and raw converters provide", and many do, and I'm fine with that. I'm not trying to convince everyone.

I see quite different approaches using Lumariver Profile Designer too. You have one group that runs the auto mode and are happy with the default neutral & realistic profile it produces, and you have another group that spends hours and hours fine-tuning and creating their look of their own, and come up with things that are very different from how I design my profiles, and I love to see that the software is not locking in people in "my" preferred look either. For those that spend time with the software and tuning profiles for different cameras there's the added benefit that you gain a feel and understanding of how colors work, what you like and not, how cameras differ (they do a little still) etc.

So there's some sort of answer. If my company actually had any marketing people they would have stopped this project before it started :) , there really isn't a one-liner slogan that everyone will understand and appreciate. Or maybe there is... if so I haven't figured it out.

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