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About SFL

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  • Joined Alamy
    30 Nov 2004

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  1. Oh, I see. ACR... So the same with the Lightroom. Never think it that way. It's pretty obvious, isn't it? With regard to interior shots, thank you again for the info. I have been using either several Gradient tools for various areas in LR or masks, layers and merging in PS to deal with this problem. Your are right, the more you do, the better you get. Thank you, Wim. Sung
  2. Thank you Wim for the detailed information. With my imited knowledge, a while ago I bought a LED because it was advertised as 'daylight balanced'. However as you say I also find it very greenish (though it looks like daylight to naked eyes). How do you measure the K degrees with Photoshop? Recently I have done quite a few interior photography for clients. A few places were lit by both daylightish lights (LED I guess) and very yellow lights. In post production, it was difficult/impossible to find a happy medium to balance both lights. Sung
  3. What is your LED's Kelvin degree? Can you buy a 6500K? A while ago, I bought a 6000K. Do you think it's good enough? I suppose you can only do reflective meter reading, but isn't your screen more reflective? Or is it negligible? Sung
  4. I would like to add a couple things to what I said earlier. When I mentioned my workflow about printing via a pro lab, I made an assumption that your monitor is calibrated (with a hardware). That is the first step in colour management. Without the monitor calibration, there is no point of soft proofing. A small (well known) tip. When you soft proof in either CS or Lightroom, just before clicking on the menu (I use shortcut, it is easier) or ticking the box of 'Soft Proof', look away. Otherwise, you will be horrified by the change. In reality the change itself is not that huge, but your eyes and brain are tricked by it. If you look away, you may notice that the change is subtler than otherwise. It is inevitable as the colour gamuts of RGB (image file) and CMYK (printer) are different, so you will loose some colours/saturation etc. That is why you need a printer profile. (The printer profile is a translator sitting between two different languages.) During soft proofing, you work on your image again to make the soft proofed version look as close as to the original version of your image by comparing the two side by side. As Bill mentioned, the result of prints will also look different according to which paper you use due to less white in specular highlights area, etc. (matt, lustre, metallic, textured...). I buy a sample pack of lab's paper stock and decide which paper I am going to use first and talk to the lab for advice and suggestions, which printer profiles, etc. That decision of what type of paper will also have an implication as to what type of printing method it is going to be (C type or Gliclée, etc). I am not claiming myself as an expert on colour mangagement, so please correct me if I gave any misinformation. Sung (PS) Writing is not my forte because English is not my first languague. I hope it is not badly explained.
  5. It might be irrelevant to your problem but when I send my files to pro lab, this is what I do. 1. I ask for printer profile from the lab. If they say they don’t have it, or they don’t need it, move on to the next pro lab. 2. With the printer profile installed, I carry out soft proof, in my case, in CS6. You can also use Lightroom. 3. When I am happy, I save it as highest quality jpeg and send it to them. No need for tiff. 4. I ask the pro lab, do not do any adjustments to the image when printing. 5. Soft proofing is not exact science as it relies on human eyes. But it is the only way to deal with the conversion from RGB to CMYK. Hope this is of any help. Sung Edit: few words added and deleted.
  6. Thanks for your info. Nice to know it is still available in certain shops. Sung
  7. Thank you very much everyone for sharing experiences and advice, you have been as always very helpful. Recently, I have been using Live View a lot, hence my batteries are getting knackered. Thank you for the link, Wim. Yes, you are right, MDM. I had better hurry just in case. Slightly off the topic, my EN EL3e batteries (D300, my backup) will not charge beyond approx 70%. Any advice, please? Sung
  8. I use a Nikon D800 with two batteries. One of batteries now reached 3 in Battery Age (0-4), so any day it will become 4 and I will need a replacement. No camera shops seem to stock these batteries any more and I am reluctant to buy the replacement from either eBay or Amazon. Then I came across DuracellDirect.co.uk where they sell Duracell DRNEL15 replacement for Nikon EN EL15. My question is Has anyone ever used this Duracell replacement battery before (for any DSLRs)? Duracell replacement is 7.4V 1600 mAh whereas Nikon EN EL15 is 7.0V 1900mAh. Does this difference matter? Any experience or advice would be much appreciated. Many thanks Sung
  9. Thank you Mark. I removed Alamy's cookies, cache, etc from my Safari, then magic happened. I have got those attribute options. Cheers! Sung
  10. But I looked there yesterday and I've just looked again, but it's not there... I will have to ask Member Service, I suppose. Thanks anyway, Mark
  11. Hi Mark I am missing something. Where is the filter for exclusive and non-exclusive? I spent last more than 10 mins looking for it. Sung
  12. Hi Gen I thought of that, too. But the impatient side of me prompted the post. Thanks Sung
  13. Good morning everyone Is there a way of creating a list (including your image refs and my own image refs) of images under a certain pseudonym in my account? Say in Excel format. Your help will be very much appreciated. Sung
  14. Hi Spacecadet “They are like terriers with a rat.” I like that. Good for them. Thanks Sung
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