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Color management in photography and videography extends well beyond display calibration – it includes color control from beginning to end, from capture to final output. In this article, we’ll explore a new tool that helps you ensure that your image capture is well controlled and that your capture device delivers vibrant accurate color – whether you’re using, for example, one camera on set, different cameras in different lighting conditions, or multiple cameras on set at the same time.
Editor’s Note: This is sponsored guest post on behalf of David Saffir for Datacolor.
Taking a timelapse of the starry nights sky is a relatively simple procedure down here on earth. All you need is a tripod, to setup your camera and apply the 600 rule (by which you divide 600 with your focal length to figure out your shutter speed). But what if you’re hurtling through space in orbit 240 miles above the surface of Earth?
As you might have guessed it takes a little bit more technical knowhow and no photographer has yet to match NASA astronaut Don Pettit’s gorgeous series of star trails. Originally taken on March 17, 2012, these give us a unique perspective from the Earth-orbiting International Space Station.
Don, who was also a flight engineer, took several long-exposure photo sessions while he was aboard the space station during Expedition 31. While orbiting above earth Don took several 30-second exposures. The NASA astronaut would then digitally splice together these individual frames into 10 to 15-minute long exposures. The image you see above is a composite of 47 images all rolled into one.
Read on to see the rest of the story.
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If we didn’t tell you so, most folks would think that the photo above was shot with ambient natural lighting. And most of those folks would be dead wrong. We did it by using a TTL flash with a large Rogue Flashbender. Considering the miniscule size of the flower, the light from the large panel provides some very soft lighting when the according shutter speed is used to mix in enough ambient lighting.
To refresh, when it comes to shooting with a flash, your shutter speed lets in the ambient lighting while your aperture controls the amount of light that hits the subject from the flash. And in a situation when you’re working with lots of ambient lighting and you just want to add some fill light, you should use TTL flash lighting to blend effectively with natural light.
TTL lighting is so effective because it works with the camera’s metering to provide an even exposure to the scene. If you were working with the light manually, then it would require some extra steps and may probably not even give you anything near the results you were looking for. But when blending TTL lighting with your camera’s metering, all you have to do is tell it to go brighter or darker accordingly. Of course, we also recommend using a large light modifier in relation to your subject.
If you want to do this with manual metering, it requires you to take an ambient light reading, then a flash light reading, and then somehow or another figure out a happy medium depending on what kind of look you’re going for. And again, that depends on your own creative vision.
We’ve had some heated debates recently on the site’s Facebook page when it comes to 85mm vs 50mm lenses. We tested it out ourselves a very long time ago, but recently another posting made readers wonder about it more themselves. To figure out which lens can render a better image when it comes to portraits, we tested two lenses from the same manufacturer to put an end to the debate once and for all.
So the real question is: Which lens is better for portraits? The 85mm vs 50mm Lens?
Editor’s Note: this is a formal comparison test not done in a lab, but instead in a real life situation. Real life situations simulate shooting subjects and not test charts. Frankly, if you’re purchasing a lens just to shoot charts all day you need to open a gallery of your test chart images and see someone’s reaction to them.