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Photoshop CS Add Ons From Al Ward.
Monday November 15, 2004
by Al Ward

Al Ward has provided Imaging Revue with Phtoshop CS styles to download. These files are in a zip format and can be opened using both Stuffit and WinZip. For more information about Al please visit www.actionfx.com. Please stay tuned for a future discount for IR members to Al's site.

Profile FAQ And Instruction Manual
Sunday October 31, 2004
by IR Staff

We have compiled a new and up to date Profile FAQ. If you are ordering a printer profile, please make sure that you read the information contained here. Many of the questions you may have will be answered here. These articles are in PDF format.

Patching and Healing with Martin Evening.
Friday October 22, 2004
by Martin Evening

The third in a series of tutorials, Martin discusses the Healing Brush and Patch Tool. Martin's video tutorial accompanies this PDF and can be uncompressed using WinZip or the Stuffit expander. Published with permission of Focal Press Publishers, a division of Elsevier. Copyright 2004. For more information about this book and other Focal Press titles, please visit www.focalpress.com.

Nikon Scanning Workflow
Friday October 15, 2004
by Scott Martin

Scott Martin has deciphered Nikon's workflow technology and brings us this quick guide to achieving great scans. For more information on Scott and his work, please visit www.on-sight.com.

Image Adjustments with Martin Evening.
Friday October 8, 2004
by Martin Evening

The second in a series of tutorials, Martin discusses the Photo Filter and Color Temperature. Martin's video tutorial accompanies this PDF and can be uncompressed using WinZip or the Stuffit expander. Published with permission of Focal Press Publishers, a division of Elsevier. Copyright 2004. For more information about this book and other Focal Press titles, please visit www.focalpress.com.

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Digital Capture > Image Processing & Workflow > Getting the best jpg on mass production.

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AuthorSubject: Getting the best jpg on mass production.   [Go to Bottom of Page]
Frank Hoppen
Posted on Wed Nov 5, 2003 10:42 AM

Dear Pixel-Gods
This might be long, but it is the biggest issue I have, so I want to make sure I get it right to you (and please excuse my European English accent and butchering):

I shoot Motor Sport (Street and Dirt Bikes) since 1997 as a full time occupation.
One part is shooting stock for my own library and license them, one by one for advertising purposes. The other part is when I am hired to shoot catalog, poster or do a press intro for new product releases.
The later I sometimes shoot 4000 to 5000 images per week for 35 to 30 publications during they test those new bikes.
Shooting Velvia in the old days, my job was done when I editied the images and delivered huge folders of sharp, full of rich and out of this world color images to my client. Sure they were all out of CMYK gamut, but who cares at that point. My clients where impressed, the magazines where excited and I was out of the fire when the final print was not that colorfull and vibrant, because the slide looked so great. Wasn't my fault than, right? Must be the paper or printer.....

However changing the EOS1v for the Eos 1d and 1ds that whole workflow and easy deal for me changed too.
When I shoot events for stock, I shoot jpg and raw, use the jpg's for sharpness checking/editing, save them for web and post them on my site www.Hoppenworld.com
My clients order from there the one they like. I process the RAW in Phase One DSLR as 8 bit .tiff/.psd and deliver the hi res with ftp to their or my server.
However, I spent way to much time to make the image look as I think it has too look.
Not even coming close to anyone of your PS gods, I attended every seminar and still do. It showed, I won some awards (one was the NAPP guru award). Not showing off, just want you to understand that I am not too under-skilled.
My clients As Honda and Yamaha might think the same, because they hire me for prepping, although they have artists in house.
Anyhow, everyone seems to be happier with the final product, but it takes hours to get them there (channel mixing, applying channels from lab, reseparation with UCR/GCR to get a better black plate and so on.)
Doing a editorial story with 8-10 images takes a whole day to prep, whith the pay of editorial, I loose money for sure.

But my main issue are those hired gun jobs where I shoot thousands of images for a lots of clients.
Of course there is no way to do the above process on each of those images. Batch processing them for similar light situations doesn't work really (shoot randomly all over the place, time and light sources end up with too much diferences in the shooting situations). Also, time is pressing. Shoot now , deliver tonight is the motto.
I tried to make a pdf, explaining the RAW worklfow to my clients and deliver the RAW only. Would have worked in a perfect world, but in this one it was a disaster. The outcome was that bad that I lost the big client and never shot for him again.
Two years ago we won the ad of the year award together on film.... Sad story, especially for me!

Right now, I deliver the jpg's (Camera settings .jpg highest10 < matrix 3 sRGB (4 Adobe RGB was not vibrant enough for the bright colors), mostly AWB color temperature (sometimes I shoot grey card or McBeth Colorcheckerm but hae to say that AWB is pretty good) and meter manually).

The files are somehow ok, but still they lack the amount of punch and vibrance my clients where used to see on slides or on the prepped .psd files.
The histograms are narrow, the contrast is low. Some are worse and some are not too bad. So, a batch curve will help some and kill others. An action, developed by Lee Varis with auto color, apply A and B channel for higher color vibrance and some unsharp masking helps sometimes but still is a sledgehammer method which enhances some and worsens others.

One European magazine I got to accept the RAW files and going this way of work flow. However, the guy handling those is underpowered and overworked, to say the least. The RAW prints he does are awkward, flat with almost no black in it. He demanded now that I give him jpg's as other European shooters deliver to him. In my eyes this is a step back, but I have to aggree with him when I see my images compared to the other jpg images in the magazine. Those are better.

I talked to Canon (no help from the ones I had on the phone, I could also have called 411 to get the informations I got there).
I tried custom curves for the camera (which made things worse..) and sit here crying for help.

Long talk, so lets ask my questions here in a short:
How can I produce the best possible jpg in the camera (1d or 1ds), suitable for magazine publishing for mass production?

Is there a way to get the consistant results we are used to get when shooting Velvia (even if our files have a narrow latitude, are contrasty and have no detail in the blacks)?

Is there help on the web, tutorials, workshops special for this issue?

I am so desperate that I even would lay out the money for a one to one tutorial and consulting with an eperienced Canon shooter who knows more than me (Canon's Explorer of light). Who would that be?.

Thank you so much for ready this long thread. I apologize again for it. I wanted to make sure that I get this over to you, becaue it is the biggest, meanest problem I have going digital and is a matter of staying there or going back to film.
Don't want to. Please help!

Thank you so much.
Frank Hoppen
Lake Forest, CA
Frank@Hoppenworld.com
949-951-8810


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