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Posts posted by SFL

  1. Thank you, Marianne

    When I read your thread the first time, I thought "OMG! Do I now have to add all single word keywords to my images (Alamy), too?"

    Afterwards I read it a several time more, then I realise that you were referring to other agencies.

    Nevertheless, I wanted to make sure that I understood correctly, so I asked the question.

    Thank you for your time to explain the art of keywording.

    Sung 😊


  2. 12 hours ago, Marianne said:

    I agree with Joseph. It can be a dilemma trying to come up with the most common variations such as "Ford Mustang" and "1965 Ford Mustang," "red mustang," etc. without overdoing it, but at least you don't have to worry about finding every keyword combination. While I find it frustrating that you can end up with your images showing up in searches for single word keywords that you have purposely avoided, on the other hand, when you keyword for agencies that won't show your "1965 Ford Mustang" file when someone searches for "Ford" or "1965 Ford,"  unless you have those exact words or phrases, it means that you have to add all the single keywords and all the possible phrases, which can be difficult to do without appearing to be keyword spamming. It is really an art.


    Sometimes I think that when I first started out I was better at it because I thought like an average naive customer and not like a stock photographer, LOL. Honestly, I sometimes see articles about how to keyword, and I just can't imagine that any real person searches using some of the stock phrases suggested. Searching my Pseudonym Summary and AoA and also looking at the keywords that clients have used to find my images elsewhere gives me a much better sense of which keywords are really important. I do much prefer the new tags now that I've gotten used to it, and the ability to easily pick out the most important keywords as supertags, especially since my tags are alphabetized by LR. 


    Hi Marianne


    You are not referring to Alamy in the above highlighted context, are you?  


    I just want to understand how Alamy's keywording works.  That's all.



  3. 10 minutes ago, NYCat said:

    I have recently discovered the ability to scan using an iPhone. Go to the Notes app and instead of writing a note click on the plus sign. You will be given an option to scan. I haven't actually used it so I don't know how good it is but worth trying. As I was writing this Sung also mentioned scanning with the iPhone.




    Now I scan all my purchase invoices, receipts etc and store digitally (PDF) with my iPhone. The quality, in my opinion, is good enough for documents scanning. 


  4. Betty what I am saying may not be what you are looking for, but you seem  so desperate.  Don’t use the knife, it not worth it.


    I am not sure about other things, but I might be able to help you with the last question.


    When you open a raw file from Bridge (using ACR), the setting for bit depth is under the main picture.  You can change  colour space, bit depth, resolution etc.


    Is this what you are looking for? If not, ignore my reply.  I am sure MDM is on his way.  International Rescue!!!! 





    7 minutes ago, MDM said:

    Reinstall definitely. The apps will be reinstalled  in the OS from which you are installing and it will be clean. Given that you have already installed the OS, installing the apps is trivial. It is not clear what apps you are installing without reading back through the entire previous thread so you may need to copy preference files, actions, keyboard shortcuts for Photoshop or the like but that is worth learning about and is not difficult. As your two OSs are on the one machine, you do not need to copy image files as you can access them from either OS if required. 





    Thank you, MDM


    As always very helpful advice.  I will need to find at least a half day free and to sit down and go through the process.  Not particularly looking forward to it.


    However, when I boot up from the external SSD drive, it is like a totally separate machine, therefore, I cannot access directly any files or apps inside of my iMac.  Yes, It is the same machine but running on an OS from the external SSD drive, so it behaves like another machine.  Hence I will need to reinstall CS6, Parallels (with Windows XP softwares), etc.


    Luckily all my working data (including photo files and others) are stored in an external hard drive, so I can access them from either OS as long as the drive is plugged in.



  6. Following advice from helpful photographers on Alamy forum.


    (Previous threadhttps://discussion.alamy.com/topic/10382-photoshop-cs6-nik-collection-high-sierra/?tab=comments#comment-185792)


    Slowly I carried out what I hato do before I am ready to update to OS High Sierra as below(I am currently running OS Sierra.)


    • I purchased a SSD external drive.
    • I formatted the external drive for iMac.
    • I installed 'macOS Sierra' on this external drive. I went to through usual set up process.


    I reiterate that the only reason why I am doing this is that, even after I update to OS High Sierra or later on to Mojave, etc, I would like to be able to use certain applications, which might work only under macOS Sierra environment.  Also it is a part of process of moving towards Adobe CC subscription (eventually but very slowly).


    When my iMac was rebooted from this SSD drive (macOS Sierra installed), it looks as if I have a brand new machine, ie, everything is at factory default with no files but only with Apple's bundled applications.


    My questions are:-


    • Do I now have to go through 'migration process' to copy applicationfrom the Macintosh HD to the SSD external drive? Is it possible at all when they are not actually two separate mac machines?
    • When you migrate, does it copy application files or does it physically move files?
    • Is it better to reinstall applications?
    • If I reinstall applications, where are they installed? In the SSDdrive? I only need 4-5 applications in OS Sierra environment.
    • Is there a better way?


    Given that I am not a techie, I hope my questiondon't sound daft.  One might say why not try and see what happens, but I am worried that I might mess things up completely.


    I look forward to your advice, suggestions and experiences.


    Many thanks



  7. 8 minutes ago, wiskerke said:


    Take a picture with only your LED as a light source. Preferably with a gray card or a gray patch in the frame. QP gray patches are perfect, so is a ColorChecker or a ColorChecker Passport. But there lots more out there.

    Now open your RAW image in Adobe Camera Raw. Choose the dropper or white balance tool 1 and tap on the gray patch or the middle gray patch. The white balance slider will now show the color temperature. The green-magenta slider will show the amount of green or magenta in the spectrum. It does this by showing the amount it took to correct the color cast, so a +40 Magenta means there's a green color cast of + 40 in the light source. Most camera's will allow you to view these figures as well. Usually hidden in the function set white balance.



    Interiors with different light sources can be a nightmare. But remember or think about how difficult it was on film. Then it's not as bad anymore.

    There's no simple method. Well the simplest is to overpower everything with strobes, the quick and dirty method of the past.

    Now with not just tungsten or fluorescent, but all sorts of fluorescent and all sorts of leds, it's mostly a pp job. If you do it long enough, you'll get better at it.  Instruction video (this is pretty basic though).

    Google for something like correcting interiors with mixed light sources in photoshop. Mixed lights being the important part.





    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.



  8. 8 hours ago, wiskerke said:


    Yes I have a 6500K, but I'm using a 4000K one.

    The 6500K is a 4000lm 50W no name one. They all come from China of course. Really cheap. However Photoshop says it's 5100K not 6500K and I have to set the green-magenta slider to +47M to get it to neutral. So it has quite a greenish tint. And I think it's a bit too bright. This is mine.

    I think I have seen somewhere that the claimed CRI is 70. Which would be terrible, even for cheap leds.

    The 5100K is actually more desirable for ambient lighting: close to D50 which is used for viewing booths and workrooms. Not with a CRI of 70 though. Btw I have a real one.


    The light I'm using is a 20W 4000K 1600 lm one by Masterplug UK. Who probably only put the label on it. Or not even that.

    Mine is from Hornbach and a bit cheaper, but definitely the same product. Prices are all over the place btw. I've seen something very closely resembling my 6500K one for GBP 67. Mine was Eur 14,95 = GBP 12.85.

    The 4000K is really close according to Photoshop who thinks it's 3950K and I have to set the green-magenta slider to +15M to get it to neutral. So this also has a slight greenish tint. Not noticeable to the naked eye of course.

    CRI is claimed to be 80. Still very low in my book.


    My displays are very non-reflective. EIZO CS2420 and CS240. My older displays are Dell u2410's: also non-reflective.

    The main difference is that the Eizo's have a far better uniformity. Like perfect. The Dells not so much.




    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.   




  9. 2 minutes ago, wiskerke said:

    Carried over from https://discussion.alamy.com/topic/11112-no-sales-no-zooms-no-views/page/7




    Daytime reading from a 18% grey card.

    No additional light, just bright sunlight coming in from my main workspace:

    At 100 ISO it's 1/8s at F 2.0.

    With my working light on, led bouncing from the ceiling:

    At 100 ISO it's 1/10s at F 2.0.

    I'm amazed at the consistency. It looks so much brighter, probably because I'm looking at my workspace flooded with bright sunlight at the moment. I am in a side room on the shadow side, if that makes sense. I can use blackout curtains between the main workspace and this room btw.


    Metering away and thinking about those values, it dawned on me that in the ideal situation an 18% grey in Photoshop on the monitor should read about the same as an 18% grey card placed in front of it.




    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?



  10. 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.




    (PS)  Writing is not my forte because English is not my first languague.  I hope it is not badly explained.

    • Upvote 2
  11. 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. 




    Edit: few words added and deleted.


    • Upvote 2
  12. 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?





  13. 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
    1. Has anyone ever used this Duracell replacement battery before (for any DSLRs)?
    2. 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
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