Scott Eaton

Lives in United States grand rapids, United States
Joined on Sep 20, 2005
About me:



Total: 43, showing: 1 – 20
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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

I recently helped install a large 3x3 matrix video all in a night club, and if you want to see how limited 1080p is you should see Sunday NFL on that thing. Totally dreadfull - 4k/8k can't come fast enough.

The 4k/8k debate has three entirely distinct debates; aquisition, broadcast, and display. Display is already there, and home TVs are getting big enough to need the extra resolution. Broadcast is almost entirely political - the bandwidth is there, but also lobbiests pushing for cartels on data bandwidth.

Aquisition is a different debate entirely. I agree with the skeptics here in that whats the point in doing 4k pro-sumer if we can't do 1080p correctly and have to toss 80% of our chroma information to keep file sizes practical? I still think if we have 5 or even 6 color sensors with more discrete luminance sensitivity we would have better data to start with and could be upscaled to the same quality level. The samples of 4k video I have show outstanding detail, but little else.

Link | Posted on Dec 8, 2015 at 20:04 UTC as 8th comment | 5 replies

One thing, or two things than have driven me nuts with older Canon dSLRs like the 7D is their blatant habit of 'sludging' up warm and saturated colors, especially magenta's and reds. This was an eventual deal breaker for shooters like myself when dealing with macro, or just needing some degree of color accuracy. The second problem is colorblind Canon fanbois who are blatantly oblivious of the problem when it's obvious looking at the test chart here compared to the 7D.

For a consumer orientated camera it's nice to see Canon has finally fixed the problem. At the least the 750D has come close to matching the detail and color resolution of the Nikon 7100, although it can't match the Nikon's low noise floor at higher ISOs.

Link | Posted on May 22, 2015 at 18:51 UTC as 101st comment | 6 replies
On article Pentax K-S2 added to studio scene (75 comments in total)

I'm noticing something RAWs in many cases actually look worse in terms of color than JPEGs. RAWs are actually blowing out colors in some instances while JPEGs are holding detail. Just look at the spools of thread and details on the Beatle's charictures compared to pretty much any other camera - the Pentax K-S2 in RAW mode is blowing out the colors very badly and detail looks sludgy. Maybe some of you should get off your smart phones and use a decent monitor. Why would I want a camera that seems to be using a 10yr old Canon color engine?

Link | Posted on Apr 14, 2015 at 22:51 UTC as 17th comment | 2 replies
On article Lomography adds Lomochrome Turquoise film to lineup (91 comments in total)
In reply to:

Artistico: Easy to do with digital. But I guess the appeal(?) of lomography must be using terrible cameras with horrible film and get expensive, soft, colour-shifted photos - just so they can call it art because it's not digital. I find the phenomenon fascinating but not for me.

More 'craft and art' nonsense from the anti digital crowd posing on a digital forum. 99.999% of the users of this junk product will use a film scanner 'digital camera' to reproduce the images. That's....stupid...and horrendously illogical. Akin to people who use drawing as an example to program a robot to do it for them in raster. At least I had experience not only manually cross processing film but then printing via optical enlargers and chemical papers which was a joy dialing in a neutral print with a conventional dichro set. We had no other alternative, and we sure as hell would go digital if we could have,

Link | Posted on Oct 21, 2014 at 23:48 UTC
On article Lomography adds Lomochrome Turquoise film to lineup (91 comments in total)

Cool for hipsters, hypocrites and college art major drop-outs that say they prefer to 'work with film than digital cameras', then will use a digital camera (film scanner) to post the images on their computer.

At least in another life I would cross process and directly / optically print on C-type paper, and did so for some very pricey commercial clients. Results were sometimes cool, and sometimes weird in a Warhol kind of way. This stuff is a solution looking for a problem.

Link | Posted on Oct 21, 2014 at 23:41 UTC as 23rd comment | 4 replies
On article Lomography adds Lomochrome Turquoise film to lineup (91 comments in total)
In reply to:

Sir Nick of High Point: Most all color negative film has a red mask layer, so isn't it already color shifted in a way? If I tried scanning these negatives, how would I know how to properly adjust the color curves for the mask layer?


No, the scanner profile, if properly designated for the film will adjust. This creates two problems; first, the orange mask varies between color neg film types, second, the compensation for the orange mask reduces density range in the film. Another reason slide film lacking these masks work better. The orange mask is a legacy concern anyways. Nobody prints with halogen light sources anymore.

Link | Posted on Oct 21, 2014 at 23:36 UTC

I shoot a lot of landscapes and haven't used a 'polariser' in years. I do realize their benefits, but their need is aesthetically quite narrow...aside from killing annoying glare on reflective surfaces for commercial work at times. Often the 'free glare' version in landscape work is often the more preferable.

In other respects, lunking around a 105mm filter when your lenses are smaller threaded makes no sense. Using a warming filter on a digital camera makes less sense. Most of the comments below trying to justify warming filters are from the same people that would use warming or color adjustment filters with print film because they we're too ignorant to realize lab printing nullifies the effect.

AWB in digital cameras also nullifies the warming effect. Perhaps Lee should include a recipe for ice cubes in the box as well.

So, unless you're still shooting tranny film this is a near pointless product,

Link | Posted on Oct 19, 2014 at 05:29 UTC as 14th comment | 3 replies
On article Fujifilm X-T1 Review (656 comments in total)

I'm comparing the studio samples of XT-1 -vs- the entry level Canon and Nikon offerings, and would like to know why everybody is raving about the image quality?

Entire swaths of color detail are missing in the XT-1, edges of detailed objects look like they are being over-processed with grain reduction techniques, and the image quality is mushy, non-distinct, and looks synthetic. While the XT-1 does a good job with noise reduction, it looks no different than Nikon / Canon sensors with luminance reduction cranked to some absurd levels in post.

DPR can rave about skin tones all they want. Pretty much all skin tones I'm looking at are identical because of the low color sensitivity of the sensor. What ever attraction this camera has is likely due to the name on the front, or some other intangible nostalgia.

Link | Posted on Apr 15, 2014 at 20:22 UTC as 100th comment | 12 replies
On article Canon EOS 70D Review (716 comments in total)

Looking at the comparison shots objectively I'm not sure how anybody working on a real monitor can't see the improvements over the 7D and 60D. Those saying it's not improvement over the 60D need to stop surfing with their Androids and use a real computer. Color accuracy has also improved with the 70D...something 7D fanatics don't comprehend.

What's also obvious is while the 70D has made substantial improvement with high ISO noise the camera lags the 7100 by a rather substantial margin in all other areas, especially just plain detail. Typical 'smudgy' Canon sensor surprise.

Link | Posted on Nov 4, 2013 at 02:47 UTC as 138th comment | 3 replies
On article Gorgeous color photos of America in the 1930's and 40's (109 comments in total)
In reply to:

clicstudio: Gorgeous and amazing photos! They almost look recent.
Makes u realize the "real" photographers were those, 70 to 80 years ago, who shot manual and film and without an LCD screen to help and no photoshop.
I really admire them and the glimpse of Americana their photos show. Color makes the whole difference.
Thanx for sharing!

With all due respect, get a life. Anytime old photographs are displayed on Dpreview we have an onslaught of film zealots picking away at digital -vs- analog and otherwise using their computer to complain about computers. Seriously, unplug, and go away.

Fact is, that many years ago photographers had little choice in what options to use, and had a dSLR been available -vs- kodachrome they likely would have picked a dSLR.

As it is, it took a film scanner (a digital camera that takes pictures of film) and several computers to transpose these images into a medium (digital) than others can view (digital internet). This was the only way to get these images away from the shoebox / archive they were stored in. It's uttery hypocritical to glorify a medium which was so difficult to reproduce to be seen by the masses while at the same time complimenting their ultimate display. There's a reason most people don't think color tranny existed in the early part of the 20th century, and this is why.

Link | Posted on Aug 18, 2013 at 20:22 UTC
In reply to:

Poweruser: Still not sure where the point is with wide-gamut screens?

95%+ of users cant see any difference because their devices run SRGB at best (often times uncalibrated), think of tablets, phones, all Macs, etc.

Also, you cant "print" Adobe RGB.

No, you're wrong. If you really think a matte based print made from pigment ink and displayed under typical room lighting exceeds the gamut range of a backlit monitor you're stoned. In order to truly exceed the color range of sRGB a print needs to be on reflective or coated media and displayed under a light source as bright if not brighter than open sunlight. Reflective media like ink-jet prints are calibrated with densitometers, and these densitometers have very intense light sources built in. In order to reproduce the color range that you see in those fancy 3-D color maps your room light needs to match the spectral range and intensity of the calibration tool that's reading the print, and it's not practical. This is why 95% of the print industry is still sRGB an those 5% mucking around with other color spaces aren't producing anything additional in a print we can see. AdobeRGB is otherwise nothing more than an abstract when it comes to printing.

Link | Posted on Apr 2, 2013 at 13:12 UTC

I'm clicking around the DPREVIEW studio scene comparing the 6D and the D600 and trying to keep an objective mind. While the 6D is doing a very good job in some things like dynamic range in shadows, what's just as obvious is how it's the same old Canon in terms of purple slanted blues, reds more orange than red, and anemic yellows. Beginning to wonder if Canon is reducing the density of their CMOS color filters to play keep up with Nikon / Sony. In fact, some of the color rendition differences are quite startling, but Canon users just don't seem to take color accuracy very seriously.

Link | Posted on Jan 19, 2013 at 04:18 UTC as 19th comment | 6 replies
In reply to:

Francis Carver: I guess this thing is okay for taking stills, not so good for videography, though.

1. No functioning viewfinder in video mode.

2. H.264 codec.

3. No 1080p60 video recording ($250 cameras have that feature now, Canon!!!!)

4. Mono audio only.

5. No external microphone input possibility (as per specs listed here).

NOTE: specs say nothing about any external microphone connectivity, although on the image of the camera, there is a little door with a MIC logo on it, don't know what that is, as the door is closed, he-he-he.

6. No headphone jack.

Gotta look elsewhere, dang....

Anybody who thinks 4:2:2 video (Canon) is appropriate for professional standards is obviously not a pro. Canon is too busy protecting their upper tier pro video market to care.

Link | Posted on Jan 19, 2013 at 03:52 UTC
In reply to:

Rodrigo Sandoval: Do you know what's the 6D bitrate for video?

It's 4:2:2, so what does it matter because it's terrible. {shrug}

Link | Posted on Jan 19, 2013 at 03:50 UTC
On article The DSLR Field Camera (180 comments in total)

Been using pano stitching for years, starting with my 10D to get 5K-10K dimension images for large printing. These techniques are really superb for creating high rez images for either DPI considerations or large murals. Integration with the latest versions of PS really helps as well and that's pretty much what I stick with.

By combining multiple shots in the 'Z' axis before stitching you can increase DOF via focus stacking, or even some HDR treatment. Pana stitching doesn't have to limited to X-Y treatment.

Biggest headache I've found with pano stitching is dealing with registration issues with water, etc. Also, the printing you are using seriously determines the advantages of super high DPI -vs- interpolation. RA-4 printers just don't show much advantage above 150dpi while ink-jets hit diminishing returns above 250 or so. Programs like PhotoAcute should also be discussed, but it's obvious you guys want to bicker about Nikon -vs- Canon.

Link | Posted on Dec 27, 2012 at 21:30 UTC as 26th comment
On article Canon EOS 6D sample images added to hands-on preview (252 comments in total)

Nice to know that Canon is still using the same engine that blows reds and produces mushy colors that rival 1998 consumer print film.

Link | Posted on Nov 21, 2012 at 01:48 UTC as 37th comment | 3 replies

One of the most annoying aspects of the Canon 7D / 60D's I've used is how the camera's 'sludge-up' strong colors, particularly reds or colors consisting of intense reds. Drives me nuts when shooting macro work and trying to reproduce those with any kind of gamut range or detail. You can see this with the simple studio comparisons right here and how the K5IIs *doesn't* do this compared to all the Canon APS-C cameras. Along with at least a stop of lattitude in the basement, and a few orders of magnitude less noise, yadda, yadda, yadda. In terms of I.Q., I'll happily take those over extreme scenario moire'. My fellow Canon users will still stick their thumbs in their ears though and scream "I can't hear you". Well done Pentax. That's a serious amount of detail from that sensor.

Link | Posted on Nov 12, 2012 at 23:52 UTC as 8th comment
Total: 43, showing: 1 – 20
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