Color calibration is the key to obtaining an accurate reproduction of what you saw when capturing the image, and what is reproduced on screen or paper. It’s long been considered a bit of black magic as to how it is done, what with terms like gamma, color temperatures, luminance, and the like as part of the mix, but the simple fact is that unless you’re working on a calibrated display you don’t quite know whether the greens, blues, or other colors you are seeing are actually what everyone else is going to see, or what you’re getting when you look at the print you’ve made.
Capture One Pro stands as the Raw converter and digital asset manager of choice among many pro photographers, notably those using Phase One backs. But this software also supports many, many other cameras, with profiles for over 250 models plus a wide range of lenses. Version 7 (V7) has some new features of note, so I checked it out to see if an upgrade from 6 is advisable, and if it might tempt users of Adobe Lightroom/ACR. For this test I ran Capture One Pro 7 on a 27” iMac under OS X 10.8 Mountain Lion, with 8GB of RAM.
There’s a considerable difference between resizing, which means maintaining the same pixel dimensions and adapting to different document sizes at the same print resolution, and resampling, which means building additional pixels from the original file to enable printing larger documents at the same resolution. Say you have a 24MB file, obtained from an 8 megapixel digicam, that will normally fill an 8.5x11” print at 300 dpi when printing. But you just got a 13x19” printer and want to try your luck at that size, still at 300dpi. Well, for that you would need a 62MB file.
The job of auto-retouching software is to retouch faces quickly, easily, and with as little human intervention as possible. Most require you to either set or confirm where the major points of the face are, like the eyes, ears, and lips. After you’ve identified those areas, the software then goes about its business of transforming little Pamela into little Princess.
As more photos are made on more types of devices, there’s a need for resultant images that aren’t just “OK” but as good as they can be. And part of the need, it would seem, is that some folks don’t want to spend a lot of time learning complex programs to get the image results they want. Companies like Athentech Imaging aim to make it a one-click affair.
I always enjoy trying out the best new high-end products. It’s fun, but more important it tells me how good the best performance can be. But when reviewing color management tools I realize that photographers are not color scientists or computer programming experts, so I thought I’d start this review with a bit of a tech briefing on why they are important to all photographers who want to get the most from their work.
While some, like me, like to spend hours working on an image in their digital darkroom, quite a few photographers express a desire to process photographs into good-quality digital files with as little effort as possible without having to learn a new technique or software. For those who don’t find it fun and the rewards too hard to come by, a company in Europe called Elpical may have an answer.
Dec 17, 2012
Published: Nov 01, 2012
Photographers should back up their image files—it’s as simple as that—and there are numerous services that offer their services today. In this article I’ll be looking at one, Carbonite (www.carbonite.com), that works somewhat differently from others. Many people have told me that their $59 per year for the Home Plan, unlimited backup, is a steal, so I thought I’d check it out.
Edited by Georg...
Sep 18, 2012
Published: Aug 01, 2012
Every year the Technical Image Press Association (TIPA), a worldwide association of photo and imaging magazine editors, meets to pick the Best of Class in a wide range of photo categories. As the sole US member of the association, Shutterbug joins editors from Europe, Asia, and Africa in the nominating, judging, and selection process. One of the most exciting aspects of photography today is the constant advancement of technology and design, and this year’s Top Products reflect that spirit and those accomplishments, including new categories of Video D-SLR and Mobile App. Editor George Schaub joins all fellow TIPA members in congratulating those selected to receive the prestigious TIPA award. (To learn more about TIPA, please visit the website at: www.tipa.com.)
There’s no question that do-it-yourself photo books have captured the imagination of photographers, from pros to those who simply want to create a remembrance of a journey or to gather family photos. While just about every imaging software and online picture service, from iPhoto to Shutterfly, offers quick and easy bookmaking, there are some companies dedicated to serving the higher-end market, generally pros but also including every photographer who wants a stylish, custom-designed book. Software to help design the book is a key ingredient, as are options for book materials and binding. And in the end, the quality of the images reproduced, and the facility of ordering and making images ready, is what makes the bookmaking process a creative, fun project that will result in a book that will be cherished for many years.
One of the most common complaints about digital imaging is the lack of consistency when going from one device to another—most commonly screen to print. Dark prints are the typical complaint, but color shifts are also a contributor to choice language and lack of hair. Yes, we tweak the image until the sky is that perfect hue of blue, or the skin tones have just the right amount of warmth and vibrancy. When it’s all done, the image is posted online or printed and it looks nothing like what we expected. The image is too dark, skin tones are too red, any number of problems. Where did it go wrong?
In almost all cases, the culprit is an uncalibrated display. Back when CRT displays were the common screen type, color could be wildly different and it was usually pretty easy to detect when the display was at fault. With modern LCD displays that isn’t necessarily the case—color is often close to correct in hue, but luminance, or brightness, is where the problem usually lies.
The question is—does anybody really know what a given image would look like if they shot it on Kodachrome 25, or Fuji Acros, or some obscure color negative film that even in film’s heyday was little used or appreciated? Perhaps the more pertinent question is—how many people have made photographs using film? But film references are what a number of so-called film emulation software programs use for describing presets that can be applied to a digital image. Half academic and half nostalgic, the programs use film brand names to describe saturation, contrast, color nuance, and grain structure variations that are then applied to an image. Perhaps using film names is better than poetic fantasy terms, like “misty blue dawn,” but then again entirely subjective descriptors, rather than supposedly clinical ones used in these software programs, might be just as handy for today’s photography crowd. In any case, I recently tested one such program, DxO’s FilmPack 3.1, to see if it offered up creative variations that could be used as is or as foundation images when interpreting subjects and scenes.
Attempting to make the HDR process more user-friendly, the newly updated HDR Expose and Photoshop-dedicated plug-in 32 Float, now both in Version 2, largely share the same features and enhancements. As I see it, the improvements center mainly on workflow—reason enough to upgrade, in my opinion, and reason enough to consider these as serious tools for HDR work. Both are available from Unified Color Technologies.
CES is not a big imaging software show as evidenced by the short list of new products, though we did find a new camera profiling tool, updated monitor calibration tools, an old favorite Raw converter brought back to life under a new name, and software for editing on the fly and sharing photos.
ArcSoft introduced a Mac version of Perfect365. This software uses advanced facial recognition technology for one-click portrait touch-ups, letting you effortlessly adjust up to 21 individual facial features. Perfect365 allows you to add creative effects such as eye shadows, blushes, lipsticks, colored contact lenses, under-eye circle removal, and blemish removal. The software is available as a free download (www.perfect365.com) or in a premium edition ($39).
The most recent speed gains have been in SD format cards, making us wonder about the larger CF card. But that concern has been to an extent dispelled by some of the recent developments in this very fast-changing field. One of the newest developments unveiled at the show was a card that sits between those two sizes, the XQD card. The first camera to accept the new memory card is the Nikon D4, although the D4 also features a CF slot.
XQD has a smaller form factor than CF, so they’re not interchangeable. Sony, the company that introduced the world’s first XQD card, notes that you can record up to 100 Raw image frames from continuous shooting mode using the card and obtain 125MB/sec read/write speed when using a PCIe port; new XQD card readers are available as well. The casing around the card is “robust,” with contact pins inside the casing itself, which Nikon says helps eliminate problems in the field.