jerry plunk

<p>Thanks to everyone for the constructive input. Will follow up and let you know how it goes. Cheers</p>

<p>Correct <a href="/photodb/user?user_id=361342">Andrew Rodney</a>. I want to show my client what that single color does and how it is perceived under different situations.</p> <p>Let's say it is PMS 490 (using PMS because it is a standard baseline of colors in the printing industry). I can take that 490 swatch, shoot it in two lighting situations, then take swatch 491 (for simplicity, let's say that 491 is the warmer direction) and do the same thing, then take swatch 489 (again, let's say 489 is the cooler direction) and do the same thing. We would have 6 images. Each swatch shot in two situations.</p> <p>The client could then view these on my display (calibrated) and see, within reason, how each swatch shifts in the two situations. Then the client would have the right information to make an intelligent decision about which final swatch to choose for a target color for a their product to be printed/photographed in the two different lighting situations.</p> <p>The goal is to have the client be comfortable with a single hue/color, knowing that it WILL shift in different lighting situations, but having to choose one established hue.</p> <p>My thinking is to use a device that helps me record the lighting at the time of the shoot. Then later calibrate LR with a profile for that situation and equipment so that what is viewed is as close as possible to comparing apples (swatch at the shoot) to apples (swatch on my display) so that the client can make an educated decision.</p>

<p>Wow. There's some bitter folks up in this website. Try the decaf and get out of your house a little more. However, thank you <a href="/photodb/user?user_id=361342">Andrew Rodney</a> and <a href="/photodb/user?user_id=17942">Ellis Vener</a> for being professional and educated as to understand my question and give a straight answer to a fellow professional. I look forward to learning from you. For you guys, I'll elaborate.</p> <p>As I mentioned, I'm attempting to capture a color. A prescribed, solid swatch of color at a distance of about 20 feet printed on a prescribed substrate by a prescribed printer. I want to capture this color swatch on my Canon 5d2 with a 70-200 2.8-L, and have that swatch travel from capture to client viewing on my monitor and have "virtually" very little shift in color value and hue. I want to (A) shoot the first sample on a clear day with full sunshine, and then (B) shoot the same sample, same location, same camera/lens, on a cloudy day.</p> <p>When viewed on my monitor (assuming it is calibrated correctly for the environment that it sits), the two swatches can be seen side by side and the client can view them and understand how the sun and the lack of sun, in the environment that it physically sat during the moment of the shoot, how it affects that particular color, used on that particular substrate and printed from that particular printer.</p> <p>Basically, the only changing variable from one image to the other image is the effect of the sun behind the clouds, how the environment changes when that happens and what effect that will have on that particular color on that particular substrate.</p> <p>All of this is born from attempting to arrive at a single, "chosen" color on an established substrate that will later be used in a shoot, taken by a 5d2/70-200, 2.8-L, in a sunny and overcast-ish day by another photographer. Then I will receive that photo (raw), know exactly what color is used in the shoot and I will know, within very good reason, how the light/modified sunlight affects that color on my monitor.</p>

<p>i am attempting to capture a color, i'll call it PMS 490, and how it is affected by its environment during a sunny and during an overcast day. i want to see exactly how 490 looks when affected by those elements. i do not want the camera to alter the color or the monitor to alter the color or the printer to alter the color. but i do want to see how the direct sun and indirect sun (sunny and overcast) affects that solid color. <br> my thought is to purchase the ColorChecker Passport by Xrite so i can dial back in a profile that was recorded at the very moment i shot the PMS 490. that way i can see, without any other influences, how the sun/lack of affected that solid color. <br> what are your thoughts on the most scientific way to go about achieving this and arriving a a true color as it is affected by the sun and overcast?</p>

<p><a href="/photodb/user?user_id=8740759">Style Jeni</a> <a href="/photodb/user?user_id=405631">Jeff Schraeder</a> thanks you guys! i'll give that a try as well. </p>

<p>thank you <a href="/photodb/user?user_id=149687">ken tam</a>. i have tried that route but no responses and then my account was cancelled. upon review of others input regarding that site, it seemed that there were very little, if even more than one, positive review for mm. sort of scared me actually to get involved with that site.</p> <p><a href="/photodb/user?user_id=18908">Henry Posner</a>, thank you. i did not think of that. being an art student and haven taken figure structure drawing classes, i should have thought of that. i'll do that.</p>

<p>Does anyone know if there is a site or network to find models who would be interested in creating fine art nudes? Trying to find models for this either creates a very awkward conversation or brings forth people that are not necessarily interested in "fine art" as much as they are in crazy underground kinds of stuff. Any direction would be appreciated. Thank you.</p>