Deon Reynolds

Fascinating. Thank you for the education! I always shoot in RAW but had no idea what happens under the hood, I call it FM (F-ing Magic).

I did not know digital cameras, do not have a color gamut! I assumed so since I set the color space on my digital cameras to Adobe RGB (1998), color mixing makes total sense. Thank you for clarifying that! The calibrated apple monitor I'm using can produce 100% of the Adobe RGB (1998) gamut, that is why I purchased it. I calibrate my scanner using 4 different IT8 targets (Reflective/Transparent-Kodak/Fuji). After I did this I was blown away by all the subtle colors that came though. I'm using an Epson P6000 printer (arrived last month after a four month backorder), I do not calibrate it, I let photoshop control the color. I do put as much as posable to ProPhoto Color since it has a slightly larger gamut than Adobe RGB (1998). I'd rather dumb it down for what ever use the image ends up. Everyone sees color a little bit differently than the next person, but almost everyone can see SOOO many more colors than even the biggest color gamut.

None of these were stolen, they quit working or were of such low quality I quit using it. I put one of the broken cameras (firmly attached) down at our gate, which is a quarter mile away from the house. Hoping to make people think before driving in. Our closest neighbour is a 90 year old retired police officer, he has lived here for 30 years, he says there has only been one crime on the road since he has lived here, people don't lock their houses and the keys are in the ignition...

Those are great, now that's the kind of quality I'm looking for. Thank you! I'm not interested in spending much on this kind of camera, as I don't need DSLR quality. The place we purchased is between two wildlife refuges to the north and south, BLM, then wilderness borders our property to the east and the Rio Grande runs through the neighbors property to the west. The last place we lived was way more remote, but this place has so much more wildlife. Very interested in what ventures through...

Mirrorless is more compact and lighter in weight, but I'm not switching to a mirrorless because I'm too invested in EF prime lenses. Plus I don't see an image quality or megapixel increase to warrant such a move. I'm shooting with Canon 5Dsr's, I own four of Canon's newest TS-E lenses (tilt-shift) and they are not going to make them anymore. I understand there is an adapter for EF to RF, but why? You're right back to the same size and weight of a DSLR. Canon and Nikon should be able to make better lenses since there is no mirror to get in the way (especially wide). But, so far I'm not seeing anything more than a smaller lens with the same optics inside. It's as if these companies are saying goodbye to the professional market to satisfy the Prosumer market. I get it, there are way more prosumers than professional photographers out there, so they follow the money.

Sorry, The first two cameras were JOH M1's 24Mp 1080p video water proof 50 foot IR flash 50 foot trigger. The first one lasted six months and quit, they sent me another one under warranty. It lasted two uses, don't want another one. The third one was a Lanmodo TC4K is 48 Mp water proof 100 foot IF flash and 100 foot trigger. All of these cameras are pure garbage! 48Mp is a joke, I've seen better images from a 4Mp camera. These all had 4 or 5 stare ratings on Amazon...

Yes, it's a small usually camouflaged camera you strap to a tree or what ever.

I have purchased several wildlife cams the first one lasted six months but the quality was very poor. Second camera lasted two uses, third camera (48 MP) has such low image quality I simply can't use it. One thing I have found with wildlife / trail cameras is that they all lie about Mega Pixel size. I purchased two that say on the box 24Mp but when you read the fine print in the instruction manual it says it's an 8Mp sensor interpolated to 24Mp. And, literally I turned the Mp down to 8 and there is no difference at 24Mp, just a bigger file size. Anyone have any recommendations of a quality wildlife camera? I don't need or even want big files, lens quality would be helpful. Thanks, Deon

Thank you! Everybody’s input has been very helpful. I can steer from here… I come from old school color management (I think that’s why separate all the colors/channels into layers in photoshop the way I do), so this is helpful to me. While in college I worked at a camera store, I was hired by my (now) wife. We most likely were flirting too much, so the boss took me over to his other business and put me to work making color separations for his small print shop. I was tasked with making separations using a 40x40 LogE camera. I didn’t make too many full color separations, as his biggest client was the USGS and my job was making negatives for each of the color plates for quadrangle maps, that was 40 years ago and I didn’t work there more than a couple of years, everything’s so different, but not really…

Exactly! What is maximum black and why do you even need it? I think of photography as an art form, open to personal interpretations of the creator, not a math problem.

Thank you!

Thank you! I had not heard of this plug in I will check it out.

Yes, I whole hardly agree. For color work I now only shoot digital. However I have 40,000 color transparencies and I had started to shoot color negative film about five years ago and only have a few hundred frames I want to scan.

I recently started scanning color negatives. I’m not new to scanning film, but most of my experience is with B+W negatives and color transparencies. When scanning transparencies, one becomes aware of the color palette from the brand/type of film scanned. Mostly I’m scanning Fuji Velvia, if you are not familiar with Velvia, it has very saturated primary colors and skies that frequently shift magenta. With these scans I’ve been mostly successful neutralizing the “Velvia” look into what I feel is a more natural look. This makes me happy! Now, I’m scanning color negatives and again I become aware of the color palette from that film. But, Here lies my rub. I don’t seem to be able to escape the palette. This image is about the best I’ve been able to accomplish so far. I don’t think it looks bad, I just think it looks like color negative film. I was hoping to get a more natural “what I saw” color, similar to what I was able to accomplish with transparency film. Any thoughts of getting away from these colors? Or, do you think I’m I barking up the wrong tree? I really do not mind the colors. I just though photoshop could escape the C-41 look without it looking disastrously unnatural. Thanks, Deon My process: Hasselblad 501 C/M 60mm CF lens - Kodak Ektar 100 shot @100 ISO out-lab run normal. To scan, I’m on Mac OS 12.6 / Mac calibrated monitor, Epson V-700 scanner with scan bed. I’m using Silverfast 9 software IT8 calibrated and Silverfast’s “Kodak/Ektar” profile, I tried other profiles just for the heck of it, the correct one seemed the best (I have found not always true with some films). I scan every image as big as quality allows (don’t let Epson interpolate size), ProPhoto RGB color space. I’m editing in Photoshop CC (24.0), after I straiten, crop the image to the rebate edge, spot away dust and flaws I add in layers. First Levels, then in Curves I open each color channel and adjust each color to get a global color I like. Then Hue/Saturation, going through each color (not global) I “WAY” over saturate each color so I can see what effect each color has on the image. I adjust the hue (baby steps) if need, then desaturate back to normal, repeat for every color. Last, I open Selective Color going through only the colors I feel need help and adjust. Save with layers. The 40x40 scan with four correction layers = 1.75 GB file. Image: Great Basin National Park, Nevada. Alpine Lakes Loop trail. September 13th, 2017 early fall colors, not the colors I'm worried about.

Sounds super complicated, but very interesting! I use the zone system for exposure, a test strip in the darkroom and more often than not, I nailing it on the first print. But then I've also been in the darkroom for over 50 years. Things get intuitive and just happen after you practice a few times...

How fun and what a great opportunity! I would like to add, anyone who is in the business of photography should have FotoQuote in their computer. It is indispensable when it comes to how much should I charge and how do I negotiate with a myriad of types of clients for any kind of photographic project imaginable. https://cradocfotosoftware.com/fotoquote/

This is a film I mourned when it went away, it was my favourite film. I shot this film at 12 or 25 ASA then processed it in D-76 normal. I liked the high contrast aspect since I was living in the Pacific Northwest back then, where is raining and overcast most of the time, making for very soft light. The contrast of the film helped a lot! Hasselblad 500 c/m 80mm C lens Kodak Panatomic-X 120 film.

Film prices have indeed skyrocketed! I live in a remotely so shopping any other way than online in out of the question. Unique photo has the best pricing on film that I have found, but they raised the shipping cost recently. Last month I ended up buying 40 rolls of Kodak TX-135-36 from unique because they had a deal on that film with free shipping. But needed to shop B&H for 40 rolls of Ilford FP4-120 and 40 rolls of Pan-F 120, same price as unique but the shipping was much lower. Interesting point, I placed the order minutes apart, the B&H (NY) film was shipped UPS and I received it in four days (I'm in New Mexico), the unique (NJ) film was shipped the same day USPS and I didn't get the film for ten days and every box of film was mushed (film OK).

Before I was born, my father took photography/darkroom from Minor White (worth the look if you don't know who he was). When I was seven years old he handed those lessons down to me and turned me loose in his darkroom. I never stopped and neither has the magic. Other than my fathers tutoring (mostly about art and design) I have never taken a class in photography. Before college I assisted my father as he created seven “states” photographic coffee table books for Graphic Arts Center, loading film on fishing boats and sea planes in Alaska to horseback in Texas. After college I started out as a photographers assistant. I freelanced for several photographers, one did architectural photography doing work for Architectural Digest and Better Homes and Gardens, we would fly all over the country for this. Another photographer I worked for was a studio photographer, we mostly did catalog work for clients like Nordstrom, Nike, Adidas, etc. At this studio we mostly shot 4x5 and 8x10 film, it’s also where I was working when digital took hold in the commercial world and we started using a 4x5 digital scan back and Photoshop 5. Another photographer sent my wife and I off on location scouting adventures to places like the Chukchi Sea, Death Valley and obscure wilderness areas in the Cascade Mountains, we would pinch ourselves to see if we were dreaming… The paradigm shift that digital created changed commercial photography forever, then add in 9-11 which changed advertisers ways of spending forever, changing yet again the industry. So we sold our house near Portland, Oregon and moved to the small and very remote community of Eureka, Nevada to pursue photography as art. We spent 13 years documenting the historic legacy of mining, ranching and the empty landscape of the Great Basin Desert. We had been receiving death threats from the more conservative locals, so we put our 1880 bank building up for sale, when it sold we planed to wander the Southwest looking for the next place to call home. But, opportunities opened up and we took off on an adventure encircling North America twice with an orange cat named Rusty in a conversion van. We would spend 40 months, exactly 1,200 days living in a van, we would photograph utility grade wind farms and do casting and scouting for a Native American ad campaign for the US Census plus, I managed to create more images than I have ever created. Just over a year ago we found paradise, a small solar home on acreage with a shop, studio, greenhouse and garden in Bosquecito, New Mexico. The studio is mostly functioning and the darkroom is waiting for a plumber to hook up the water and drain so I can get to work on the hundreds of rolls of film I shot while on the road. I had been processing my digital images along the way and even after ruthless editing still managed to create nine terabytes of images on the road. I figure I’m here in the studio and darkroom for some time as the mountain of photography I have created is very overwhelming! I have way too many cameras, Trish likes to make fun of me for this… Digitally I’m using Canon 5dsr’s and Canon lenses: ts-e 17mm, ts-e 24mm mkII, ts-e 50mm macro, 85mm f=1.4 100m macro and a 200mm f=2.8 mkII. With film I mostly use several modified Kodak “Fun Saver Panoramic 35” disposable cameras reloaded with Kodak Tri-X film. Next, a Hasselblad Flexbody and 501 c/m with 60mm CF, 100mm CF and 120mm Makro CF and a few Holga 120’s. And, I will not go into the boxes filled with a dozens of different kinds of plastic cameras... Website: https://www.deonreynolds.com Blog: https://deonreynoldsblog.com