lsaavedra

<p>Wich settings do you guys normally use on you monitor when calibrating in order to match on the screen what you get out from the printer?<br>

I have spyder2pro meter 22'' samsung LCD screen attached to a laptop (so it is my extended monitor) and a Epson R285 printer custom profiled at <a href="http://www.colorprofiles.com">www.colorprofiles.com</a><br>

What is the proper luminance of the white point for this porpuse? I have read somewhere that it shouldn't be higher than 120 cd/m2. In that case I have to lower the contrast in my monitor down to 30% and whites don't look white anymore to me. I know that is subjective.<br>

any advice?</p>

<p>thanks</p>

I also support the TS-E 24mm choice. Great for cityscapes with tripod

I have a 3rd party one. No complaints at all, beside the fact that it's not been used as much as desired. I find it not as

ergonomic as the PB-E2 of my 1v. I find it too big for such a medium/small camera. It can't be fixed if you want to house

two batteries on it. As for the performance, everything ok

I got mine at www.colourprofiles.com <p>Hope this helps

I totally agree. I also own both cameras and for the price nowadays I'd go for the 1v. IQ would be the same but once you hold both

cameras in your hands you'll notice where the extra money is allocated. Beside the extra features, which I love, the elan looks like a toy

compared to the 1v, especially with the PBE2 attached. I keep the elan for traveling light though but rarely use it since I moved to digital 1

year ago

Sure you can do that. Check this (http://www.photo.net/photo/7761811). It's been done in the way you suggest. Of course it

is better to have different exposures at 0 compensation but if the exposure of the single raw is accurate and the brightness range you

attempt to achieve is not too wide the results will be more that acceptable

It really depends on what for, but when I travel light my kit is EF 17-40mm f/4L & TS-E 24mm f/3.5L for my 40D or EF 24-70mm f/2.8L &

TS-E 24mm f/3.5L for my 1v

How can I make my prints match what I see on screen?<p>

I guess the obvious answer would be profiling the printer. Ok, but what I'm after is some kind of technique to make this work without it.<br>

I work in a laptop with one of those glossy screens but it is perfectly calibrated with a Spyder2 tool. The problem is that I get less

saturated, less contrasty and cooler prints compared to what is seen on screen. I use Ilford galerie smooth pearl paper on an Epson R285

photo printer. I don't have the icc profile but I use the settings suggested by Ilford in their website for this combo.<p> I would appreciate

any tip that helps me to avoid expensive trial and error experiments. Thanks

Hi all, this may sound like an stupid question, and probably it is.<br> I'm new to inkjet printing. I used to take all my work to a digital lab to

have it printed on laserjet machines. However I decided to give the inkjet technology a shot for two reasons: laziness/comfort and the pearl

finish look that I miss from my days at the wet dark darkroom.<p>

Here is my question: I have an epson R285/290 and I intend to use ilford galerie smooth pearl paper. I've seen on Ilford's web site that

there are several icc profiles for download for different printers/papers combination. The icc profile for my printer is not available. Can I use

the icc profile for the next model (R360) as it uses the same type of ink and presumably the same printing technology?

there is no minimum range. In fact, for indoor photography you don't even need to face the ST-E2 against the flash as the

IR beams will bounce off the walls.

I own both Elan 7 and 1v and the 1 series is far better. Better focus speed and accuracy, ergonomics (the PB-E2 is amazing), FPS rate. If money is not an issue I'd recomend to go for the 1 series (or EOS 3).

What would be the best?

<br>Let's say I want a final image of 800x533 px. Should I select that

resolution in the RAW coverter and then make all the adjustments in PS? or

should I make all the adjustments in the largest resolution and resize (and

therfore sharpen) at the end?

 

<p>Thanks

<br>Luis

TS-E 24mm f/3.5L

Hi all, I'm not really sure if this topic fits this category but here it goes anyways.<p>

 

I have the Hyperdrive HD-80 portable mass storage device and I use NiMH rechargeable batteries with it.

What I have observed is that the batteries inside last much much less than for example in m flash strobe.

Even keeping the HD-80 off in about two weeks the batteries are dead wile the same set of batteries last

for more that two months if stored aside.<p>

 

It is annoying to remove and put batteries every time to maintain the power. Moreover, the plastic door to

access the batteries compartment seems to be not so resistant to do this in a regular basis.<p>

 

has anyone had the same experience with the hyperdrive HDD? what might be causing this issue?<br>

Thanks for the input

Hi all, I'm not really sure if this topic fits this category but here it goes anyways.<p>

 

I have the Hyperdrive HD-80 portable mass storage device and I use NiMH rechargeable batteries with it.

What I have observed is that the batteries inside last much much less than for example in m flash strobe.

Even keeping the HD-80 off in about two weeks the batteries are dead wile the same set of batteries last

for more that two months if stored aside.<p>

 

It is annoying to remove and put batteries every time to maintain the power. Moreover, the plastic door to

access the batteries compartment seems to be not so resistant to do this in a regular basis.<p>

 

has anyone had the same experience with the hyperdrive HDD? what might be causing this issue?<br>

Thanks for the input

24-70 f/2.8L and TS-E 24 f/3.5L on FF body and 17-40 f/4L on crop sensor about 95% of

the time. All other lenses I heve only are used on special situations or when specifically

needed. Cheers

I had the same dilema a while ago. Finally I decided to go for the 40D. I do not regret, it's a

really nice camera. I had already the 17-40L that fits perfectly on the body. The only thing

that I miss is the potential of my TS-E 24L which is not the same on a crop sensor. Because

of that I still have a film body on my bag to shoot almost exclusively with that lens. When the

5D MII (or whatever it may be called) comes out it's possible that I'll get it as well. The point

is that if I hadn't the TS-E lens I would be more than happy with my 40D. Cheers

I have a 1v and I'm planning to keep it. In my case I moved to a 40D so the full frame still

makes a difference for me, mainly in combination with my TS-E 24mm L. In addition I still

shoot B&W. Anyway, the main reason for keeping it was the ridiculous price that I would get

for it. It's simply not worth it. If I had been able to sell it decently I would have gone for a 5D

instead. For the moment I'm ok with this combo. Maybe in the future I will get a full frame

DSRL (7D or whatever it will be called). But still, I'll keep my 1v for the B&W stuff

The same to me. I mix cooled water from the fridge with tap water to make 20C solution (30

seconds job). Then prepare my developing solution with that water (I used exclusively HC-

110) and develop normally. I do not care about temperature of stop bath and fixer at all. I

ocassions I prepare a thermostated bath to dip the tank in when the developing time is on

the long side. Hope this helps.

Buenas Pepe. Yo hice lo mismo hace algunos a�os. Me fui para allᠰor motivos de trabajo

y estuve viviendo en NJ durante unos meses. En mi caso todo fue mucho m᳠econ�mico

ya que si compras a travé³ de internet con destino fuera del estado de NY no pagas los

impuestos de venta (que es el ocho y pico porciento). En mi vieje de vuelta el oficial de

aduanas me pregunt� "?algo que declarar?" yo respond�O, y adios muy buenas. Eso si

traí¡ mi mochila cargada de equipo que fui adquiriendo en esos meses, incluyendo 3

objetivos serie L, escaner de negativos y accesorios varios para la cá­¡ra.<p>Hoy en dí¡ 

resulta m᳠econ�mico (al menos desde europa) comprar en ebay. Te recomiento

digitalrev, en hong kong. Vale la pena echar un vistazo.<p>Saludos

Yes you're right, it should be but it isn't. I assume that the SFW function automatically

converts the file to sRGB and when the ICC profile is activated then PS tags the file as sRGB

regardless of where it comes from.<p>

 

My point is that the two non ICC profiled images look identical, the same occurs with the

two ICC profiled images, but these pairs look diferent to each other. What I observe is that

the real difference is placed on that specific option of the SFW command and not in

converting the file to sRGB in PS color managment.<p>

 

I would greatly appreciate any confirmation or correction of this assessment

first converted to sRGB in PS CS3 and then saved through SFW command with the ICC profile

box selected

first converted to sRGB in PS CS3 and then saved through SFW command with the ICC profile

box NOT selected

saved through the SFW command without a previous sRGB conversion and the ICC profile box

selected

saved through the SFW command without a previous sRGB conversion and the ICC profile box

NOT selected