Monthly Archives: May 2016

Introducing the new Rogue 32” 2-in-1 Collapsible Reflector for photography professionals

2-in-1-Collapsible-Reflector-WhiteExpoImaging, creators of the popular Rogue FlashBender 2 shapeable light modifiers for speedlights, has today announced the availability of a new reflector that will give photographers greater lighting control.

The Rogue 32” 2-in-1 Collapsible Reflector is the perfect size for location photographers. It is extremely portable and collapses to a third of its 32” open size. It is compact enough to fit in a laptop sleeve or backpack, whilst still being large enough to be useful for portraiture.

The white side of the reflector incorporates a very neutral natural white fabric, unlike many white reflectors that contain optical brighteners that reflect blue-tinted light onto a subject.

The Super Soft Silver side of the reflector makes this a great tool for speedlight shooters to control the light from their flashes or as a way to shape bright ambient light. Other silver reflectors are typically made using a thin fabric with a very shiny silver surface, which often produces a harsher fill light than desirable, especially when used with brighter light sources. In addition, the Super Soft Silver fabric reflects light more evenly than shiny silver reflectors, which are prone to producing hot spots.

“Photographers working with flashes or in bright daylight will recognise the desirability of lower-contrast silver collapsible reflectors,” says Erik Sowder, ExpoImaging CEO.

“We are constantly looking at ways to improve and expand our popular FlashBender 2 range. We found that highly reflective shiny silver fabric is often too bright, with too much contrast for portraiture, where photographers are often looking for a softer light. Our custom Super Soft Silver fabric gives more light and contrast than white fabrics, while being softer than highly reflective shiny silver fabrics,” Erik continues.

The Rogue 32” 2-in-1 Collapsible Super Soft Silver/Natural White Reflector is priced at £29.95 incl. VAT (RRP).
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Colour Management Interview with Simon Prais, Technical Director at Color Confidence

Colour Confidence

Simon Prais, Technical Director at Color Confidence

How many years have you worked in the photo industry? 30 years

What is your current location? Birmingham

When you were younger, what did you want to be when you grew up? A creative professional

Do you prefer dogs or cats? Neither, but if I had to choose – cats

Can you briefly sum up what Color Confidence offers? Color Confidence is Europe’s leading colour management specialist into the digital imaging markets. We offer the widest range of products and services from the world’s leading manufacturers including X-Rite, DxO, NEC, BenQEIZO and ExpoImaging, amongst many others, together with our own brand range of calibration and colour management essentials for photographers, designers and anyone with an interest in colour.

How important is colour management to photography enthusiasts? Do they really need to engage in the subject, for instance, if they never print but only post pictures on social media websites?

If you spend any time visually adjusting the colour or contrast of a digital image, regardless of its final use, that decision needs to be made on a colour calibrated monitor. Although it’s unlikely that even 1% of viewers on a social media site would have a calibrated monitor, there are at least two factors to consider:

  • If your monitor was too warm, and you adjusted your images based on the assumption that what you see on the screen is correct, anyone with an un-calibrated ‘cool’ monitor viewing the images will see a massive difference to your intended colour balance. Whereas if your monitor is calibrated, you are limiting the range of colour difference across the range of un-calibrated monitors.
  • Your original image may have been perfect, but if you view it on an un-calibrated monitor, you could end up wasting your time whilst also destroying your image.

How difficult is colour management? Do you need good IT skills, for example? It was complicated fifteen years ago, but nowadays it is straightforward and automated.

Where would you recommend someone start if they want to colour manage their workflow? Is it, for example, necessary to start with the camera and work all the way through to the output device?

The most practical point to start from is monitor calibration. A calibrated monitor enables you to determine deficiencies in your camera, printer or viewing conditions.

There seem to be a great many colour management devices on the market. With a limited budget, what is the first item to buy, why, and do you have any specific product recommendations?

To back up my previous answer, it would have to be a monitor calibrator. A properly calibrated monitor is essential for colour critical work such as photography. A profiled screen gives you a trusted source for viewing your images so that you can be confidence in the results. If budget allows, I would recommend the X-Rite i1Display Pro (RRP £216 incl. VAT), which offers the highest standard of on-screen colour accuracy for displays and projectors. Alternatively, I would recommend the X-Rite ColorMunki Display (RRP £150 incl. VAT), which has slightly less features but is still sufficient for achieving consistent colour accuracy. If you can justify a new monitor, high-end monitors are frequently offered with the benefit of a discount off a calibrator, if purchased at the same time.

The monitor is clearly important, but many people stick with what came with their PC bundle? Is that okay or should they consider an upgrade?

They should definitely consider an upgrade. There is a considerable difference between a £100 monitor bundled with a PC and a £500-£900 professional monitor, and it’s not just the price point. Any editing or decisions on how accurate a photo is, depends on what you see on the monitor screen. That is why it is important to pick the right quality of monitor to suit your needs.

Is there such a thing as an ideal monitor? What should we look for when looking to buy one and what sort of budget will we need?

The NEC SpectraView, EIZO CG and BenQ PG colour critical range of monitors include all the key qualities of an ideal monitor. These are available in a number of sizes and resolutions to suit an individual’s requirements.

A quality monitor will have an In-Plane Switching (IPS) panel type. IPS panels offer a much larger colour gamut than TN panels, which are frequently used in laptops. A further benefit of IPS panels over both TN and VA panels, used on standard grade monitors, is the colour consistency and viewing angle. Viewing such panels from even a slight angle causes a shift in the display, whereas IPS panel technology provides consistency from increased viewing angles. Professional monitors will also be validated for uniformity across the display.

Such monitors generally include hardware calibration software. This communicates directly with the monitor for optimised colour accuracy.

Budget constraints are often a factor, and although quality to achieve good colour accuracy over size is a good generalisation, there are some instances when some of the quality features need to be trimmed back, when a larger panel size is crucial. If you can’t justify both quality and the required size, is to worth consider retaining your old monitor for general use and using a second monitor for colour critical work.

With many people buying 4K televisions, is it feasible to use one of these as their editing monitor?

Although the latest 4K televisions offer a much higher resolution than standard HD TV’s, and look a tempting option as a computer screen, they are not suitable as an image-editing monitor. The 4K TV’s are designed to give high contrast, punchy images for primarily displaying TV, films and video, so will display images with increased contrast and saturation even when profiled. We recommend using an accurate colour manageable monitor, and with 4K monitors recently introduced, they should be considered for editing in 4K whereas 4K televisions should be avoided.

The final link in the chain is output. The photographic printer market is dominated by Canon and Epson, what advice do you have for people looking for a high quality photo printer?

Stick to the main photo market manufacturers, Epson and Canon and check that the model is categorised as a photo printer (avoid ‘all in one’ devices as they generally don’t have the colour quality required for photo printing).

When researching a printer, download the manual and look at the key features, especially the print driver colour management options, as this will indicate if the printer will be easily colour managed, and if you want to use third party paper, such as Tecco PHOTO and colour profiles, or create your own.

Printers range from having just 4 colour cartridges (CMYK), to 12 colours. A minimum of 7 or 8 colours that include Light Cyan, Light Magenta and Light Black/Grey provides higher quality prints without visually apparent dots in the light tones. Whereas the addition of Orange and Green increases the colour range with increased colour saturation.

Many people complain of the final print not looking anything like the image they saw on-screen. What advice do you have to get colour correct prints?

I would recommend they purchase an X-Rite ColorMunki Photo (RRP £487.27 incl. VAT) – an all in one entry-level calibration process that delivers fast, accurate matching from capture to display and print. However, even with that, such complaints still arise because the thing people overlook is the viewing light. If the illumination of your monitor isn’t matched to the illumination of your print, one will look lighter or darker than the other. If one can’t justify a viewing booth for standardised viewing conditions, a GrafiLite (£61.27 incl. VAT) will give you a daylight balanced consistent temperature and brightness level to be matched against your monitor.

Most people will have their computer and printer in a domestic environment. Have you any tips to help them get the best possible set-up?

Yes, ideally they should use a monitor hood and a viewing light or GrafiLite. Most professional monitors come with an option of a hood, if not, the PChOOD Pro (RRP £71.44 incl. VAT) is an adaptable hood, which will fit anything from a 15” to a 26” monitor size.

If you had to give just one piece of colour management advice, what would that be?

Ensure that you regularly calibrate your monitor. Your monitor will be gradually changing with time so without monthly calibration, it’s a constant moving target.

What are the most important features that a film editor should be looking for when choosing a 4K monitor?

BenQ PV low res

After the launch of the new BenQ PV3200PT monitor, we ask BenQ Product Manager at Color Confidence, Steve Peachey ‘What are the most important features that a film editor should be looking for when choosing a 4K monitor?’

One of the key things to consider is whether you need a 4K or 4K UHD monitor. True 4K resolution is a cinema and professional production standard and 4K UHD is a consumer display and broadcast standard.

Budget is also an important factor – these things don’t tend to be cheap!

Ensuring the monitor reaches a desired minimum standard (REC 709) is the first pre-requisite. Colour consistency is also highly desirable to ensure intermediate and transition tones are accurately reproduced.

Hardware colour calibration will ensure that the monitor is kept in the optimum condition for a moving image assessment; you may require an additional calibration device but these are relatively inexpensive and can be used elsewhere within the workflow. Brightness uniformity is another useful feature as this keeps the monitor even across its entire surface reducing ‘hot spots’.

IPS (In Plane Switching) LED backlit panel technology will ensure there is minimal colour shift and a 14-bit 3D Look-Up-Table will improve your RGB colour blending accuracy, resulting in impeccable colour and grey tone reproduction.

Finally connectivity is key. The ability to connect the latest hardware to the monitor is a must. DisplayPort, HDMI and DVI connections from computers are a given; the ability to take a feed from a HD-SDI box (either internal or external) adds functionality to the monitor.

The great thing about the modern 4K and 4K UHD monitors is that despite their size (sizes currently run from 61cm / 24” upwards) they have a small footprint, which means there is lots of room for the coffee cups for those late night editing sessions!

Our latest BenQ monitor, the PV3200PT, has taken these considerations on board. The 32” 4K UHD monitor comes with an array of impressive features such as a choice of REC709, SMPTE-C or EBU colour spaces. It offers videographers precise colour accuracy and a crisp and clear viewing quality.

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