Watching some of the discussions over at the blithering pedantic nonsensical mess that is the DPReview forums is enough to make reasonable people’s heads explode regarding camera brands and their respective “color science” and how it affects photographers. Generally, how one brand handles its colors vs another is the last thing you should be thinking about. With few exceptions, camera brand color science doesn’t matter.
First off, “color science” doesn’t mean squat to the average photographer. Color science is a real science and it’s mostly relevant only for engineers that are developing systems to deal with colors (in a nutshell). When the average photographer goes on about “color science” they’re not really talking about color science. They’re probably talking about color theory. They are two different things all together.
Then you get people talking about how brand X’s “color science” is better than brand Y’s. Or how people prefer one brand’s handling of color over another. Looking at the DPReview forums you’ll see people go on and on and on ….. And on about it.
But it’s mostly bullshit.
For a pretty good rundown on camera color science and why camera brand color science doesn’t matter, this video is pretty good:
In fact the only time that it might matter is if you’re shooting JPEG only and you don’t post process your photos. Then you’re going to see different brands produce slightly different looking colors. But even then it’s not really a big deal. However, if you shoot raw and you post process your files it doesn’t matter at all.
Period. End. Of. Story.
The reason it doesn’t matter at all in this circumstance is because people generally post process their images to their personal tastes and what looks most pleasing to them. You can take different photos by different cameras (in raw) and simply setting a white balance will remove almost any perceptible differences. To further add to consistency you could create a profile for each camera with something like an X-Rite ColorChecker and it will remove any perceptible difference. I guarantee that if you have three different brands of cameras and profile them, then post process them to your tastes you will not see any perceptible difference in the colors.
Anyone who claims they can look at processed raw files from profiled cameras and see a difference are simply full of shit.
Period. End. Of. Story.
That’s why when you look at photos by famous photographers who have changed brands of cameras you’re not going to suddenly see that their photos look any different. It’s because they generally post process their images to their taste and what they like.
So, at the end of the day if you shoot raw and post process your images to your taste concerning yourself over a brand’s particular “color science” is the last thing you should worry about.
Finding models to photograph is difficult. But asking strangers to be your model is a valid approach. Sure, you can hit up an agency I suppose, but for hobbyists like me it can be an expensive thing. You can also peruse sites like Model Mayhem. Technically using Model Mayhem is asking strangers to be your model, but that comes with it’s own hurdles.
One of the biggest issues with finding models to photograph on Model Mayhem is that the majority of models on that site are just difficult to pin down. That’s a polite way of saying they are flaky. I mean real flaky, typically. Instagram can be similar.
But asking strangers to be your model who you come across in everyday life is a valid option. The real problem with this approach, however, is that it’s so easy to be taken the wrong way, thus it’s important to use the right verbiage. I’m not certain what the right verbiage is, but I do have a good idea of what I feel is the wrong verbiage. For example, walking up to someone and blurting out something like, “hey would you like to model for me?” would definitely be awful.
Don’t do that.
Really. Don’t do that.
As an example of how I’ve asked a stranger to be my model, one time I asked someone working in a store that I regularly shopped at if they would be interested in doing a shot for my 100 Strangers Project. She agreed and then as we talked a bit more and I explained what I do, she expressed an interest in doing a full blown session. It worked out well. In fact participating in the 100 Strangers project has helped me immensely with approaching people.
Most recently, a couple of months ago I was in another store returning something. The girl behind the counter who was processing my return was very interesting looking. I visited with her as she processed the return and then when she was done, I handed her a card and explained that I’m a photographer and asked if she would be interested in doing a casual shoot sometime. Right away she was interested. I didn’t try to get a commitment or anything like that at that time. I just handed her my card that has a link to my main portfolio page so that she could, “get an idea of what I do.” At no time did I use the word “model.”
I think it was later that day that she reached out to me to set up a time. As it turns out, she has some experience doing the modeling thing, and had an Instagram page to show for it. After looking at her Instagram page I almost immediately formulated an idea of what I wanted to do. It was going to be something vastly different than what she was currently showing. I had a location in mind and I wanted it to be a kind of rural, country-ish, saucy cowgirl thing as the primary look, plus a more flowing dress or something with a sundress, too. And I was wanting to do both off camera flash and natural golden hour shots as well.
So I met up with her, along with an assistant and my photo gear at one of my favorite places in the valley to shoot, Dimple Dell Park. One of the things that I like about Dimple Dell Park–heads up for local photographers–is that it’s almost always calm. On this day it was extremely windy all over the valley. I’m talking way too windy to even think about using a light with a modifier; even with an assistant. But here at the park it was almost completely calm. It must be the geographical nature of where it’s located; kind of down in a little basin.
It did take a few minutes for it all to start gelling–something that’s pretty common–but after a while she really started getting into a cool little groove.
One of the first shots above.
I’ve found that when it comes to inexperienced models it’s always good to start them off leaning against or sitting on something. This fence was perfect. In fact with any model, no matter the experience level, I’ve found leaning against something is a great way to get started.
This shot is pretty good. She’s a great looking and her skin is just perfect.
But I always have a goal of making things light if possible. This next one below is when things started to loosen up a bit. After a quick change of clothes and more fence-sitting, I could see she was getting pretty comfortable with the crack of a smile. A little goofing around is a good thing.
I moved my light around, found the sky in the frame. I exposed for the sky and used the flash to fill in Analiza. I love these kinds of shots; mixing ambient with flash.
And then we started getting down to business. One thing that I’ve found that I can’t stress enough is to show the model some results on the back of the camera regularly and often. It really helps when they can see what’s being produced. They also get an idea of what we’re all going for. I show them about every third shot or so. Show them what’s going on and use it to explain what I’d like to see.
Now, we’re beginning to get someplace:
Soon we did a change of clothes and moved to another location in the park.
Thus far for all the shots I used an XPLOR 600PRO with a 38″ deep parabolic soft box. On the shot above I had an assistant hold up a large scrim camera left to negate some of the wildly changing lighting from clouds blowing by.
Earlier in the week I bought a funky looking cowboy hat for cheap. I gave it to Analiza and she rocked it quite well:
When you start wearing otherwise goofy looking cowboy hats and rocking an open shirt, one thing that is key as a model is to not hold back. The line between silly and cool is a thin one, and in order to pull it off I tell models they have to own it, flaunt it, and be absolutely unapologetic about it. It makes all the difference in the world. Plus, it helps with engagement. In the shot above, she almost looks like she’s challenging anyone looking at the pic. You got a problem?!
The following shot is pure natural light. The golden hour was perfect:
And the following shot was a mix of ambient and off camera flash. The sun was low enough that I thought it would look better with a kiss of flash. I used the XPLOR 600PRO camera right with a Glow 70 degree Magnum reflector. That thing is a beast. I set it up about 15 feet away camera right:
We actually ended up coming back to the park a few days later to get in some looks with a sundress that we were not able to fit in on this shot. The following photos are from that visit:
So, there you have it. I met a young woman at a store, asked if she would be interested in doing a photoshoot sometime, and these are the results. I think she did amazing and it was a lot of fun for both of us. We’ve since done another shoot that also turned out well. I’ll put up a post about that shoot soon.
Had it not been for me asking a stranger to be my model, none of this would have happened. So ask yourself, what are you waiting for?
One has to wonder how a technical issue could result in a page offering something that was never before available while at the same time removing some that has always been available could occur, but hey, I suppose it could happen.
Personally I tend to agree with Adobe’s official statement; it was a test. I also feel that there was sufficient blowback that they thought the better of it. CSR reps don’t just spew out a line relating to something as huge as this without it being passed down.
Generally, that is.
Here’s the deal. Adobe is a huge corporation who at the end of the day owes their allegiance to their shareholders. Love it or hate it, that is the reality. Their existence is solely predicated on the basis of making money for shareholders. Period. End. Of. Story. I don’t have a problem with that. That’s how capitalism works. If not for that concept, there would be no Lightroom and Photoshop. We’d all be stuck with Giimp or some other nonsensical freeware. But all of that being said, Adobe needs to walk a fine line. They have undoubtedly increased profits since the advent of the subscription model; a model that I personally love. But if they bump it to $20 a month they will lose a lot of people. Their pitch seems to be that with the $20 you’ll get 1TB of cloud storage instead of the 20GB that currently comes with the $10 plan.
So what. Personally, I couldn’t care less about a single KB of cloud storage that Adobe might offer. The way I look at it, Adobe is a company that makes its bread and butter mostly as a developer of applications for creatives, not selling storage space in the cloud. As a photographer, the only thing from Adobe that I care about is Lightroom and Photoshop. If they start charging $20 per month for me to use Lightroom and Photoshop I’ll probably need to reassess my relationship with Adobe. No, I might not bail right away, but I’ll definitely start laying the groundwork for as easy and painless of an exit as possible.
Trust me, Adobe. You don’t want that. No, Adobe doesn’t care about what I will do, but I think that I represent a huge segment of their user base; enthusiast/professional users. After all, for photographers, Lightroom and Photoshop are the industry standard and contrary what many like to pretend, these are absolutely the best overall tools available for many reasons. Yes, there are other options out their, but they pale in comparison. The workflow possible with Lightroom and Photoshop is difficult to replicate in any other ecosystem.
But that’s changing. As I write this there have been a number of other vendors who are starting to become competitive. I am confident that within 5 years there will be fully competitive alternatives available.
What else am I confident of? Within 5 years you’ll be hard pressed to find any meaningful alternative that isn’t a subscription model.
Way back in April of last year I wrote this post on the best way to upload images to Facebook. For a long time the method worked great. Then Facebook, being the moving target they are, changed it so that the method resulted in horribly fubared images. Trying to go back to uploading images the old way which was basically resizing them to, say, 2048px on the long side if in landscape or, if in portrait, 960px and then saving as JPEG with the sRGB color profile embedded also resulted in just horrible compression artifacts from Facebook.
This was in December of 2018 when it all went to the crapper. At that time, after much experimenting I found out that the best way to upload images to Facebook was this method, which was basically just uploading a full size and full resolution image; making sure to not optimize it in any way. It seemed that by doing so minimized the damage done by Facebook’s compression algorithm; by optimizing the image before uploading it, it essentially got hit twice, once by you, once by Facebook.
But, either way, it resulted in the best image quality, nearly equal to that of the first method.
Well, it now seems that Facebook has tweaked their algorithm once again. Now it seems that the best way to upload images to Facebook is, again, resizing them to either 2048px on the long side or 960 on the top/bottom if in portrait mode.
Originally, uploading them in PNG, i think resulted in them not being compressed at all because the algorithm seemed to only concern itself with JPEGs, but I don’t know if that’s the case.
So, at the end of the day, for best quality, it’s probably best to use the method I wrote about originally. That method is capped by saving them in PNG while preserving details. The reason I think this will work the best is because PNG is a lossless format when saving. Yes, they are converted to JPEG by Facebook, but they are only hit the one time rather than the twice it would be if you save them to JPEG before uploading them.
Yes, DP Review discussion forums suck. It’s not really surprising in and of itself because most online forums suck; it’s just the nature of the internet I suppose. The reason most online forums suck is because of crappy moderation.
But this is a photography blog, what gives with this disrespect for online forums? Well, as you probably know, DP Review is digital photography gear news and review site. It generally has pretty good information. Their online forums, like all online forums, are mostly crap, but there can be some very useful information to be had in some of them. The most useful for me were the forums on lighting, retouching, and portraiture. Each one of those forums has a small number of regular participants that are truly experts in their given field, and they demonstrated it often by example.
But somewhere along the line DP Review apparently took it upon themselves to crack down on uncivil behavior; perhaps they passed word down to their mods, who knows. Combined with huge page long rules for each forum along with mods who may or may not have reasonable notions of what “civil” is and it’s pretty much guaranteed that DP Review’s discussion forums are going to fall into a deep suck hole.
Anyway, the DP Review discussion forums have now largely lost their appeal and usefulness.
In my opinion here’s how DP Review (and all online forums) can become tolerable, and more importantly more useful . It’s very simple, really. Outside of stalking, doxxing, personal threats, and off topic responses, anything should pretty much go.
In other words, treat people like adults and don’t try to police civility. Just let people easily block those they don’t want to interact with. That way, the system will take care of itself.
This is a look at a behind the scenes glamor session in a small home studio.
I’ve been wanting to do some kind of full on glamor stuff for a while, now, but I haven’t really had the means to do it. When I say means I’m talking about the talent needed beyond any skills I may have as a photographer. If you’re having trouble wrapping your head around what I’m talking about, I’m talking about a good hair stylist and a good makeup artist. For the kinds of shots I had in mind I felt that I could get away without a wardrobe person, but as far as hair and makeup, no way. Not if I wanted to do it right. Not to mention a good model or models.
I have a friend, Kasey, from a martial arts gym that I frequent who I knew does hair and makeup professionally, and I’ve been talking with her over the past few months about what I was wanting to do. She was on board, but it just seemed that I could never get a model lined up. I have a couple of really good model friends, but it was just hard to get them nailed down.
One day at the martial arts gym I met Angie who was a new student. Right away I thought she would make a great subject for my 100 Strangers Project, so I hit her up about it. She was really open to the idea, but she went on to say that she was a model that was represented by an agency.
We got to talking and I showed her some of my work and she flat out said that she would like to do something with me. I then told her about my idea and Kasey the HMUA who was also a member of the gym, and it all just started falling into place.
Side note: Don’t be afraid to approach people you want to photograph.
Anyway, we created a shared Pintrist board for ideas and went from there.
Over the next few days I worked it out with Kasey the HMUA and she said she had a friend who was a great hair stylist who she thought would like to get in on it as well.
Hell, yeah. So, we set up a date with Angie the model, Kasey the MUA, and Paul the hair stylist.
I had already set the notion that I really wanted to do a full on head and shoulders glam type of thing as a priority and then do something else as a secondary thing; a couple different looks, one standard glam and one using a masquerade type of mask. Angie was really on board with that and had shown me a bunch of ideas on the Pintrist board.
On a Sunday morning Angie stopped by the house with a suitcase full of clothes and a couple of cool looking masks. After a cup of coffee, Paul and Kasey showed up and they started working on Angie in my kitchen (yeah, home studio guy here).
After Paul got done doing his thing Kasey went to work.
After we got everything down it to the studio. I don’t have a large studio, but I’ve managed to make it work.
My plan from the beginning was to use a pretty simple light setup; an on axis 38 inch deep parabolic fairly close and at about a 45 degree downward angle with a reflector about chest high to bounce a little fill.
1 Flashpoint XPLOR 600PRO
38″ Glow EZ Lock Deep Parabolic Softbox
1 Lastolite 30″ reflector
I used gray seemless paper as a backdrop and flagged either side with a couple of black V-flats to contain the light as much as possible. It resulted in a kind of nook. It worked pretty well.
Here are some of the resulting shots:
Kasey got in on the mask action, too. On this shot no bottom reflector, just the softbox nearly on axis.
And finally this other one of Angie. Like the above shot, this too without a bottom reflector and just the softbox nearly on axis.
All in all I’m pretty happy with these shots. I got a lot of good ones and Angie got a couple of ones that she handed off to her agency for their website.
At the end of the day it was a great experience. We all had a lot of fun and I learned a ton. Angie and I have already started working on some ideas for the summer; editorial style fashion experiments, and a little project I’ve been wanting to do for some time.
And, of course, the obligatory goofing around selfie!
Continuing the Girl In a Skirt project, I’m coming across a huge challenge and it has nothing to do with anything camera related, lens related or anything technical. The hardest part is finding skirts. We bought this skirt in Moab and haven’t been able to find another anywhere. Short, mid-thigh flowing skirts are almost impossible to find anywhere. We’v traipsed allover the city trying to find something kind of like what’s in this photo, but different.
None. Nada. Zilch. Next stop, probably some second hand stores.
I’m starting a new project called Girl In a Skirt. I’m not quite sure where it’s going to lead other than it will feature, well, a girl in a skirt. But I am thinking maybe the same girl in various different skirts and locations and shot with different styles. I don’t know. But I like the idea of a unified project to give some direction in which to go. In reality it’s probably going to evolve as I go. The only thing I do know is that it will be a girl in a skirt.
One of the things that I enjoy most about photography is the never ending learning curve. Sure, the curve may flatten out a bit, but it’s always there. One of the steepest curves for me is retouching photos. On the one hand all of the tools we have access to open up so many possibilities, yet on the other hand they contain so many pitfalls. For the most part, I prefer a light retouching hand; to not “over bake” a photo. But one person’s masterpiece could very possibly be another’s over baked mess.
I was talking to someone today about retouching and he claimed that he doesn’t do any retouching, preferring instead to “get it right” in the shot. That’s all fine, but if you’re shooting in raw format, some processing is going to be in order no matter what unless you want a flat, bland photo. When I mentioned that his response was that he didn’t believe that the adjustments you make to a raw image–adjusting color balance, contrast, etc–should be considered retouching. He has a point. I’ve always considered any post production work to be some form of retouching, but maybe that’s not quite correct. After all, if you set your camera to JPEG mode, you’re simply letting the camera do the post production work for you at a very basic level.
But even then, many photos can benefit from retouching if not require it. I’m talking techniques to lighten skin blemishes, balance skin tones and other things.
For example this pic is straight out of the camera, untouched accept to convert it to a JPEG:
This was a flash experiment using an off camera flash gun camera left. It looks fine, but like all raw files flat. Plus when I was taking the pic he was complaining about his pimples. I mean what 14 year old isn’t going to complain about their pimples, right? Also from my perspective, along with the generally flat nature of the photo, I wasn’t crazy about the background which is simply a wall painted off white. Just about everything with this pic is “right,” but it can still be better.
After messing around with the color balance in Lightroom I exported it over into Photoshop where I did some frequency separation to smooth out the skin and reduce some of the shadows under the eyes (hey, he was just home from a grueling day of school). I also did some goofy stuff with some filters to bring out the texture in the wall and warm it up–a lot–because I like the way it looks.
It turned in to this:
In hindsight, I think I could do more to reduce the shadows under the eyes, but I was concerned about it looking over baked. But even then, I think it looks much better and the blemishes I took out were the temporary ones. I didn’t do anything to change any features or his natural appearance. I am going to go back and work on those eye shadows for sure. The top, unretouched photo, aside from the flat nature of being a raw file, represents the subject as they were at that exact moment, but the retouched one represents them more accurately generally. Except the wall. The wall would never look like that, but so what? I like it better.
My goal, whether I’m always successful or not, is to produce a result that is natural looking, not over done. I’ve seen some retouching jobs that look so over baked that the subject doesn’t even look real. They look plastic. Definitely try to avoid that.
The whole frequency separation thing is pretty new to me and I’m still learning. There are a ton of resources all over the internet if you’re interested. One of the better ones is this one.