marlin_penton

Here are some detailed images of my Soft Spin background from this morning's shoot.

 

I'm looking to replace my 9'x90' white polyester AKA Soft Spin material background, but APS props is gone. Any suggestions? Do you know what this materiel is? My best guess is white polyester chermuse satin.

 

Thanks,

Marlin

 

<p>Hey guys,</p>

<p>Who has a image posting site that allows the clients to download images for a charge on the spot?</p>

<p>-Marlin</p>

<p>I have a Umax Powerlook III that my studio's IT guy says is a boat anchor now that we have no Win Xp machines running. This scanner uses a Scuzzy card connection. I hate, hate to lose such a fine workhorse of a scanner. Any ideas?</p>

<p>I have a poster size images of several parts(50) each its own jpeg that I would like to drop the file name in under the part image. Using CS6. Any ideas?</p>

<p>Getting closer to a solution... I had Adobe Camera Raw set to adobe RGB and cs5 set up in SRGB. I hope that this color mis match helps with a whole host of color issues that I get back from the lab!</p>

<p>Ok, I see a mismatch in the two documents. On the image's window it reads IMG_0123.jpg (RGB/8*) and on the bottom document (that I'm dragging into) reads (Background, RGB/8#)* .<br>

What does the # and * mean? Is this my contrast mismatch?</p>

 

<p>When I use the move tool and bring in an image into another document in CS4 (jpeg on top of a PSD document with an empty white background) the resulting jpeg on top of the white background is under contrast each time. You can see it happen as you pull the image into the background. The (unmoved) looks better than the one dropped onto the white.<br>

I am careful to make sure that both modes are set to 8 bit, although I am usually working in 16 bit as long as I can. What gives? This little nuance is making me crazy! My lab can't help. Can you?</p>

 

<p>I am a wedding photog looking to improve my dated lighting style. I've been working with a 16" parabolic in the studio with a umbrella fill directly over the camera, and want to see a gradual shadow fall off maybe like a large soft box for doing my studio head shots. <br /> I'm at the beginning journey to update my style. In the past I would study books and videos and that has got me to where I am now. I want to experiment in my studio (photogenic power pack with 4 heads) White lightning 1800s with larger light sources. I have a 36x36 Westcott Apollo softbox, and that looks good on 3/4 shots, but I want to light a family group or a boudoir session on a bed. <br /> I have 10 foot ceilings and should be able to handle a 40x56 inch box. Right track?</p><div></div>

<p>I am a wedding photog looking to improve my dated lighting style. I've been working with a 16" parabolic in the studio with a umbrella fill directly over the camera, and want to see a gradual shadow fall off maybe like a large soft box for doing my studio head shots. <br>

I'm at the beginning journey to update my style. In the past I would study books and videos and that has got me to where I am now. I want to experiment in my studio (photogenic power pack with 4 heads) White lightning 1800s with larger light sources. I have a 36x36 Westcott Apollo softbox, and that looks good on 3/4 shots, but I want to light a family group or a boudoir session on a bed. <br>

I have 10 foot ceilings and should be able to handle a 40x56 inch box. Right track?</p>

<div></div>

<p>I'm looking for a printer (lab) that prints 8x8 press books from the spreads that I already have laid out.</p>

<p>I am a photographer. I know photographer stuff. How do I slow down my 7d clips so that I can upload them into my Animoto slide shows? Is there a simple dare I say amateur way to get these awesome images into play into my work without full-blown video editing expertise?</p>

<p>I tend to OVER thing my shoots lately, so I need your input. I am shooting for a local clothing store. I have posted the image to illustrate better. I have a 9' ultra white seamless background. <br>

I have a chroma green shoot earlier that day and we will have an entire arsenal of gear with us. We shoot with an 36" umbrella fill, (20" parabolic, 36" umbrella or 40" softbox) main, hairlight and two accent (skip) lights for separation. <br>

I'll have the same set up with me for this simple shoot. How should I light to achieve a similar result as the posted image? I'm thinking an umbrella fill, parabolic main positioned so that the shadow falls off of the background. I will also have to have the fill light way off to the side of the camera to also cast its shadow off of the background. I imagine that the seamless white that I have will go grey with no flash hitting it. Am I on target?</p>

<div></div>

<p>I keep seeing references to preferences in the limited tools available in my Huey tube sucker's software. I have the Pro running. I want to be able to make manual-ish adjustments to my monitor's profile there. How do I access the preferences? The help fly-out says to click in the Huey icon in the system tray. That just launches the program right into the wizard.<br>

Thanks.</p>

<p>Hello,<br>

I'm looking for a storage solution for my studio's workflow. Anything come to mind?</p>

<p>Thanks,<br>

Marlin</p>

 

<p>In my studio, under controlled lighting, the camera's histogram always shows underexposure. We can tell by the preview that we are right on and am confirmed when I pull the test shot into photoshop and the histogram looks nice and bell shaped. <br>

I've gotten used to this disparity and we go on, but why is it always this way?</p>

 

<p>Hey Yall,</p>

<p>In bridge my thumbnails do not update themselves after processing in Camera Raw is complete. This process works on mt laptop,but not my desktop. The raw processing is working properly, but the thumbs looks unprocessed when I go back to bridge.<br>

Any ideas?</p>

<p>Thanks.</p>

<p> </p>

<p>I have a holiday shoot at a daycare comming up and I am using the Frontier 370 at a local lab to print packages. The prints from this machine are flat. <br>

We are shooting a 52" umbrella main (we sometimes use a 36" parabolic, but the shadow cast from the subject can mess up the keying) umbrella fill, two skip lights balanced on the sides and a hair light on a boom.<br>

I'm shooting large jpeg f11 at 100-160 iso on a canon 5D set to 5600 K. All other camera settings are default. <br>

I find that if I make a beautiful image on my Huey calibrated monitor, the image from the Frontier will always be very dark. I compensate by always bringing up the mid tone levels slider up to at least 1.20 and make sure that the highlight and shadow sides of the histogram touch the ends. I hold the alt key while adjusting the sliders and get the levels just at the point where the highlight on the face begins to indicate red. I usually just get the shadow a bump to 3.<br>

Attached is a sample from todays shoot.<br>

Can I light this scene to get better results from this printer? I'm essentially married to it, btw.<br>

Thanks for your consideration.<br>

-Marlin</p>

<p> </p>

<p>Hey, I'm trying to process my canon 7d full raw images into jpegs(400 of them). I keep getting an error that there is not enough memory. I made gobs of new disk space and assigned a nearly empty drive to the second scratch disk in CS4. <br>

I can get the bad images to process after I restart my newish pc. Happens in 32 and 64 bit versions of cs4.<br>

Any ideas as to why this is happening?</p>

<p> </p>

<p>Hey Yall,<br>

My kid's karate studio displays a large composite poster showing several chroma keyed background images with japanese/flames type-backgrounds. I can tell that they were created with a grey background that only had a little mottling in it. Meaning that it was not seamless paper, void of any detail, it had some hints of a classic studio background, but not enough to inter-fear with the keying process. <br>

The reason for the grey keyed background seems two-fold: 1) Grey doesn't conflict with green and blue belts. and 2) the unprocessed grey background image is sell-able/displayable. So in the composite, the kids who paid got their images keyed with fantastic backgrounds and yet the unpaid students' images are still useable in the composite because they are on a decent grey background. I love it. My unused processed green screen images are never seen by clients, whereas they would look better on grey.<br>

I use FX photokey software and am thinking about upgrading to pro3, but it only mentions keying to blue or green. What do I do to key to grey? Is it a photoshop job?</p>

 

<p>I have an landscape image that I would like to have made to impress a client. I'm going add a ripped edge and want to have it printed on some kind of watercolor type paper and am looking for an online printer. My local pro lab sends this work out.<br>

So if I want it to look soft and watercolory, I guess that I'm going to have to apply the effect in CS4.<br>

Any suggestions?</p>

<p> </p>

<p>I have several test shots taken with my 7d shot in S raw (small raw) and Adobe's DNG converter cannot read them. First of all should I be shooting in Medium or large RAW only? It was a test, but it scares me that it could have been a client.<br>

I assume that all raw files from this camera must be converted to DNG before CS4 can read them. Correct?<br>

Thanks!</p>

<p>I use Animoto to make my slideshows and have just run into a limitation: I have a 56 second introduction of a spokesperson introducing the slideshow images. Animoto only allows 10 sec video/audio clips. Their suggestion is to group the video clips together until they appear as one. Seems like it will be a little jumpy.</p>

<p>Any other suggestions? I could render out the show completly into a mpeg4 or a iso dvd and reedit the project so that the video portion introduces the Animoto slideshow, right?</p>

<p> </p>

<p>I'm at a buying decision right now and need your input. I shoot weddings (RAW) with a 40D w/ 28-70L and a Tamron 10-24. Low end rig for sure. Trying to upgrade and this decision is critical because budget is tight.<br>

Option 1) I can go 5dMKII with my existing lens set up.<br>

Option 2) 7d with 70-200 f4L added to lenses.<br>

I've done plenty of research on the two bodies up against each other and except for the $1000 price difference I can't come to a comfortable conclusion. Does the 5DMKII really outshine the 7D when it comes down to it? My work is mainly 10x10 albums and 11x14 thru 20x24 portraits. Most of my enlargement work comes from my studio's 5yr old 5D which I am happy with.<br>

I give high value to your opinions.<br>

-Marlin</p>

<p> </p>

<p>Any opinions on the Canon BG-E7 versus an aftermarket grip? I'm really leaning towards the aftermarket version.</p>