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The end result of this madness is that, while shooting in the studio, photos can be immediately reviewed on the ipad, projected on the wall, uploaded to flickr and entered into my lightroom library, all by just pressing the shutter on my camera.
A funny aspect of this is that it only covers the workflow that involves ingesting photos into lightroom. The workflow from lightroom to the thunderbolt raid, followed by cloud backup, is just as amusing.
Shot on a 6d, transferred via wifi to my phone. Edited exclusively on Lightroom Mobile. Looks pretty good.
interesting workflow. :)
With Biscione&Associati S.r.l.: an infographic explaining the commercial offer from INAZ, part of a larger work
Scanning 12x20" (30x51 cm) colour negatives on our Dainippon Screen 8060 drum scanner.
Like ever, through a completely manual hardware/software scan workflow (manual adjustments, manual color inversion etc.).
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CastorScan's philosophy is completely oriented to provide the highest scan and postproduction
quality on the globe.
We work with artists, photographers, agencies, laboratories etc. who demand a state-of-the-art quality at reasonable prices.
Our workflow is fully manual and extremely meticulous in any stage.
We developed exclusive workflows and profilation systems to obtain unparallel results from our scanners not achievable through semi-automatic and usual workflows.
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CastorScan uses the best scanners in circulation, Dainippon Screen SG-8060P Mark II, the best and most advanced scanner ever made, Kodak-Creo IQSmart 3, a high-end flatbed scanner, and Imacon 848.
The image quality offered by our Dainippon Screen 8060 scanner is much higher than that achievable with the best flatbed scanners or filmscanners dedicated and superior to that of scanners so-called "virtual drum" (Imacon – Hasselblad,) and, of course, vastly superior to that amateur or prosumer obtained with scanners such as Epson V750 etc .
Dainippon Screen SG-8060P Mark II exceeds in quality any other scanner, including Aztek Premier and ICG 380 (in the results, not just in the technical specifications).
8060's main features: 12000 dpi, Hi-Q Xenon lamp, 25 apertures, 2 micron
Aztek Premier's main features: 8000 dpi, halogen lamp, 18 apertures, 3 micron
ICG 380's main features: 12000 dpi, halogen lamp, 9 apertures, 4 micron
Some of the features that make the quality of our drum scanners better than any other existing scan system include:
The scans performed on a drum scanner are famous for their detail, depth and realism.
Scans are much cleaner and show fewer imperfections than scans obtained from CCD scanners, and thus save many hours of cleaning and spotting in postproduction.
Image acquisition by the drum scanner is optically similar to using a microscopic lens that scans the image point by point with extreme precision and without deformation or distortion of any kind, while other scanners use enlarger lenses (such as the Rodenstock-Linos Magnagon 75mm f8 used in the Hasselblad-Imacon scanners) and have transmission systems with rubber bands: this involves mild but effective micro-strain and micro-geometric image distortions and quality is not uniform between the center and edges.
Drum scanners are exempt from problems of flatness of the originals, since the same are mounted on a perfectly balanced transparent acrylic drum; on the contrary, the dedicated film scanners that scan slides or negatives in their plastic frames are subject to quite significant inaccuracies, as well as the Imacon-Hasselblad scanners, which have their own rubber and plastic holders: they do not guarantee the perfect flatness of the original and therefore a uniform definition between center and edge, especially with medium and large size originals, which instead are guaranteed by drum scanners.
Again, drum scanners allow scanning at high resolution over the entire surface of the cylinder, while for example the Hasselblad Imacon scans are limited to 3200 dpi in 120 format and 2000 dpi in 4x5" format (the resolution of nearly every CCD scanner in the market drops as the size of the original scanned is increased).
Drum scanners allow complete scanning of the whole negative, including the black-orange mask, perforations etc, while using many other scanners a certain percentage of the image is lost because it is covered by frames or holders.
Drum scanners use photomultiplier tubes to record the light signal, which are much more sensitive than CCDs and can record many more nuances and variations in contrast with a lower digital noise.
If you look at a monitor at 100% the detail in shadows and darker areas of a scan made with a CCD scanner, you will notice that the details are not recorded in a clear and clean way, and the colors are more opaque and less differentiated. Additionally the overall tones are much less rich and differentiated.
We would like to say a few words about an unscrupulous and deceitful use of technical specifications reported by many manufacturers of consumer and prosumer scanners; very often we read of scanners that promise cheap or relatively cheap “drum scanner” resolutions, 16 bits of color depth, extremely high DMAX: we would like to say that these “nominal” resolutions do not correspond to an actual optical resolution, so that even in low-resolution scanning you can see an enormous gap between drum scanners and these scanners in terms of detail, as well as in terms of DMAX, color range, realism, “quality” of grain. So very often when using these consumer-prosumer scanners at high resolutions, it is normal to get a disproportionate increase of file size in MB but not an increase of detail and quality.
To give a concrete example: a drum scan of a 24x36mm color negative film at 3500 dpi is much more defined than a scan made with mostly CCD scanner at 8000 dpi and a drum scan at 2500 dpi is dramatically clearer than a scan at 2500 dpi provided by a CCD scanner. So be aware and careful with incorrect advertisement.
Scans can be performed either dry or liquid-mounted. The wet mounting further improves cleanliness (helps to hide dirt, scratches and blemishes) and plasticity of the image without compromising the original, and in addition by mounting with liquid the film grain is greatly reduced and it looks much softer and more pleasant than the usual "harsh" grain resulting from dry scans.
We use Kami SMF 2001 liquid to mount the transparencies and Kami RC 2001 for cleaning the same. Kami SMF 2001 evaporates without leaving traces, unlike the traditional oil scans, ensuring maximum protection for your film. Out of ignorance some people prefer to avoid liquid scanning because they fear that their films will be dirty or damaged: this argument may be plausible only in reference to scans made using mineral oils, which have nothing to do with the specific professional products we use.
We strongly reiterate that your original is in no way compromised by our scanning liquid and will return as you have shipped it, if not cleaner.
With respect to scanning from slides:
Our scanners are carefully calibrated with the finest IT8 calibration targets in circulation and with special customized targets in order to ensure that each scan faithfully reproduces the original color richness even in the most subtle nuances, opening and maintaining detail in shadows and highlights. These color profiles allow our scanners to realize their full potential, so we guarantee our customers that even from a chromatic point of view our scans are noticeably better than similar scans made by mostly other scan services in the market.
In addition, we remind you that our 8060 drum scanner is able to read the deepest shadows of slides without digital noise and with much more detail than CCD scanners; also, the color range and color realism are far better.
With respect to scanning from color and bw negatives: we want to emphasize the superiority of our drum scans not only in scanning slides, but also in color and bw negative scanning (because of the orange mask and of very low contrast is extremely difficult for any ccd scanner to read the very slight tonal and contrast nuances in the color negative, while a perfectly profiled 8060 drum scanner – also through the analog gain/white calibration - can give back much more realistic images and true colors, sharper and more three-dimensional).
In spite of what many claim, a meticulous color profiling is essential not only for scanning slides, but also, and even more, for color negatives. Without it the scan of a color negative will produce chromatic errors rather significant, thus affecting the tonal balance and then the naturalness-pleasantness of the images.
More unique than rare, we do not use standardized profiles provided by the software to invert each specific negative film, because they do not take into account parameters and variables such as the type of development, the level of exposure, the type of light etc.,; at the same time we also avoid systems of "artificial intelligence" or other functions provided by semi-automatic scanning softwares, but instead we carry out the inversion in a full manual workflow for each individual picture.
In addition, scanning with Imacon-Hasselblad scanners we do not use their proprietary software - Flexcolor – to make color management and color inversion because we strongly believe that our alternative workflow provides much better results, and we are able to prove it with absolute clarity.
At each stage of the process we take care of meticulously adjusting the scanning parameters to the characteristics of the originals, to extrapolate the whole range of information possible from any image without "burning" or reductions in the tonal range, and strictly according to our customer's need and taste.
By default, we do not apply unsharp mask (USM) in our scans, except on request.
To scan reflective originals we follow the same guidelines and guarantee the same quality standard.
We guarantee the utmost thoroughness and expertise in the work of scanning and handling of the originals and we provide scans up to 12,000 dpi of resolution, at 16-bit, in RGB, GRAYSCALE, LAB or CMYK color mode; unless otherwise indicated, files are saved with Adobe RGB 1998 or ProPhoto RGB color profile.
FULL EDITORIAL available at: www.miguelmartin.es/stories/what_to_wear_tonight/
model: María S. @Pasarella Image Agency
mua & hair: Javier Romero
photo & edit: Miguel Martín
Practicando un nuevo workflow de procesado. ¿Qué os parece el resultado? (imprescindible verla en grande).
Strobist info: 41cm white beauty dish 1,2m from model @ 1/4.Reflector para rellenar en la parte de abajo.
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New retouching workflow. Fancy the results? (Please watch it fullsize!!).
Strobist info: 41cm white beauty dish 1,2m from model @ 1/4 . Reflector down for fill.
Since 2004 I use this workflow. This workflow stay since 2006 on my pbase account:
By changing frequence, amplitude and waveform other figures are created. Many examples stay on my pbase account but a few are now also on this flickr site.
My workstation melted so rather than be sad, i decided to see how viable the ipad is as a mobile editing solution. The apps have come a long way, but theyre still not as nice as a desktop apps. By that i mean the algorithms seem a bit sloppier than desktop versions.However it works in a pinch and would be an excellent solution for a traveling photographer who wants to travel light. If youre an instagram photographer, then its a perfect fit.
Just experimenting with a some little video clips that show a before and after and how my workflow gets me where I want to go...
Infographic that illustrates a comparison between an existing workflow, and a more collaborative and "agile" project workflow.
Got my mini travel photo editing process set up and tested today. Shoot with the m4/3 Panasonic GX8, transfer to iPad Mini via SD adapter, edit with Lightroom mobile, upload to web via whatever means necessary.
(except the tagging interface on the Flickr iPad app is atrocious)
Not sure whether this will interest any of you or not, but just felt like sharing some of my thoughts through the post-processing stage of photography as have been getting a few emails from people lately about this.
The key to any post-processing is a good canvas on which to start from - this means you need to get it as "right" as you can in camera. Of course, using RAW formats make this a lot more forgiving, but I still believe it's a good thing to aim for! The less post-processing you do, the better quality your photo is also. Of course, that also depends on how creative you want to get. I'm not saying my images are anywhere near "right" in camera - actually I think there's still a long way for me to go there and I do get lazy quite often! It's still something I try to aim for anyway. Composition's probably the one thing you can't get away so easily with being lazy on :)
Left to Right, the top photograph is the original RAW photo without any adjustments. In my opinion (for what I like) the photo is flat and there's very little contrast between the bamboo and the middle tree, which is something I wanted to highlight, as when I was there, it's what struck me the most about the scene. The photo on the right was my first attempt at post-processing this image and I didn't like it. The colours just didn't do it for me, and the more I did, the worse it got! I also felt it was all too busy as the bamboo is a very strong feature with too much detail. The image just feels a bit uninteresting - there's nothing in particular that intrigues the viewer. I decided to leave the image and come back to it later, starting again from scratch.
The bottom two images are the ones I've posted on this photostream. The B&W attempt was born out of having been so disappointed with my first colour attempt. I felt I needed to just try something completely different as wasn't sure how to make the most of the bamboo without it being totally overpowering. I think this B&W stage helped me reorganise and refresh my outlook on processing a colour version (I find B&W tends to do that, for me at least). The final colour image is what I've finished with - it's not as "realistic" as it could maybe have been, but I've decided that this interpretation gives the effect I wanted. For me, it's intriguing and enchanting, which is honestly what I felt, being there (even though it didn't exactly look like that!). This image ended up being a lot more complex to process than I first thought - probably a lot to do with the weird lighting the bamboo gives, and the texture of it.
View large on B l a c k M a g i c
Mamiya M645 Pro with Kodak Portra 400 negative film.
This is a very architecturally intriguing building.
A sailor in “crackerjack” white uniform salutes to crew members boarding the ship while another enlisted sailor chats with another sailor named Callen in “Navy Working Uniform”—a camouflage which is digitally printed in multiple colors. According to Wikipedia, this should be the Navy Type III MARPAT [1].
The Crackerjacks—so nicknamed because of the Navy-uniformed figure that adorns the Cracker Jack snack box—are my all-time favorite uniforms worn by military units. Most probably because they feature bell-bottom cuts—a cut of pants which is closed to impossible for me to buy anywhere and I used to custom tailor them for myself—as many of my friends in New York knows.
It is for this same reason why I love the clothes designed by Jean-Paul Gaultier [2], a fashion designer based in France who has had a long history of designing outfits which bears many naval uniform influences.
# Notes
1. Wikipedia: EN: Uniforms of the United States Navy: en.wikipedia.org/wiki/Uniforms_of_the_United_States_Navy
2. Wikipedia: EN: Jean-Paul Gaultier: en.wikipedia.org/wiki/Jean_Paul_Gaultier
# SML Data
+ Date: 2013-04-18T17:41:37+0800
+ Dimensions: 3364 x 5046
+ Exposure: 1/100 sec at f/7.1
+ Focal Length: 400 mm
+ ISO: 12800
+ Flash: Did not fire
+ Camera: Canon EOS 6D
+ Lens: Canon EF 100-400mm f/4.5-5.6L IS USM
+ GPS: 22°17'41" N 114°10'0" E
+ Location: 中國香港九龍尖沙咀海港城 Harbour City, Tsim Sha Tsui, Kowloon, Hong Kong, China
+ Subject: US Navy personnels, USS Peleliu (LHA-5), United States Navy
+ Workflow: Lightroom 4
+ Serial: SML.20130418.6D.01639
+ Series: Photojournalism, 男 Men
# Media Licensing
Creative Commons (CCBY) See-ming Lee 李思明 / SML Photography / SML Universe Limited
“美國海軍制服 US Navy Uniforms” / USS Peleliu (LHA-5) in Hong Kong / SML.20130418.6D.01639
/ #Photojournalism #男 #Men #SMLMen #CreativeCommons #CCBY #SMLPhotography #SMLUniverse #SMLProjects
/ #中國 #中国 #China #香港 #HongKong #攝影 #摄影 #photography #USS #Peleliu #LHA5 #military #US #Navy #people #salute #camouflage
The fact an SVG image is an xml document comes handy. In the past our workflow has been defined by the icon theme spec. We worked on individual files for every icon size. That becomes problematic when you tweak an aspect of an icon and you have to keep the change in sync with the other versions (It shows itself in the tango-icon-theme emoticons, where you have clearly different colors between the various sizes).
During the suse hackweek I've cooked up a php script that would take a two-layer SVG, where in one layer there would be rectangles defining the size and the other the actual artwork and call inkscape to render the objects into PNGs.
And since I'm now working in a team that deals with ROR a lot, I've found a scripting language that I very much like, ruby. I'm no hacker, but man do I love the simplicity of it.
My parents' Sony RX100 next to my Microsoft Surface Pro. The perfect "Portable yet Powerful" combination for a photographer!
Photograph as seen on The Hugehog Blog.
a workflow chart describing general content creation process as shared by professional media and hobbyist bloggers alike.
IOGraphica overlaid on my photoshop document for 31.5 minutes. I've been working on this for a few hours, so this is an incomplete mouse track.
Workflow: logartis.deviantart.com/art/Workflow-animation-of-Forest-...
ps + tablet
My facebook: www.facebook.com/logartis.info
My website: www.logartis.info
You can download this workflow from David Allens website: www.davidco.com/pdfs/gtd_workflow_advanced.pdf
or you may try the D*I*Y Planner Templates, which is a collection of very good templates, includying the one you liked: www.diyplanner.com/templates/official/classic
There are also other great gtd workflows that are similar to this one:
smerino.bol.ucla.edu/gtd/gtd-1.html - Collection
smerino.bol.ucla.edu/gtd/gtd-2.html - Daily Reviews
smerino.bol.ucla.edu/gtd/gtd-3.html- Weekly Reviews
elementkstaff.com/Student_Course_Materials/bnu/images/gtd...
blogs.salon.com/0002007/images/workflow_diagram3.gif