I'm not seeing a colour balance tool like the PS option. The ability to easily and quickly adjust colours in shadow / mid / highlight areas independently is critical for me. I can use curves, but that is slower and the other colour tools don't offer me the same control.
Or have I missed something obvious?
This above all else would be a deal breaker for me as I'm often shooting in unfavourable light and I use PS to bring colours "home" where LR can't quite make the grade.
I went yesterday and there were quite a few that I thought should have hit the short list for the Wessing competition.
As with any "judged" display, I questioned some of the choices by the panel, (and one particular photographer seemed unrealistically popular with 3 entries of similar subject material).
Overall a good set though, and worth a tube trip to visit.
leecamera: I saw the exhibition yesterday and it was full of fabulous images.
The scorpion shot was certainly a winner, but there were several images that far surpassed the winning lion shot. To be honest, when I saw the lion shot (before I knew it was the winner) I remarked that it seemed weak compared to many others.
Worth a visit, but book your tickets in advance as viewing numbers are restricted and in timed sessions. (And only about an hour long so don't hang about on each image...)
Thanks for the clarification. I got the last session in the day so assumed each session was a set length. We were glad to get an entry on the day at all - nearly didn't...
I saw the exhibition yesterday and it was full of fabulous images.
victorian squid: Considering I've had a Transcend SD card go through the washer, dryer and then get ironed - until the housekeeper figured it wasn't going to iron out of my shirt pocket - I can't imagine what worse things I could do to a card!
Oh, and it still works fine and the data was intact. It was in quarantine for several months, but has been relegated to the P&S. Do I really need an "X" card?
I used to hate SD cards years ago as they'd always fail, but now I think they're pretty darned tough. Delkin will have to prove longevity to me in other ways before I trust them the way I do Sandisk or Lexar for instance. In fact, Transcend was one brand I disliked for CF cards, but I've got a couple of their SD's and well, they too have a proven track record!
Honestly, I have no idea who Delkin is - other than it sounds exactly like Belkin. We'll see about investing (and believing) once they've got a history behind them.
Delkin have a good pedigree behind them and have been making solid state cards for a long time now.
I changed from SanDisk to Delkin last year with my 16GB CF cards and have had 100% success.
I also use their 32GB CF cards for my nanoFlash backup system and again, no problems.
They seem to keep a tighter control over the components in their cards and to this extent some companies recommend their product over SanDisk (who may swap internal components as they see fit without us knowing).
I like it... but for two things...
I dislike anything "quick release" and although a button is convenient I'd prefer to have a secondary lock facility so no accidental button pushing can EVER happen.
Putting the strap mount point at the side is a good idea, but it sticks out to far. It needs to be almost flush with the side of the camera when the strap is disconnected. How many of us have camera bags which only just contain the bodies. (Particularly when we've multiple bodies). This extra width (and given the width is just at the bottom) means awkward packing in bags. Classic great idea but bad in the real world.
To be honest this is a fantastic effort on a budget of zip.
It's interesting that Marc uses the GoPro as he'd be shooting video with each rather than a series of stills - which opens possibilities to editing motion within the Matrix effect.
I think the comments about motion artifacts may be confused with the "scratch" editing within the action. We've got some interesting forwards and backwards motion of the subject whilst the tracking motion continues in the same direction. This is the first time I've seen this and kudos to Marc for coming up with a variation on a well known effect.
And to the critics of the execution... please send us your examples - we'd love to see how much better your versions are...
ncsakany: Station: in the wrong, putting forth a good faith effort to resolve the situation, all along behaving in a professional manner
Photographer: in the right, but coming across as both unreasonable and down right rude.
EXIF data aside, if someone uses a picture for any reason, and it is not one they took themselves then they have clearly stolen the image.
I don't paste a sign on my car claiming ownership and I wouldn't expect to need to do so. If I leave it unlocked then it is not giving permission for someone to take it "because they didn't realise they shouldn't..."
I wish the world would stop treating creative works as freebees just because they saw them on the internet. Theft is theft and if a company has employees taking images without owners' permissions then time has come for an education.
As to fees...? I'd be looking for a day rate + useage % + 100% for unauthorised useage / time to recover money.
DaveKaiPiper: I really do this is the way forward. 3d is pretty bad in an fairness and just is not an option for a home or house.
Also.. I wonder what this would be like to edit photography on ? Are there any graphics cards that could handle it ??
Speaking as a broadcast Director of Photography...
Do we need 4K...? Probably not as the difference in resolution is only noticeable of huge screens at close distances - which will no doubt be undermined by high compression rates from greedy broadcasters.
4K is useful for complex post production tasks such as compositing, but the average print at your average cinema is regarded as about 2K resolution, which seems just high enough for most.
Besides with 4K and it's 8x data rate, just think of the post production time required.
What we need is 50p (sorry - 60p to our US friends) to give quality motion.
We need TV's to give accurate colours and dynamic range so OLEDs are a good thing (as is my lovely Viera Plasma 42" (viewed at a comfortable 13ft)
We need broadcasters to reduce compression. If you'd ever have seen SD DigiBeta on a grade 1 monitor then you'd know what I was talking about - sometimes it's not just the number of dots on a picture...
Tethering with the 5D3 still seems to have issues. When you switch the camera off and back on, LR doesn't continue to tether properly.
The camera is still shown to be connected but images are not imported and the remote triggering doesn't function.
Only way around this is to restart LR - which is not very useful.
Anyone else tried this? (I'm on Mac, Snow Leopard)
IcyVeins: This $20k lens seems like a good fit for my $200 E-PL1
T stop is a precise measure relating to a specific lens. Often top end lenses will have the T stop calibrations engraved individually for absolute accuracy.
In stills work we are blessed with rather inexpensive glass. Not so for the TV and film world. I shoot broadcast TV and have 2 lenses for my camera - at £15,000 + VAT and £10,000 + VAT each... and these are regarded as fairly "run of the mill" lenses for 2/3" chip HD cameras. I've played with a £150,000 lens (and that was SD. Now THAT was a nice lens...)
Does anyone know if 4.2 will have tethered support for the 5D3. I gather 4.1 doesn't and it would be nice to avoid using any workarounds.
As an aside, although vs 4 was a dog to use I've found 4.1 pretty good for speed. I'm using Snow Leopard on an 8-core but it has been fine with my MBP too. (Granted, if I have lots of brush adjustments it can slow things down but that seemed true with LR3)