j.lewis.photo

<p>I've noticed that some Grafit A2 packs say "Broncolor Grafit A Plus" on the top handle and some do not. What is the "Plus" for? Was this a special version, or just a naming standard that went away?<br>

Also I'm trying to decide between getting an A2 pack with or without the built-in RFS receiver. If I buy the non-RFS pack and later add an RFS receiver, is that receiver able to mount to the pack somehow? It appears to have a small bracket on the underside of it. And is an external RFS receiver able to change the power level of the pack just by pluggin in through the sync port?<br>

Thank you.</p>

<p>—Josh</p>

<p>I'm doing post production work on a book that has lots of gradients where a color fades to white. I'm soft-proofing using the cmyk profile supplied by the print house. When I soft-proof with the cmyk profile I can see my broad gradients become much steeper, that is the transition from a color to white happens much more quickly over a smaller area and is less gradual. The only thing that seems to alleviate this is reducing saturation, but I don't see why this is necessary since the colors are not very saturated and when I turn on the gamut warning nothing is out of gamut.</p>

<p>The nice gradients in the image are being totally compressed and it's having a negative effect on the image. Is there a way to reduce this?</p>

<p>Thank you.</p>

<p>I'm working on a series of about 35 portraits. I need them to all be consistent in headsize and cropping. I made an overlay to use in C1Pro and yesterday I positioned the overlay over each image, adjusted it until the head circle in the overlay was perfectly around the subjects head, and then cropped the image to the size of the overlay.<br>

Today when I began working on the files I noticed that many of the images crops are way off. I reposition my overlay above the image, getting the head size just right, and in theory my crop should then be around the outer border of my overlay but it's not.<br>

Has anyone experienced a problem like this? I'm wondering if some how when I was working on new crops I was accidentally moving the old ones some how?<br>

This is very frustrating, I'm trying to get 35 images consistent looking and they keep changing on me!</p>

<p>I've done some test prints using the Matte black ink. The color is accurate, but the blotchyness is still present. It's only occurring in the shadows and the darker midtones. It almost looks like super large grain or something. It's not present in the image file at all. All of the shadows are textured with these lighter colored specs. There large enough to be very disruptive. I can see them clearly from 1.5 feet away on a 5x7 print. I can notice the problem very slightly on other papers I've used, but barely. Not enough to have ever caught my attention.</p>

<p>,</p>

<p>.</p>

<p>I've been using Moab Lasal Double-Sided matte paper with my Epson R2400 and Photo Black ink and I can't seem to get good results.<br>

I'm having two problems...<br>

1. There is a color shift. Not huge but enough for me to know that something is wrong. I'm using the profile for this paper which I downloaded from the Moab website. I'm setting my media type to Enhanced Matte, as suggested. I'm using Photo Black ink. If you try to use matte black it says you have the wrong ink cartridge installed. Relative Colorimetric is my rendering intent. I get very accurate color when printing on the Epson Enhanced Matte paper, but the Moab shows a significant color shift. My monitor is profiled regularly.</p>

<p>2. There seems to be a splotchyness to the print, as if the paper is not accepting the ink properly. I can't obtain a smooth field of color without seeing little light dots everywhere.<br>

I'll attach screen shots of my print settings. I'm using Photoshop CS4.<br>

Unfortunately I just ran out of this paper, so I can't do more testing.<br>

Thank you.</p>

<p>Does anyone know of a good company to order inkjet paper and ink from on the west coast, or closer to the west coast than B/H.<br>

I've used inkjetart (I think in Arizona), but they don't always have the paper I'm looking for.<br>

B/H just takes a long time for shipping since they are so far away.</p>

<p>Thank you.</p>

 

<p>I'm a commercial photographer looking to find out what goes into Orthophotography. That is creating accurate aerial map images.<br>

I just found a company looking for bids on an upcoming project, and I'm wondering if this is something I should be interested in, or if it's so specialized that I should let it pass. The project requires images of a 4 square mile area. The deliverables include: flight plan map containing: flight lines, flight breaks and proposed ground control, a camera calibration report, aero-triangulation data in any standard format, and a set of color orthophotos in GeoTIFF & Mr. SID formats.<br>

I've taken photos from a helicopter before using a gyro, but never for mapping purposes. Are these images usually done with a camera mounted to t he plane? Who takes these photos, normal photographers or people who specialize in this type of work?<br>

Thank you.</p>

<p>John: Thank you, I will absolutely read up on Jerry Mander, and I've saved Planton with my bookmarked photographers to follow.<br>

As mentioned in my last post, I'm not anti-business. I'm just don't want to work for corporations that have no conscience. So don't try to put me in a little box and say that I'm a socialist who's anti-capitalism and anti-business. I'm anti-evil businesses who do unethical things, exploit the have-nots, and care only about profit. I'm a business owner, and my company has documented values that I'd openly share with my clients. I hope to work for companies that share those values. I once heard an ad agency principle in SF speak about how he specifically and only targets companies that share his agencies' values. I intend to do the same.<br>

If there are photographers out there who can specialize to the point of being the "liquid pour photographer," or the "watch photographer," than why couldn't there be a "conscience photographer."<br>

Also, every industry event I go to in San Francisco (and I go to quite a lot) goes on about how art buyers are purchasing on a per-job basis, looking for specific "vision." Less work is hired on relationships, it's more about being right for the specific project. I anticipate a lot of ad projects focused on social/environmental issues in my lifetime (think global warming). Flip through an issue of Archive Magazine and you'll see high profile campaigns done by talented ad photographers for the World Wildlife Fund, deforestation organizations, etc.<br>

"Also, I don't think the arts carry the political freight that ideological people want them to carry."<br>

...Rebecca, you mentioned the Vietnam war in your response. How much "political freight" did Eddie Adams photo of a Viet Cong fighter being executed carry? I'd say a lot. Were subjected to thousands of advertisements every day and whether we like it or not those ads shape what we view as normal and acceptable. Ads create associations between the type of person in the ad and the product. You can't help but be affected by it, even subconsciously.</p>

<p>Matt: My disdain is not for entrepreneurs and business owners, but rather corporations who are only truly liable to their shareholders (not to be confused with their stakeholders, which would include the consumer). I just wouldn't feel good about helping a company who exploits cheap laborers in impovershed countries, or who sells a product that "may cause cancer" but can't be proven to. I have great respect for the power of advertising and the important role that photography plays in that effort. As an advertising photographer I expect to produce work of high value, and I want to contribute that value to a good cause.<br>

I do however see your point, and I acknowledge that if I put this "evil" label on corporations, than how do I justify shooting for a corporation that creates windmills or something that I think is good. I'm still trying to reconcile my political opinions and how they should fit into my career goals.<br>

If you think about today's politic/environmental/social climate, where "Green" and "Sustainable" are the big buzz words, and organic/pastoral/anti-industrial values seem to be growing in popularity, why couldn't a high level ad photographer carve out a niche as being a "change" photographer who only supports these types of causes. He could shoot for a solar panel company one week, a political campaign the next, a national editorial piece the week after that. He could grow a reputation for being the photographer to go to if you want still-life or portrait that sends a specific and powerful progressive message.</p>

<p>I'm a 23 year old commercial photographer, in my last semester of college. I'm looking for inspirational photographers who I can look at as a guide for modeling my career goals. I've wanted to pursue a career in advertising photography for a few years now, and I plan to do this by moving to San Francisco and assisting for a few more years to gain the appropriate experience (I have a few years of assisting experience in the smaller Sacramento market already).<br>

My question is, can anyone point me towards advertising photographers (or non-ad photographers even) who are using there skills to effect social change? I'm most interested in still-life and portraiture, but I am NOT looking for documentary photographers. I'm also not looking for photographers who shoot for Nike and McDonalds to make a living, but pursue philanthropic side projects. Lots of photographers have great side projects, I want to know who's making a living from them.<br>

This question is provoked by my long-term goals of being an advertising photographer clashing with my disdain for Corporate America. So I'm looking for examples of Advertising Photographers who use their skills and abilities for good, and to benefit the world. I'm attracted to advertising photography because I like the idea of working in a competitive industry on high profile projects, and because it can be lucrative. I also like the idea of being great at something and being chosen for a shoot because your vision and ability to communicate is sought after, not just because someone needs a photographer and your stuff looks okay to them.<br>

Thank you.</p>

<p>I'd like to spend this summer in either Portland or Seattle as a photo assistant. I have experience as an assistant and using photoshop in a commercial studio in Sacramento.</p>

<p>Can anyone recommend good commercial/advertising photographers in these cities? As I said I've worked as the main assistant in a Sacramento studio, and I'd like to gain experience at a larger studio shooting hi-end jobs. My main area of interest is product/still-life/food. Also any insights about the feasability of doing this in the present economy would be welcome.</p>

<p>Thank you.</p>

<p>I think the naming system above is much too cumbersom. First off, it's far too long. I shorten it by naming the job and folder of images with the reverse date (with 2-digit year) and description, and naming the images with a description.</p>

<p>I don't expect to be photographing for 100 years of more, so I won't worry about the 4-digit year. And for me I don't find my last-name important. Maybe if your a journalist or something.</p>

<p>I think you need to decide if photographing for this friend is a favor, or a money-making practice. I take the advice a more experienced photographer gave me... "Charge them what your worth or do it for free, because if you charge them a nickel they think they have rights."</p>

<p>If this were a job I was doing for a friend, and the images were never going to leave her living room wall, I'd say knock yourself out, just don't tell anyone I did the work if it looks bad.</p>

<p>If it were a paying job, I'd say absolutely not. Your buying finished images. That means I develop/process, and I create the work in every sense. If they don't feel that your competent to do the editing, than they're hiring the wrong photographer.</p>

<p>I think I will go with josh lewis photography. I am conserned with a name like Wojo Studios loosing it's cleverness after a few years and sounding immature. I guess Josh Lewis Photography is just the safest choice for longevity.</p>

<p>Thanks for all the advice.</p>

<p>The biggetst criticisms I've found of the name Wojo Studios so far is that it's not the most professional sounding name. Considering that, I would say that I'm not a financial consultant, or a medical doctor, I'm a photographer. Shouldn't I sound a little more creative and outside the box. And as a photographer, many of my clients will be designers, who are generally speaking good humored people.</p>

<p>Using the name Wojo Studios, I'd be sure to use a contemporary san-serif typeface, and non-goofy colors. I'd want the visual of the name to say that I'm conpetent and professional, to compensate for the name a bit. Wojo written in squigly orange lines says one thing, but wojo written in blue with studios written in dark brown might say contemporary hi-end photography studio.</p>

<p>Thats great advice. I already have a fictitous name statement for Wojo Studios, and I've purchased the domain name wojo-studios.com. If I choose Josh Lewis Photography, I can get the name joshlewisphoto.com.</p>

<p>I have considered that wojo studios would make it easier to expand my services or hire other photographers later, and take more of an owner role than and artist, and I like that aspect of it. I definitely consider myself entrepreneurial (whether I can spell it right or not), and I may some day want to have a space that I rent or hire other photographers or even designers.</p>

<p>I wonder if it's asking too much for a client to remember both Wojo Studios, and my name as the photographer?</p>

<p>I'm a photographer just starting to do a decent amount of commercial work. I've started a business, but have not yet finalized the name. I live/work in Sacramento, CA, and do still-life, food, and portrait (mostly corporate/editorial) work. My main focus is and will be still-life (products and food).</p>

<p>I'm still developing my style (I'm only 23), but my vision is clean, simple, images with great detail in my compositions and lighting. I'm a Graphic Design student, and want my work to show a design influence through strong knowledge of color, tension, and strong but simple composition.</p>

<p>The two names I'm debating between are Josh Lewis Photography, and Wojo Studios.</p>

<p>Josh Lewis photography is of course the most obvious solution, and Wojo Studios is more interesting but would also require people to remember not only my name, but also Wojo Studios. Wojo was a childhood nickname of mine, and I thought it appropriate because it's interesting, catchy, easy to remember and also a conversation starter. It's a very simple 4-letter word, which could relate to the simplicity of my style. It's also very simple, and pretty graphical looking.</p>

<p>I hope to eventually go to a larger market such as San Francisco, or if I do stay in Sacramento I would hope to be the top commercial studio in town.</p>

<p>I'm eager to start creating my business identity (logo, colors, business card, website, etc.), so I really need to finalize a name.</p>

<p>So is it a bad idea to choose a name other than your own for your photography business? What are the pros and cons of this. Advice? </p>

<p>Thank you.</p>

<p>Thank you, I think I'm ready to get the i1 Display 2. Are there different companies that sell different software bundles of this product?<br>

I know I've heard good things about the coloreyes software, I don't think I'll get that yet, unless there's a big difference?</p>

<p>When I use my laptop and I go into System Preferences>Displays, two windows show up, one on each monitor. I pick the profile I want for each monitor independently. Maybe this is a new feature with Leopard? I've read online that a limitation of the i1 display 2 is it's lack of dual monitor support. Maybe this is a myth?</p>

<p>I'm about to purchase a monitor calibrator and was planning to get the Eye One Display 2, but have read that it doesn't offer dual monitor support. I know there are several version of this product, i.e. a Gretag MacBeth version? It's all a bit confusing to me, but as I understand it several comapanies sell this colorimeter with their own bundled software.<br>

<strong>Is there a version which does support dual-monitors?</strong> I use a new Macbook Pro laptop running Leopard, with a 23" apple cinema display. Sometimes I use the laptop on location without the cinema display, and I want them each to be profiled.<br>

If this is not an option, my runner-up choice is the Spyder 3.<br>

Also I should mention that I'm a young professional, and I prefer to buy the version that has the more advanced controls & features when applicable. I know sometimes the cheaper versions of these colorimeters come with limited software.</p>

<p>Thank you.</p>

Okay that solved my problem. Thank you very much.

 

When I open the new image in Firefox after applying a small darkening curve and saving for web, it looks great. Open the same image in Safari again and it looks really red, just like it did in photoshop. Don't web browser's all display using sRGB? Is Safari not recognizing the sRGB profile and applying a different one? For which browser should a photographer optimize there images?

 

Thank you.

I'm trying to save images for the web from Photoshop CS3. The color settings in photoshop are as follows...

 

Working Space: Adobe RGB 1998

 

Color Management Policies

RGB: Preserve embeded profiles.

 

So I have an image that I darkened in photoshop, converted to sRGB and saved using Save for Web and Devices.

Darkening the image made it appear correct when I opened it in Firefox or Safari.

 

The part that I'm confused about is that when I view the sRGB image in Photoshop, with the working space set to

Adobe RGB1998, the image looks very red. If I switch the Photoshop working space to Adobe sRGB, the image looks

fine. Why is that? Shouldn't photoshop be recognizing that I'm working with an sRGB image, and display it

correctly. It seems like it's reading my sRGB image as an RGB 1998 image, and thus displaying it incorrectly.

When I first open the image, and photoshop asks me what to do with the color management, I select "Leave as is

(don't color manage)."

 

I don't recall ever having his issue, but I've never tried to save for web on this computer before.

 

My computer is the new Macbook Pro, 2.4 GHz, running Leopard. Photoshop CS3.

 

Thank you for any help.

When you work full time for a photographer without any other employees, it's a very close working relationship. Make sure

your personalities are compatible and you'd be happy working with them every day.

 

If the photographer's hiring you at a free lance rate often enough that your considering quitting your day job, than it would

probably make sense for him to hire you on full-time. Usually freelance rates are much higher than what a full-time

assistant makes in a day, because you don't get guaranteed work.