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  1. Yesterday
  2. Michelle Pena
    Ok , then that’s why I use the d50 it’s the closest setting to a match print.I had a photographer suggest to me to edit in a dark room with dim lighting lol! Wha??! And 4 bars on her iMac and she says her prints are not dark. Don’t worry I’m not going to do that.
  3. Damien Symonds
    Phew! Yes, because the light in your room is completely terrible, as we've already established.
  4. Michelle Pena
    I checked and this what they recommended but I remember trying those settings before and it was off , prints didn’t match. I’ll try this again.
  5. Damien Symonds
    Gee I hope you're wrong
  6. Michelle Pena
    Whcc through ShootProof. If not mistaken, its been awhile since I went in . I think they suggest d50 .
  7. Damien Symonds
    Which lab?
  8. Michelle Pena
    It’s only been that setting that has worked all these years.
  9. Damien Symonds
    Why D50?
  10. Michelle Pena
    I just finished calibrating my monitor and followed Damien's instructions. Brian, can you tell me if this is ok for iMac settings ? D50 -64 lum....Prints seem to match up ok..I don't know if it's just me looking at them too long but the prints look a slightly green and my screen slightly red? I don't think a client would see it but I do. I'll drag my results in. I use x rite i1display pro. I am at 2 bars on the brightness. Thank you for any help.
  11. colinarnoldjt13
    Really interesting! Thanks for the information.
  12. Damien Symonds
    No, darn it. Stop sending off for new prints. We just need to make your screen match the prints you already have.
  13. Michelle Pena
    I moved the lamps beside me and about two feet away. Doing this the light is softer. I will edit with the one tick and send off for prints.
  14. Damien Symonds
    Yes, that can be tricky. It's why I hate lamps in editing spaces so much. Gosh I hope not. I hope you'll be able to raise it.
  15. Michelle Pena
    Also,should I keep the brightness at one tick after doing this? Thank you.
  16. Michelle Pena
    Ok,I will try to work with that re-arrange the room so that they can be placed beside me, hopefully that does not cause glare. They are directly in-front of me
  17. Damien Symonds
    At the very least those lamps should be more beside or slightly behind you, so that they're nowhere near your field of vision.
  18. Michelle Pena
    Oh dear, I just wouldn’t have the time. I shoot during the day clean up and set up for next day. Somewhere in there I eat too lol here is a picture of the room. I thought I had sent one yesterday. Excuse the mess .
  19. Damien Symonds
    Then you'll have to start editing during the day.
  20. Michelle Pena
    I don't have a room that is any different in color unfortunately .
  21. Damien Symonds
    Time to move to a different room, yes?
  22. Michelle Pena
    I went ahead and started using one click down and I can still see the screen a bit. On another note,I had a client reach out to me and said her digitals are bright and if I can reduce the brightness. She's speaking only of the family part of the session not the newborn by herself. She is a very far person and dad and baby all had different skin tones. I explained to her if she printed them after I uped brightness her prints would be dark. What then ? LOL I'm just..... digitals are too bright but darkening them will darken prints. I'm about to pull my hair. I am taking the Raw class though !
  23. Michelle Pena
    OK I just changed all those things.
  24. Brian
    Again, your camera's LCD lies. The image you see on the Camera's LCD is the JPEG PREVIEW THAT IS EMBEDDED WITHIN THE RAW FILE AND NOT THE RAW FILE ITSELF!!! This is why I'm recommending you change the Picture Control on your Camera to NEUTRAL. This way the image you see on the LCD will look more like the Raw file does in ACR. The other thing I want you to do is adjust your LCD's Brightness to -1 or -2. Even though you are NOT supposed to judge exposure via the LCD brightness, for the very reason you are having an issue; it's a hard habit to break, people often look at the LCD and think their photo is properly exposed. Often, it is not. You need to pay attention to your Histogram(s) to properly judge exposure. Why? Because again, the whole JPEG Preview thing. It's not the Raw image on the Camera LCD. You could set the camera to something stupid like +5 or whatever and the image on the LCD will be nice and bright. But it does not affect the Raw file, that stuff is ignored by Adobe's Software. You could set the LCD to +100 and shoot everything to 1/4000th of a second at f/22 at ISO 64. (I'm being silly here, never do this. ) The point is, the image on the LCD will look properly exposed because the display is so bright, but be completely dark when imported into ACR. This is the same exact reason why people's prints come out too dark, it's because their computer's display is too bright! It's all the same BS. Here is how you set the brightness for the LCD. I have mine at -1. You might want to try -2.
  25. Last week
  26. Michelle Pena
    I understand this, even the whole brightness is changed one it's loaded on to ACR. I can have a brighter picture in camera and once its upload to ACR its way darker than what I shot it as.
  27. Brian
    Well, if the camera never moves and your lights stay the same, then you could fiddle with the WB settings. But the WB will still be off when importing into ACR, no matter what you do. Why? Adobe’s Camera Raw and the Nikon D850 interpretation of White Balance is different. ACR/Lightroom takes an educated guess of what the file says. Since WB is covered in the Raw Class, that’s all I will say on the matter.
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