scottknudsen

There used to be a Wall of Shame forum where photographers could post about their bad experiences with retail companies. I cannot find that forum anymore. Does anyone know what became of it? Thanks.

 

ScottK

<p>Andrew, so I got one of the Printer Test File done, and it is fairly close. If I turn down the Exposure -0.10, Vibrance -5 and Saturation -5 in Lightroom, the image on the monitor will look similar to the Fujiflex/Lightjet print. Well at least to the colour chart on the right.</p>

<p>With that said, I tried turning the Exposure, Vibrance and Saturation down on some of the Soft Proofed images and still couldn't get the image on the monitor to look like the Fujiflex print.</p>

<p>You offer custom made ICC profiles for output devices, can you make a custom ICC profile for a monitor from the 8X10 printer test file? Something that I can Soft Proof with? Just looking at my options.</p>

<p>So I'm guessing it's going to come back looking terrible. Do I scan or photograph it, and then figure out what adjustments it needs in Lightroom to make it look like the original digital file, and then apply those same adjustments to my photos?</p>

<p>No, my display is calibrated correctly as far as I can tell. I sat down with one of the printing labs and what showed up on their monitor was exactly what showed up on mine.<br>

That was an interesting article but the problem with it though is that he was printing his own prints and had a good reference print to look at. I don't have any good reference prints.<br>

I looked online for a fujiflex reference print that I could purchase, but found nothing. Anyone know where I can buy one from?<br>

<br />The color reference file that you linked to, are you saying that I should send that image away to get it printed and then compare that proof to what shows up on my monitor?</p>

<p>I have used a couple of different companies for getting some Lightjet Fujiflex prints done. The colours on these prints do not match what I am seeing on my colour correct monitor. I have downloaded different companies ICC profiles and tried them out in Lightrooms Soft Proofing, but they do not make the image on my monitor end up looking like the fujiflex proofs I had printed.<br>

<br />I also had some Fuji Crystal Archive proofs done with the Lightjet and on some of them the colour is allot closer to what I am seeing on my monitor.</p>

<p>I have one silvery image looking too bronzey.<br>

One yellowy image looking too orange.<br>

A purpley image looking a bit bronzey.<br>

A blue image looking too purple.</p>

<p>I know I shouldn't be too fussy, but these are way off as far as I am concerned and I can't keep paying for proofs. Any suggestions on how I can edit my images so the proofs will look correct the first time? I already seem to have to up the Exposure in Lightroom by +.30 for all images.</p>

<p>You can view these images here <https://www.facebook.com/pages/Northscape-Photography/336657619774914>.</p>

<p>Thanks for the answers. I would have to somewhat disagree with you David about standard adjustments.<br>

<br /> Once you have the image edited the way you want it, that is what you will be expecting it to look like once it's printed. Soft Proofing is going to apply the same look to all these images you once had looking the way that you wanted. That said, a computer should know what adjustments are being applied during soft-proofing and should be smart enough to let you know what those adjustments were so you can counter them. For some reason though they cannot, so we have to come up with our own adjustments.<br>

<br /> The adjustments that I have applied to each image (Lightjet - Fuji Flex) is; Exposure +20, Clarity +10, Shadows +5 - +30<br>

<br /> I have not seem a hard copy proof as of yet, so am not 100% sure that these adjustments are set in stone. The shadows adjustment seemed to change quite a bit from image to image, which probably means I shouldn't be using it. *sigh*.<br>

<br /> I didn't have any luck adjusting Contrast, but the Clarity adjustment seemed to help.<br>

<br /> I really don't have much experience with photo editing, so if anyone has any more suggestions, please post them. Thanks.</p>

 

 

 

<p>I am trying to prepare some images for Lightjet Fujiflex printing.<br>

I have had this done in the past, and the Photo Lab I used did not have a colour profile for me to do any Soft Proofing with in Lightroom 4. The images all turned out dull and flat looking. Everyone thought they were paintings. Even though what was appearing on their monitor was the same as my monitor, they could not reproduce it without my sitting there looking over their shoulders.<br>

I have chosen a new Photo Lab and they have supplied me with a ICC profile. They also told me when Soft Proofing to leave the Intent setting in Lightroom 4 on "Perceptual" and use "Simulate Paper & Ink".<br>

I have done that, and the image on my colour corrected monitor now looks dull and flat.<br>

Does anyone on here have any standard adjustments they make before they send their files off for printing with a Lightjet printer on Fujiflex paper?<br>

Thanks</p>

 

 

 

<p>You need a professional monitor Noah, and Apple does not offer such a thing (love those retina screens though). If you use what you have, the place doing the printing will not be seeing what you see. The cheapest solution is a NEC MultiSync PA241W. If you have lots of money then something from the Eizo CG Series monitors.</p>

<p>Backup Storage is important. Keeping backup at multiple locations in case of fire or robbery is also important. Using Crashplan is also an option, but a very slow one.</p>

<p>Your computer is already just about 3 years old. At 5 years they tend to become clogged up with unnecessary software, and the Hard Drives fill up, leaving you with a sluggish, almost unusable system. I see this happen in both Windows and the Mac.</p>

<p>ScottK</p>

<p>Have you tried playing with this in Lightroom? You may or may not have more luck with it that in Photoshop with layers and masks.<br>

<br />ScottK</p>

<p>Noah,<br>

When shooting fast moving objects a lot of movement happens every second. That said, I feel a camera that only shoots 6 frames a second like the Canon 5DIII (which I own) has too slow of a frame rate. This leaves you with 2 choices. The Canon EOS-1DX and the Nikon D4. These 2 cameras are also excellent for shooting at a high ISO for low light photography. That's $7,000.00 out of your $50,000.<br>

<br />Now, spending $50,000 on something and finding out that it's just not for you is not a fun thing. I would recommend buying (possibly used) 2 lenses to start with, see how they work for you, and go from there. Buy a 24-70 2.8 ($2,000) and a 70-200 2.8 ($2,500) for starters. Canon is coming out with a 200-400 with a built in tele-convertor, but it will be an expensive $10,000 lens. A 100-400 4.5-5.6 ($1,500) could be a back-up lens.</p>

<p>So now were at $11,500 for just 1 camera and 2 lenses. Play with them for awhile, and then if you want to get serious you still have $38,500 to play with. You will have to think about a back-up camera, back-up lenses, prime lenses, etc. All those little things add up real fast.</p>

<p>If you also plan on printing your own images a 24" printer is $3,000. A computer workstation will be $3,000-$10,000. Colour corrected computer Monitor $1,000 to $3,000. Editing software that you will use - Photoshop and Lightroom another $1,000. If you plan on mounting/laminating/framing your images that is more $$$.</p>

<p>Save some of that money for gas money. Getting to sporting events will suck the money out of you real fast. Gas, hotel rooms, meals, tickets, vehicle wear and tear, all add up real quick.</p>

<p>It's all about getting the image. With a RAW file you can do lots of adjusting, but if you don't get the image, there will be nothing to play with.</p>

<p>ScottK</p>

 

<p>I need a camera backpack that has an internal depth of 9". Everything that I see now is only 7 1/2", thereby causing me to have to lay down my 100-400 zoom, 180 macro, microphone, lenshood and flash. Plus I cannot stack my TS-E and Wide Angle lenses.<br>

<br />If you have any suggestions on a pack like this please let me know. I can carry more in my small deep camera bag, than I can in a large shallow backpack.</p>

<p>I do have the option of having McHale packs make me a custom pack, but that will cost me a ton of money.<br>

<br />I would like a manufacturer to step up and make something like this for people that have a ton of stuff to carry.</p>

<p>I posted this request on the f-stop web-site, so if you are interested in something like this also, then please post on there also requesting something like this at <https://getsatisfaction.com/fstopgear/topics/deeper_pack_please></p>

<p>Thanks,<br>

ScottK</p>

<p>For an example, lets say Pelicans at either 200M or 300M (600′ or 900′).<br>

There is a place on the river where I live where these birds hang out, along with Herons, ducks, etc., and there is only one place to set up a camera that is in line with them. And I have no access to any lens to test out.</p>

<p>Hi. I would like to know your opinions on what size of lens is good for certain set distances, when it comes to photographing animals and birds.<br /><br /> Tell us what your 300+mm lenses are and what you feel their maximum distances are when it comes to close ups of animals and birds.</p>

Does anyone have any tips on taking photos of Mirages? Is there any

books or web sites that have photos of Mirages? I was driving across a

lake one warm Spring morning after a cold night and the islands where

floating above the ice and zooming back and forth across the lake...I

sure wish I would have taken a photo of it. I shoot with 4"X5", so

some

day I will have to go get set up in the same spot if the conditions

are right and take some million dollar photos eh!

From:

"Andrew Cook" <awcook@email.msn.com>

1:12

 

<p>

 

Subject:

Re: GX680III rumor?

 

<p>

 

 

 

<p>

 

 

Yes. Here's the press release.

 

<p>

 

FUJIFILM UNVEILS THE NEW GX680 lII AND GX680 IIIS PROFESSIONAL CAMERAS:

MULTIFORMAT CAMERAS FEATURING THE NEW BARCODE SYSTEM

PHOTO PLUS, NEW YORK, NY,�Fuji Photo Film U.S.A., Inc. proudly introduces

the third generation of the GX680 series of professional cameras, the new

GX680 lII and GX680 IIIS Professional. Offering multiformat capability, a

multifunctional film holder and featuring Fujifilm's innovative Barcode

System, the new GX680 lII and the lighter, more compact GX680 IIIS set new

standards for studio professionals.

Perfect for outdoor work and hand-held shooting, the GX680 IIIS is 12

ounces lighter than the GX680 III, yet retains all the benefits of this new

generation of cameras with the sole exception of bellows movements.

Multiformat Convenience

Fujifilm's GX680 lII Professional series offers photographers the

convenience of shooting in all four commonly used formats with one camera.

By simply snapping a format mask into the film holder, the GX680 lII and

GX680 IIIS accommodate 6x8 cm (the film holder's default format� actual

image size 56x76 mm), 6x7 cm, 6x6 cm and 6x4.54 cm. The cameras

automatically detect which format film is being used and adjust the number

of frames per roll accordingly. Both cameras use easy-to-insert focusing

screens for the different formats.

The GX680 lil series also have a revolving filmback feature, which makes

switching from horizontal to vertical so easy, it can now be used with all

of these formats.

Multifunctional Film Holder III

The Film Holder lII featured in the GX680 lII series is a reengineered

version of the original.

Professionals can enjoy several advanced functions including:

7 Automatic advance to first frame even when detached from camera. There is

no need to look for a start mark -- simply load a roll of film. The

automatic advance is a must-have for pros who need to catch great shots in

a hurry.

7 Data recording in the unused film area alongside the frames, including

date, time, exposure values (Tv, Av) and a six-digit frame number.

Record-keeping is now quick and easy, as it is no longer necessary for

photographers to keep notes manually.

7 A large LCD that displays critical settings at a glance. Blinking marks

indicate if something is not ready or malfunctioning. Data to be recorded

and the format being used are shown as well, permitting quick confirmation

of current settings.

7 Separate shot counts for the lens, body and film holder, which can also

be displayed on the LCD (this applies to the new Film Holder lII and GXM

lenses).

7 Fast switching between 120 and 220 film -- without changing the film

holder. Simply snap in an interchangeable film cassette.

Fujifilm's Revolutionary Barcode System The GX680 lII and IIIS both utilize

Fujifilm's Barcode System, which enables advanced communication between the

film and camera and automates adjustments to different film types. When a

film with a barcode label is loaded, the film holder's built-in barcode

scanner reads film speed, film length and film type from the label and

adjusts the camera settings accordingly or issues a warning alert. This

opens up a whole new realm of operating ease for professional

photographers, and minimizes mistakes due to erroneous settings.

Pros can look forward to a host of other new features when they use

Fujifilm's new GX680 lII and GX680 IIIS Professional cameras, including a

new backlit LCD on film holder so photographers can see settings clearly

and easily when working in a dark environment, and a conveniently placed

bulge in the camera bottom that makes the GX680 lII easier to grip by hand.

In addition, the GX680 lII cameras use Fujinon EBC lenses with large image

circles and superb optical accuracy. The new GXM series lenses now have

shot count memory. All functions are powered by lithium batteries, which

don't require recharging.

"By combining multiformat capability and a multifunctional film holder with

the Barcode System, Fujifilm's new GX680 lII and GX680 IIIS Professional

cameras represent a technological breakthrough in medium format

photography," said Steve Herstatt, Product Manager, Professional Products,

Professional and Photofinishing Markets Division, Fuji Photo Film U.S.A.,

Inc. '1hese cameras will be welcomed by professional photographers as it

provides them with Fujifilm's superior quality and the convenience of

state-of-the-art automation."

Professionals can look forward to the same great features they've come to

expect from Fujifilm's GX680 series, such as:

7 A high-speed motor drive and electronically controlled lens shutter,

which greatly simplifies the photographer's workload, letting him/her

concentrate on the important creative aspects

7 Exposure monitor issues a warning when the exposure settings are wrong,

when a frame has not been exposed at all, or when flash synchronization is

not functioning properly

7 Synchro-test button tests the X-contact connections without releasing the

shutter. Permits test firing of flash

7 Last frame alert sounds when the last frame on film has been reached

7 Standby monitor indicates when the camera is ready to shoot

7 Variety of lens bellows movements, including rise, fall, swing, tilt and

shift (not available in the GX680 IIIS)

The new GX680 lII and GX680 IIIS Professional cameras will be available

Spring 1998.

 

<p>

 

 

--

Andy

I am also considering purchasing a GX680II and have the following questions.

 

<p>

 

1. What backpack would work to hold camera and 4 lens, 4 film backs, filters and also additional room for raingear, food, water and some prospecting equipment? Would a Domke Photo Backpacker work?

2. What camera bag would work for the above camera equipment only?

3. Is it hard to get the 6*8 format enlarged while keeping the same aspect ratio?

3. Would the Sinar 5" (125mm) filter system be the way to go since the fuji 50mm lens uses 112mm filters?

 

<p>

 

Any answers would be very helpfull :)

I've heard that Fuji Lens are poor compared to other medium format cameras! Has anyone ever seen any comparison tests done on medium format lens that prove this to be right or wrong?