mike_murphy2

<p>I am still struggling with NEC. </p>

<p>I bought the PA301W-BK. I thought the built-in calibration would work with my i1Pro, but it does not. So I then learned I can only calibrate with an i1Pro if I buy SpectraView. Fine. Then they replied 'SpectraView' s/w is not sold in Asia after about 10 emails and 3 weeks. I complained. Then they said you have to buy the NEC i1D2 for it to work and it is $500 USD! I said no I don't, even your own documentation says that, and so after 2 weeks I'm waiting for an answer if they can just sell me the s/w and not the puck.<br>

<br>

On top of that, there is severe light leakage in comparison to my Eizo, Apple Cinema, and Samsung displays. Of course, no response from them on that. They don't even acknowledge my email.<br>

<br>

So my question is - anyone else buy NEC in Asia with similar support issues? It is perplexing given they are made in Japan. I could fly there and back and buy Spectraview in 1 day. Also, any light leakage issues?<br>

<br>

</p>

<p>Hi Andrew, I should have used my words more carefully. Not Multiprofiler, which only allows adjusting the Brightness and Black Level for AdobeRGB, sRGB, Full, etc. There is an option in the OSD, under RGB, Advanced, "A", called "Self Color Correction", that doesn't require a sensor, and a second one "Stand-Alone Callibration", that does. I assume Self Color Correction, is not so great?</p>

<p>Just wondering if this is a problem or I have a dud.</p>

<p>My new NEC monitor most definitely has some light leakage from the edges, and sitting beside my Eizo, it's very, very clear that my Eizo (with no apps running) is black, whereas my NEC, has a blue/grey tint, i.e., not pure black. I suppose that's partially from the light leakage, but it does in fact seem to have slight blue tint.</p>

<p>There are a gazillion options to tune the NEC, but they market so much about perfect factory tuning prior to shipping, I'm loath to go in and start playing around.</p>

<p>Suggestions or comments?</p>

<p>I have the PA301W and no such issue, however, there is a very definite severe leakage of light from the edges. I can't say I'm impressed so far.</p>

<p>Thanks Howard, I'd found the download before, but there seems to be nowhere to buy the license online.</p>

<p>I have an i1D2 (not from NEC) and an i1Pro. I don't have SpectraView s/w.</p>

<p>The PA301W allows self calibration (no puck) and standalone calibration (with a puck, and no PC). Self calibration works, but I assume it is not of high quality. Standalone calibration didn't recognize the i1Pro, but thankfully I didn't sell my i1D2, so I tried it. It recognized it, but gave a warning after completion saying some calibration data was not read properly and the calibration might not yield good results (and visually, it seemed that way). The puck works. I used it on my Eizo without issue.</p>

<p>So I read through some previous comments about NEC, and everyone recommends Spectraview s/w, which I cannot find online to buy, and honestly, one reason I didn't but it originally was that the marketing said you didn't need it!</p>

<p>So couple of questions. Does all this lead to the conclusion if you buy NEC, you MUST buy an NEC i1D2 and Spectraview software? And secondly, if I can indeed use my i1D2 (not from NEC), is there anywhere to buy the Spectraview online?</p>

<p>I must say, I'm not impressed with this aspect of the product. With Eizo, you get free ColorNavigator and can use any puck. So this adds $300 USD to your NEC purchase if I'm correct.</p>

<p>Thx.</p>

<p>C1 Pilot for tethering.</p>

<p>Could u expand a bit on that auto mask approach? Thanks.</p>

<p>Yes, 4 lights hitting the background is better. I find with a width constricted setup, the side lights tend to be 'spotty'. The overhead tends to even it out but works only if you flag or cover the side facing the model so there is no spill onto her head/forehead.</p>

<p>The lastolite looks fine. I have done rear lighting many times, but the issue in restricted spaces is the distance you need between the light and backdrop to avoid the 'spottiness' again. In my studio, I just don't have that distance, but thanks for the link. I hadn't seen that product before.</p>

So why did x-rite stop making the DTP-94?

I'd almost settled on the Epson 7900, and then I visited a high end printing shop in Singapore just now. They have every printer made

by Epson and Canon. When I asked their favorites, they said Canon by far, and Hannemuele and Innova papers. Both answers surprise

me as I was going for Epson and Epson fine art papers as a primary workflow.

 

The reason for the Canon preference, for him, was speed ("Epson is way too slow") and complexity ("Epson is for the scientist. You

can get it perfect, but there is much less trouble with Canon"). And for the papers, he said the Epson glossy papers were too sensitive to get perfect and the others mattes had nicer textures. (they do gallery prints as a rule I think, and it seems they ask for Hannemuele and Innova).

 

I know it is a religious war, but are these comments also fair?

I did a scan but cannot find the post I was looking for....

 

I recall someone recommending a good makeup book, that was also a great guide for retouchers, in the sense of knowing where to

darken, lighten, smooth out colors.

 

So question is two-fold. Anyone know a good book for this purpose, and secondly, should a retoucher follow it's principles, or just fix

the model's imperfect skin and makeup (but not add 'new' makeup)?

First, my equipment:

 

-D200

-Photoshop CS2

-Photo Elements 4.0

-I use the Photoshop RAW plug-in for the D200 (3.4)

 

I've calibrated the RAW defaults to match what I see on my camaera LCD.

 

When I look at the thumbnails in Elements, they are 'bright'. When I open up

the thumbnails to full size, they are 'darker'; with the darker version being

the correct interpretation using my default RAW plug-in settings.

 

So I don't understand what RAW settings the thumbnails are using and where they

get that from; it's as if they are using a different plug-in, or more likely

different plug-in settings.

 

Any ideas?

 

Thanks!

There is one easy way to do this, if you have space, and I've done it.

 

Put lights BEHIND the backdrop. You need at least 2 in my experience, to light up the backdrop behind the model. But they need to be a little distance from the backdrop, else you get a spotty effect even with softbox or umbrellas.

 

Then put a light on the model.

 

This works, but you need space!

 

The problem with the previous recommendations that I've found in practical experience is that when you light up the backdrop from the front to get that pure white feeling, you over-light the model now matter how you try to protect her from it.

 

I'm an amateur and my pro friends thought I was a lunatic doing this (lighting from the back), but it works!

I have calibrated my monitor with a Spyder 2.

 

I have a Leica Digilux 2 also, and have no issues with the LCD vs PC image.

 

I tried different applications (like ACDsee) and got the same result, so I'm still a bit lost here, as I've used about 5 digital cameras so far and this problem is new.

 

David, thanks for all the time you spent answering.

 

I'm familiar with curves and tuning images, but ideally, I'd like my images to be ok first shot!

 

I liked your comments on PC environment (fluorescents, grey backdrop), this is something I haven't thought about in my workflow.

 

I have to debug more now!

So you were right. It is flash speed. At 1/200 it is ok, at 1/160 more safe (in my view). But I'm perplexed at this, as I have top-end Bowen Powerpack with Quad heads, D200 is good camera. Why can't it sync at 1/250?

 

Thanks very much for the good suggestions.

Hi,

 

I have a D200 with Bowen studio lights. I do Manual settings, f8,

1/250, WB at 5600K. I use a Fokon wireless transmitter to sync the

strobes and that works.

 

The problems I have are that all my photos are coming out with a

dark, fading streak at the very top (and it isn't the lighting).

Also, even though many look properly lit on the LCD, when

transferred to my PC they come out unreasonably dark.

 

This doesn't happen in Program mode, but then the shutter speed

drops down, and I want Manual mode anyhow.

 

I checked the metadata and it shows "flash did not fire", although

on my other camera, when I put the Fokon wireless infrared unit in

she flash shoe, the metadata shows "fired". That might be a red

herring, but just thought I'd mention it.

 

Anyhone can help, greatly appreciated.

 

Ziggy

I'm having a problem here too...

 

I use a Fokon wireless sync.

 

Everything triggers, but my photos come out dark. I have a Bowens lighting system, my settings are F8, 1/250.

 

Do I need to still use the Nikon on-camera flash? And set it to manual?

 

Thanks!