Scott Eaton

Lives in United States grand rapids, United States
Joined on Sep 20, 2005
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Total: 60, showing: 1 – 20
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Nolan needs to get over it and adopt the digital formats, which when shot native and projected native (digital) provide a superior image.

Before our goose stepping film purists step it lets be clear in that every frame of the movie that's exposed gets digitally scanned (photographed with a digital camera), color graded, enhanced, CGI added, etc. before being scanned out onto IMAX format. With all these variables things get missed, which is why at times during the movie the actors looked like they had over dosed on self tanner because an emulsion wasn't profiled right.

Link | Posted on Jul 23, 2017 at 03:17 UTC as 3rd comment
On article CineStill 50D Film in 120 format goes up for pre-order (26 comments in total)
In reply to:

Lobbamobba: Great, I kick started the film and was a bit let down when I only got the 800 version in the mail.
Doesn't matter, will buy many rolls of this. The 35mm version is one of my favorites.
Unmatched colors (specially by digital standards).

I've worked commercially with the best print films ever made up to 8x10, and never found a one to produce color in the same zipcode as reversal films, let alone digital. Print films were designed for corner wedding shooters and housewives to have an easy way to make analog prints. 99.99% of commercial film shooters I knew only shot reversal, and when scanned reversal films crush print films because the former don't sacrifice lattitude for density range. So, please don't try to revise history.

Link | Posted on Jul 10, 2017 at 20:50 UTC
On article CineStill 50D Film in 120 format goes up for pre-order (26 comments in total)

We tried this motion picture film thing a few decades ago. In every side by side test MP film got slaughtered by professional grade print films because MP film isn't designed for direct to print applications. I had my own custom dark room at the time , and found the stuff to be crap compared to Kodak or Fuji Professional emulsions. MP films were optimized to produce interpositives for movie production. If you removed the orange mask from print film and jacked up the density range you might have something, but motion picture film simply isn't that remarkable.
Last, unless you're shooting a wedding or high school senior shoot with a high key background print film sucks. Landscape shooters abandoned the medium long before digital hit the scene. I can guarantee you that Fuji Provia will humbly annihilate this junk for landscape use, expecially if you process it yourself and give it the proper extended color developer times so it gets some Velvia saturation but not the harsh contrast.

Link | Posted on Jul 10, 2017 at 20:44 UTC as 1st comment
On article Sigma SD Quattro H Review (693 comments in total)
In reply to:

Shiranai: I dunno what they did from ISO 800 upwards, but it looks worse than a point-and-shoot camera from the 90s. ISO 6400 - awful, its like the worst I've seen ever.
But its detail rendering from ISO 100-800 beats all of its peers. Look at the line drawing on the upper left of the test scene. That detail even puts a Canon 5D4 and a Nikon D5 to shame.
Kinda tragic regarding the ISO performance.

I'm seeing the K-1 and 810 samples produce at least 30-40% more detail in that scene than the Sigma. Please stop using your smartphone for viewing this matter. It's obvious on 19" monitor.

Link | Posted on Jun 15, 2017 at 19:04 UTC
On article Sigma SD Quattro H Review (693 comments in total)

Using my eyeballs and ignoring hype; the color accuracy of the test scene might be the worst of any dSLR I've seen to date. Not sure what glue sniffer at Dpreview is comparing it to the K-1, but all I'm seeing is blown out colors with terrible chroma detail. Decent spatial detail, but my world consists of color. As predicted, +18mp bayer technology has made Foveon obsolete. Moving on.

Link | Posted on Jun 15, 2017 at 19:01 UTC as 12th comment | 1 reply
On article Sigma SD Quattro H Review (693 comments in total)

As a macro shooter struggling with Canon sensors and their annoying low color accuracy and habit of 'color puddles' when it comes to saturated warm colors (red is the worst) I was expecting this camera to do better than grocery store print film. All I have to do is look at the test results to see the Foven has *worse* color response under high gamut conditions than my 60D. The Foveon captures more spatial detail, but at a far more limited brightness / gamut range, and that sucks. This camera proves that just like bayer we are reaching the limits of RGB capture and need to expand to a physical aquisition mode with 4 or preferably at least 5 filter windows. RGB is fine for low gamut scenes and remote space probes, but even colored thread on a spool proves it's inadequate for full pictorial use.

Link | Posted on Jun 1, 2017 at 19:44 UTC as 71st comment | 5 replies
On article Analog gems: 10 excellent, affordable film cameras (828 comments in total)

One thing I learned shooting for a few years at a local metro paper alongside really talented journalists is that unlike a digital camera a film camera is useless unless you have a really good external workflow. So, it's pointless to discuss what film camera to buy unless there's consideration as to what you are going to do with those 24 x 36mm exposed pieces of film. Commercial analog printing of small format is either non existant or a seldom used dusty module on a Fuji Frontier. DIY film scanning requires a tack sharp and well behaving desktop scanner that can handle true 4,000dpi to get the most from low speed slide films. Drums are a royal PITA. IMO, you're better off investing in MF because the gear is about the same price and the potential for better production still viable.

Link | Posted on May 23, 2017 at 13:40 UTC as 86th comment | 1 reply

Bayer sensors don't exactly help when it comes to dedicated monochrome capture. The issue has less to do with spectral response than the spatial 'fuzziness' associated with full color bayer capture. Note how well Sigma images convert to monochrome. However, if you've ever worked with panchromatic materials in the past you've learned how 'boring' and tone dead the materials can be, and nobody ever loaded their 4x5 cameras with panchromatic film -vs- tri-x. The samples here just don't impress me much and remind me of panchromatic capture - dull. I'd rather capture in full color with a high rez back and then convert to monochrome.

Link | Posted on May 11, 2017 at 14:36 UTC as 1st comment | 2 replies

My 10D was my first serious dSLR.

The other day I went through my old portfolio of 10D images and compared them (all RAW) to my 60D and 7D. First thing I noticed was while my 60D had better low ISO noise and bit better DR the 10D images had far better color saturation and were less prone to blowing out reds under high saturation situations. In this respect my 10D has a wider red/orange gamut than my 60D and borrowed 7D.

Canon hasn't exactly been moving forward by widening the spectral windows on recent CMOS sensors.

Link | Posted on Apr 7, 2017 at 17:36 UTC as 12th comment | 1 reply

Modern and Petersen's were technically good reads with subject matter sophisticated enough to meet the demands of a pt time photo journalist. Always some content or side by side tests worth reading.

Pop Photo was typically the worst of the mags with pulp content and little content to impress anything other than amatuer shooters. I recall having a very serious snail mail debate with Pop Photo's editor in the late 90's after they continuously advocated the use of amatuer (grocery store) class print films for shooting weddings on the basis of 'color saturation'. This drove my lab manager nutz as we tried to get casual shooters to use more professional materials, which delivered obvious and tangible results even with novice cameras. No brain - no headache.

Link | Posted on Mar 8, 2017 at 17:03 UTC as 31st comment | 1 reply
In reply to:

rsf3127: Check this out:

What am I looking at besides posterization? Was the scan made in GIF mode because it kind of looks like it.

Link | Posted on Jan 11, 2017 at 20:59 UTC
In reply to:

melgross: I can't understand any of this. I ran a major commercial photo lab here in NYC for many years, until we sold it in late 2004. By that time, we were mostly digital.

When talking to Kodak, I saw the depths that film had come to. In fact, in 2000, I wrote an article for their monthly publication, "Lab Notes" that went to all the independent labs that used Kodak products. In that, I predicted that by 2010, film would effectly be dead, and it was. Kodak predicted the same thing later, in 2002.

We also processed Kodachrome film with our own modified process, which we developed for professional photographers, as Kodachrome was considered, and treated as, a consumer film. We and Kodak signed more than a few agreements over that.

Having said that, Kodachrome was a great film, for its day. But as far as sharpness goes, it's the equivelant of between a 14 and 18MB sensor, and the color is so much worse from batch to batch.

I agree. We would get amatuer customers who would shoot weddings on Kodachrome and then want Cibachromes. Bride would be in tears when she saw the contrast. Kodachrome only existed because of it's popularity with commercial photogs and the 64iso version that publishers adored because it was so much more 'crisp' than Kodak E-6 emulsions. Then Fuji took them all to school. Even the best labs I worked with couldn't get K14 processing consistent enough to track my drum scanner channels.

Link | Posted on Jan 11, 2017 at 16:46 UTC

While K25 in 35mm and the short lived 120 variants provided good enlargement and projection potential nobody does optical / reversal printing anymore which will require you to scan it. Spent enough years trying to get decent commercial scans from Kodachrome, and while it can be done it requires a precisely exposed slide that's underexposed proportionally with increasing contrast. I'll take 120 Provia - thanks.
So, once again what are you going to do with a box of Kodachrome other than try to take pictures of it with a digital camera (scanner)? Nothing. Just another distraction for hipster contrarians who prefer to walk around with ancient cameras and bad mouth digital while stroking their precious Lecias, but don't actually take pictures. IMO, if Kodak wants to bring back a legacy emulsion you can actually do something with I suggest RG25. At least existing minilabs can print it.

Link | Posted on Jan 11, 2017 at 16:39 UTC as 42nd comment | 5 replies
In reply to:

km25: Digital is fast and perhaps a better creator of detail. Digital will give a slow film all the way up to fast film. Films have "looks" that can be part of the JPEG process. You change, undo with RAW. Therefore an Ape is able take picture of ones self, a selfy.
In the days of film, to create a proper exposure and properly focus took skill and knowledge. To day, it is more Ape like. Did Joe who has no talent and no skill ( sorry to all out there named Joe), just push the button as in those millions of monkeys
and those millions typewrites creating a War and Peace.
With film you got to know, your light ISO. Got to know lens and what will do, F stops and DOF. You got a roll ASA 200 and you knew what your after. Good God you may have read a light meter and use a gray card. It is call skill and artistry. Not saying Dig world is void of it, it's just all those monkeys.

KM25 - I used to work with the pro Wedding Photographer who, due to his inability to use a meter would over expose all his weddings by 2-4stop. Nightmare for my lab who had to try and print through 120 film as dense as welding goggles.
The lattitude of print film was a big reason so many "professionals" could stay in business because of it's absurd lattitude that was damn near 'meter free'. Just point, and over-expose.

Link | Posted on Jan 11, 2017 at 14:00 UTC

Good luck finding somebody locally to process the stuff, and if somebody wants me to set up a line for them I'm too expensive.

I stopped shooting E100 years before digital because Astia / Provia were light years better films. Fuji grabbed so much Kodak market share because E100's mediocre image quality and ancient materials like Kodachrome stuck around so long because of it. Truth hurts.

So, in a nutshell what this means is those of you who still haven't figured out digital can dust off your F3's and Leica's, and fill another shoe box or two with a bunch of processed 24x36mm emulsion in cardboard frames you can't do anything with because along with the demise of film processing few labs do film scanning, and those that still do will certainly do a dismal job. When you see retail scan of 35mm reversal film printed on paper you'll run screaming for your smartphone. Nothing like taking digital pictures of film vs the original scene because to some idiots that makes sense.

Link | Posted on Jan 6, 2017 at 03:41 UTC as 74th comment | 9 replies
In reply to:

Hanoise: Digital has its advantages. BUT, there will always be a difference to the truth of raw art and talent. Photography has progressed to a photoshop standard. The talent in most part of photography lies (didn't spell it wrong) in how well an image can be manipulated on a computer screen....
Analog has always and will always spearate the pros from the pro wana-be's.
People complain about the cost of developing etc, but the reality is, in life, if you want the best PAY FOR IT! or keep quite, and keep manipulating that wrongly exposed, poorly composed, semi-blurred, noisy and pixelated, sorry excuse as 'pic' on your pc.....

Pros for digital (both audio and visual):
- cheap
- easy
- widely available to the consumer unartistic masses
- guilt free shutter clicks/replay presses
- got lucky pics all over the web??

- severely compressed
- lacks artistic initiative
- easily manipulated
- reproduced too easily
- gear becomes rapidly obsolete

Film/records pros:
- truely raw uncompressed quality both sound and visual
- truthful honest talent required only (consumers would see this as a con)
- light sensitive molecules have far for resolution and depth then the Much dopier square less intelligent pixel
- artist is able to much more to the image BEFORE, during and after the click of shutter/ record button.
- multiple film types available, only one Sony sensor type available.
- requires photographer to stop and think and actually appreciate the moment.

- requires funding, so cuts out the smart phone happy ppl
- ppl start realising that selfies aren't worth the money.
- requires more effort and more time and more energy and more artistic creativity. Something the masses don't have generally.
- not many ppl are willing to learn the true art of photography.
- impatience with not being able to see your image in less than 0.025 of a second.

I welcome the analog not because I disregard the digital, but because I use both equally as much and I can see the difference....

I will always love my 5DSR and xt-2, but I love my Xpan and 1Dv and Fuji medium formats much more :)

So, basically this pile of garbage you wrote is the usual film is 'art' but digital is all about manipulation? Glad the industry has passed people like you by because those years 'sucked'. My smartphone produces a better image than 120 Ektachrome 100 printed on reversal paper.

Link | Posted on Jan 6, 2017 at 03:29 UTC

Way back in the early 90's I got into a nasty snail-mail debate with the editor of Pop Photo after they published an article listing their favorite wedding film as Ektar 125 based on it's "high sharpness" and "excellent skin contrast". Working in a commercial lab at the time that catered mostly to pros a wedding shot on medium format professional portrait film (typically Reala, NPS or VPS) -vs- overly contrasty and garish amatuer print film like Ektar or Fuji Superia was liked getting kicked in the head followed by a shot of bad whiskey. My boss put the magazine in the front label with some nasty sharpie comments indicating to customers "don't listen to this #$%^". Always wonder where these mags get their advice.

Link | Posted on Dec 29, 2016 at 22:09 UTC as 100th comment | 1 reply

Sorry if I'm not on the Adam's bandwagon, but his legacy isn't what people think it is. Adam's goal was to execute a final print and to quantify the aesthetic of silver gelatin printing to a fine degree. The army of fine art photo snobs that use him as a banner really don't get it. Zone system was already well known by practice in the conventional print industry. Adams simply applied it to the chemical / photo medium.
While most of his images are pleasing to the eye, I find many of them to be so heavily manipulated in terms of burn/dodge I don't recognize the scene. Also, if you browse through his dept of energy portfolio the work is pretty bland, so it seems we're making a statement about post image manipulation rather than being a good photographer. Some of his students, particularly John Sexton, IMO, blow Adams away in terms of technical execution and composition. Please, go visit really important 20th century photogs who really should get more fanfare like Russell Lee.

Link | Posted on Aug 29, 2016 at 19:10 UTC as 7th comment | 4 replies

A 4000 lumen Philips Fortimo Line array costs me about $20, has a CRI of 90, and a driver costs me about $15. The prices being charged for these commercial rigs defies rationale.

Link | Posted on Jun 21, 2016 at 15:42 UTC as 2nd comment | 2 replies

While monochrome capture has an arguable niche' in still photography, and I say very 'arguable' I don't quite get the need for this thing.

Having a full RGB capture to reduce in post via selective digital filtration would seem mandatory for any director working with cinema media wanting to produce a monochrome digital print. The improved resolution over the common RGB sensor (we have this same debate in the still realm) is likely to be lost with common DLP projection anyways. Maybe RED sees a market - I don't.

Link | Posted on Dec 11, 2015 at 19:34 UTC as 18th comment | 10 replies
Total: 60, showing: 1 – 20
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