christian_mozetic

Does anyone know where the "Fallen Man" picture was taken in Paris. I would love to compare the looks of that street corner today.

I don't think the figure has been cut out of the background. The image is of very poor quality, full of jpeg artifacts, which doesn't allow close scrutiny, but I've cut out hundreds of figures from backgrounds, and can tell you, the hairs on his legs would not have "made the cut". This is most likely the actual studio background.

I think style and design have had a negative impact on the aesthetics of street photography. The visual cohesiveness and order in Meyerowitz's photos is very difficult to come by nowadays. The street is full of visual clutter and pollution: car design, signage and billboards, fashion and style, are all a mess. I think style and taste are down the drain and it reflects in street photography.

<p>Hi Iris, I am also curious as to what technique is used to get some of those dreamy looks we see a lot in those hip wedding photos these days.<br>

Frankly I don't think the posters responding that they see nothing special with the light actually have a clear idea of how it's done.<br>

The answers you are probably looking for (and which I can not give) are likely related to time of day, sun direction, placement of subject to modify existing light (example: between trees to subtract light and make it more directional), how to meter exposure, color correction, white balance, dodging and burning, etc. I also think wardrobe and background choice play a large part.</p>

 

<p>I think you have to keep the AF-L button pressed until you release the shutter.</p>

Ever heard of BGLOD? "Blinking green light of death". Every now and then a D70 comes down with it. Did the compact flash card blink during hangups?

 

Do a search for BGLOD.

Is anyone here using this lens on a D70 already? It would be worth knowing what the chromatic aberation performance is.

I use a 180mm f/2.8 ED AIS on my d70 and it does show quite a bit (at times a lot) of chromatic ab. From what I've tested, ACR does a pretty good job, it seems, of correcting this.

Thanks guys for the responses.<br>

Robert, I tried what you suggested; go from ARGB to sRGB.

And I have finally verified that <b>MY</b> Windows Viewer is ICC aware.

While following your suggestion it occurred to me to save an AdobeRGB image with and without the ICC profile embedded (should have thought of that before). The Viewer clearly recognizes one profile from the other. Since the same viewer on other peoples machines is not ICC aware, my only conclusion is that the NEF thumbnail Patch I have installed is what provides this capability.

Thank you all again.

Hi, does anyone know if the 'windows picture and fax viewer' is icc

aware?

When I view two files of the same image but in different color spaces

they look identical in this viewer. That is:<br>

Image1 in sRGB saved to file A, and<br>

Image1 converted to AdobeRGB saved to file B.<br>

These two files have different color values (checked) but look the

same on the windows viewer. They look different in Iexplorer as one

would expect from a non-icc-aware aplication.

By the way, I have a NEF thumbnail patch from Nikon installed for

this viewer.

 

Christian.

As I understand it, a soft proof in Monitor RGB should show me how images are going to look in non-color managed applications on my screen. What I'm seeing is that such a softproof does not match how I see the same file on the windows picture and fax viewer.<br>

However, after further testing I have come to the conclusion that the windows viewer is somehow icc aware. I conclude this because two files of the same image converted to sRGB and adobeRGB respectively look identical on the windows viewer. That is:<br>

image1 in sRGB is saved to file A,<br>

image1 converted to adobeRGB is saved to file B.<br>

These files have different rgb values at any one pixel location.

In PS they look the same cause PS is icc aware.<br>In the windows viewer they also look the same. Is that because it is also icc aware?

On iexplorer they look different as one would expect from a non-icc aware application.<br>

Furthermore, a monitor RGB soft proof in PS predicts exactly what the images will look like in iexplorer.<br>

Buy the way, I have installed a NEF thumbnail viewer patch from Nikon which may be fiddling with the icc translations in the windows viewer.

I think you should sit down with a bunch of examples of exactly what you want and study their characteristics in detail. This is how you'll learn the most.

Well, the bit depth (8 bit or 16) is independent from the reslolution of the scan or the print.

Maybe there's some very fine grain film you can print to, so you could transfer the original grain pattern to the final neg. ?How similar would it be?

Lambda prints are at 200 ppi. Just a benchmark for you.

If I view a 'Monitor RGB soft proof' of an adobeRGB TIFF image in PS

CS2 it does not match what I see on other windows non-color-managed

viewers.

Seems to me that no matter how UN-calibrated my monitor is, these two

things should match.

Thanks for your replies.

Ok, as I re-read my post I realize why I can't mimic white balance from curves; curves affects an already white balanced image. Well, maybe if I keep writing and proof reading I'll get all the answers I need.

I'm trying to understand white balance properly, so I started playing

around with white balance settings in Nikon Capture while observing

how this affected the individual channel histograms.

 

Now, why is the green channel histogram altered if white balance only

changes red and blue values?

 

Also, is white balance adjustment simply a linear contrast adjustment

of the red and blue channel curves (as depicted in the simplified

curves graph in the Nikon Capture white balance tool box)?

 

And finally, if I try to mimic this curves adjustment in the curves

tool box I start getting vacant "bins" in the histogram. This doesn't

happen when adjusting from the white balance toolbox. Is there some

kind of value interpolation going on?

 

As a footnote I'd like to add that there seems to be very little

information around on what really goes on behind the scenes of white

balance.

 

I'd appreciate any insight on this topic.

Thanks,

Christian.

Thanks, I'll run a search on those terms.

I guess no one knows...

Hi. Does anyone know if an anti-aliasing filter is applied when

resizing from the "save for web" dialog. <br>

I get aliasing artifacts when down-sampling a certain image in one

step using "image size" from the "image" menu. However, I get no such

artifacts when downsampling by identical amounts in the "save for

web" dialog. <br>

Any ideas?

<br><br>

Here's a crop from the image I mentioned.<div></div>

So what about when printing to photographic paper? Is there any point in distinguishing between PPI and DPI if (as I presume to be the case) one pixel equals one dot on the paper?

I drum-scanned 6x6 Kodak E100VS to 1x1 meters for a job and was very surprised by the amount of grain the scan picked up. Of course, I'd never printed a 1mx1m poster before so I had no reference for comparison. I compared the scans to images I had taken on that same job with my 5Mp Sony f717 and of course there was much more detail on the MF scans.

Below you can see what the sky looked like on the scans at 100%. It was scanned at about 5000dpi.<div></div>

I think Alistair is probably on the right track. I know the Elinchrome strobe I used is reputed to have a short flash duration. However this does make me wonder what will happen when I set my shutter speed to 1/8000. I'll be trying that out on the next sunny day I get.

I used Nikon Capture 4.1. But I believe this is an in-camera problem because I can make the pattern out on the LCD screen at certain magnifications. Could the compact flash format be involved? I used the card as it came, never formated it.

And an example from the same scene without the artifacts. Same lense except at f11 and the strobe closer in.<div></div>