Our fall workshops are coming up again this year, so after working out some accommodation and schedule details, we have decided to post a portion of the 2014 Photography Life workshop schedule – Colorado Fall Colors, which will take place on September 26-28 in San Juan Mountains of Colorado in Ridgway / Telluride area. We have reworked the workshop program for this year and we are happy to say that this workshop will bring the best experience in terms of not only learning the art of landscape photography, but also vacationing in one of the most picturesque locations in the world.
Although the Canon 6D has now been out for almost two years, I never had a chance to review it. Since the new Sigma 50mm f/1.4 Art series lens was initially available only for the Canon mount, I requested the Canon 6D with the lens from our trusted partner B&H Photo Video. My aim was to review both, as I had been planning to review the 6D for a long time now. Ever since I reviewed the Canon 5D Mark III, our readers have been asking us to test out other Canon DSLRs, including the 6D. So this was a good opportunity to catch up, although quite late. Well, better late than never, I guess! Instead of covering everything in much detail though, I will be mostly summing things up based on my three month experience with the camera and feedback from others – I don’t think there is a need to spend a lot of time on this, especially after the camera has been in the market for so long and reviewed by so many people.
After I received the Nikon D810 in the morning today, I thought about posting an article on the ISO performance of the camera and how it stacks up against the Nikon D800E. After Adobe announced the release of the Camera RAW 8.6 RC, I thought about using the Adobe converter for the Nikon D810 RAW files instead of Nikon’s software like Capture NX-D or ViewNX. Well, that was a really bad call on my side, because I ended up wasting the whole day trying to figure out why the performance of the D810 was coming out so bad when compared to the D800E. I ran many different tests and each one of them showed the same thing – the D800E was surpassing the D810 at every ISO above 3200. Whether it was with retaining colors and dynamic range, to plain noise – the D800E was just killing the D810 in every case. Although the D810 images were coming out about a stop brighter (with the exact same exposure settings and even custom white balance set at 4700K), I even tried to equalize the brightness both in cameras and post, only to see variations of the same problem. Nothing made sense and I simply could not believe that Nikon would release a camera that was inferior than its predecessor in image quality. That really did not make sense, but that’s what I was seeing!
After we published our article on 10 bit per channel workflow, our readers requested to provide information on how to calibrate monitors with a built-in Look-Up Table (LUT). Specifically, a number of our readers asked to provide a detailed guide on how to properly calibrate the Dell U2413, U2713H and U3014 monitors, which we have recommended a number of times before due to their affordable price, attractive features and superb color reproduction for photography needs. Historically, true 10-bit and higher monitors with hardware LUT capabilities were extremely expensive, making them only attractive to those with large budgets. With the introduction of sub-$500 monitors featuring professional-grade IPS panels (read our article on best monitors for photography to understand IPS terminology), those with tighter budgets are now seriously considering such monitors for photography work. Unfortunately, many end up even more confused after acquiring such tools due to questions related to proper monitor calibration.
After we’ve published our series on recommended settings for Nikon D600 / D610 and D800 / D800E DSLRs, we received a lot of requests from our readers to provide similar information for Canon and Sony cameras. While using someone else’s camera settings is probably not the best way to achieve the best results in every situation, we understand that many different menu options can be rather overwhelming for those who are just starting out. Therefore, the below information is provided as a guide for those that struggle and just want to get started with a basic understanding of important menu settings.
Many photographers have been buying expensive wide gamut monitors in order to take a full advantage of their ability to display over a billion of colors. What many do not realize, is that their actual workflow is most likely limited to just 16.7 million colors due to software and hardware limitations. How does one achieve a true 10 bit per channel, or 30 bit workflow? What are the advantages and is it worth the effort? To answer these questions, I decided to dig into the 30 bit photography workflow in detail and explain its advantages, disadvantages and also discuss its future.
Our readers often ask us if it is possible to get Lightroom to provide the same colors as one would see from camera-rendered JPEG files when shooting in RAW format. Many photographers often choose specific color profiles in their cameras and they get surprised when images are imported into Lightroom and all those changes are lost. You might have noticed when importing files that Lightroom changes the colors immediately after import, when the embedded JPEG files are re-rendered using Adobe’s standard color profiles and settings. As a result, images might appear dull, lack contrast and have completely different colors. I have heard plenty of complaints on this issue for a while now, so I decided to post series of articles for each major manufacturer on how to obtain more accurate colors in Lightroom that resemble the image preview seen on the camera LCD and in camera-rendered JPEG images. In this article, I will talk about getting accurate colors from Fuji mirrorless cameras in Lightroom. Please see our previous articles on getting accurate colors for Nikon, Canon and Sony cameras.
Our readers often ask us if it is possible to get Lightroom to provide the same colors as one would see from camera-rendered JPEG files when shooting in RAW format. Many photographers often choose specific color profiles in their cameras and they get surprised when images are imported into Lightroom and all those changes are lost. You might have noticed when importing files that Lightroom changes the colors immediately after import, when the embedded JPEG files are re-rendered using Adobe’s standard color profiles and settings. As a result, images might appear dull, lack contrast and have completely different colors. I have heard plenty of complaints on this issue for a while now, so I decided to post series of articles for each major manufacturer on how to obtain more accurate colors in Lightroom that resemble the image preview seen on the camera LCD and in camera-rendered JPEG images. In this article, I will talk about getting accurate colors from Sony DSLRs, SLTs and mirrorless cameras in Lightroom. Please see our other articles on getting accurate colors for Nikon, Canon and Fuji cameras.
We would like to congratulate our readers from the USA with the Independence Day! Fourth of July is a big day not just because you get to see beautiful fireworks (see my article on photographing fireworks) and enjoy a day off celebrating and remembering the sacrifices of the founders of this great country, but also because you get a great opportunity to save. Below are some of the best deals that we found for you.
Let’s kick off with the best deal of the day – the Canon EOS Rebel T3 with 18-55mm IS II lens is $299 ($150 off). That’s a pretty solid DSLR with a lens for $300!
We are once again excited to bring you one more person who will be joining our team here at Photography Life – Sharif, with Alpha Whiskey Photography! Sharif has been a long-time reader of PL and I have been a fan of his photography for a while now, often checking his stunning work on his photo blog. I was fortunate enough to finally meet Sharif during our London Photo Walk earlier this year, after which I exchanged a couple of emails with him and asked to write a guest post at PL. Sharif is a living example of superb photography skill and vision before gear (something we have been preaching for a while now) – he produces superb work no matter what he shoots with, whether it is his phone, his Olympus OM-D E-M5 Micro Four Thirds camera, or a full-frame DSLR. I am honored to introduce Sharif to our team and I am looking forward to seeing more educational posts that will benefit everyone, including myself. Please give a warm welcome to Sharif!