The Digital Photo Guy

Adobe DNG Profile Editor – The Basics

by on Oct.12, 2016, under Articles, Lightroom, Monday Morning Tips, Photo Editing, Photoshop CS2/4

This Got Messy in a Hurry!

I started to write a short article on different methods of using Adobe DNG Profile Editor (DNG-PE) and quickly bogged down into a mini-thesis. This is one of those tools where it seems everyone has a different take on its efficacy and benefits. So, I decided to back up and reduce this first article to “just the facts.”

Fact: Adobe DNG-PE is a free program from Adobe that is available for Windows and Mac.

Fact: No less a luminary than John Nack invited Eric Chan, a really smart MIT scientist and Camera RAW developer, to explain the advantages of custom camera profiles via a blog post back in 2008. (Unfortunately, for Photoshop and Lightroom fans, John moved to Google in 2014. His current blog is HERE.)

Fact: Camera sensors have huge gamuts that far exceed any standard color space (below, originally uploaded by Cpesacreta at English Wikipedia) The horseshoe shape underneath represents CIE1931, virtually the entire visible spectrum. 2200 Matte Paper represents the ICC profile for an Epson Stylus Photo 2200 using matte paper. A camera sensor can “produce” (mathematically calculate) colors way outside even CIE1931. The color within a gamut are what can be “seen” with devices that use that gamut. For example, sRGB contains all the colors that most consumer monitors can display while Adobe RGB 1998 is the range of colors that can be displayed in a high-end, wide gamut monitor such as an Eizo or NEC. ICC profiles like 2200 Matte Paper show colors that can be printed using a specific printer, ink and paper combination, e.g. Epson 2200 Stylus Photo printer using Epson inks and Epson matte paper.

Fact: Color IS subjective. The word red means different hues to different people.

Fact: Camera manufacturers have their own interpretation of colors. Some manufacturers even provide different interpretations (e.g. Canon Picture Styles.) The three photos (below) were processed using different camera profiles in Adobe Lightroom 6. The first uses Adobe Standard, the default. The second photo uses Camera Landscape and the third is Camera Neutral. Camera profiles (in PS & LR) are Adobe’s interpretation of the camera manufacturer’s JPEG rendition on the LCD. The camera’s JPEG rendition is discarded as soon as the file is brought into any software other than the camera manufacturer’s programs. For Canon, that would be Canon Digital Photo Professional (DPP) which is included with just about every Canon digital camera.

pink-water-101 pink-water-102 pink-water-103

Fact: If camera manufacturers can offer different profiles (interpretations,) users can create their own profiles as well or “tweak” existing profiles to suit their own interpretation. Adobe DNG Profile Editor is the tool for doing this.

Fact: No one has perfect color memory. Some people are very good but NO ONE is perfect. Photographers only think they remember what they saw at the moment they released the shutter. By my calculations, in  Photoshop, there are about unquadragintillion (give or take a few septendecillion) combinations and permutations of colors. Trying to reproduce an exact color from memory is not a useful exercise.

Summary: Adobe DNG Profile Editor produces profiles for PS, PSE and LR that replicate the look you saw on your camera’s LCD which is a JPEG rendition using the manufacturer’s “secret sauce” of JPEG adjustments.

The manufacturer’s JPEG adjustments are discarded when a RAW file is imported into an Adobe product because Adobe can’t decode the manufacturer’s “secret sauce.” Instead, Adobe applies “Adobe Standard” which probably doesn’t look the same as the in-camera JPEG.

In Adobe Camera RAW and LR, Adobe supplies camera profiles such as Camera Faithful, Landscape, Neutral, Portrait and Standard. Different cameras may have different profiles. These try to replicate what Adobe engineers see when they look at the JPEG on the camera’s LCD. Camera owners may or may not be satisfied with these camera specific profiles. In that case, Adobe DNG-PE can be used to “tweak” the supplied profiles or, in extreme cases, create whole new profiles.

The advantage to doing this is less post-processing but, more importantly, freedom to “roll your own” camera profiles. This probably isn’t of interest to most photographers but, if you’re serious about getting as close to perfect as possible, this is one way to get there.

My next article will show how to use Adobe DNG-PE, step-by-step, the “normal” way. Finally, in a wrap-up article, I’ll demonstrate how you can use Adobe DNG-PE to “wing it” after the fact when you want to adjust colors without a Color Checker based camera profile.


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Photography & Cataracts

by on Sep.22, 2016, under Lightroom, Monday Morning Tips, Photo Editing, Photoshop CS2/4

Wow! I Can See Again!

Earlier this year, I was diagnosed with cataracts. My right eye was the worst so that was the obvious candidate for immediate surgery. Unfortunately, Mary and I were getting ready to leave for the summer and the doctor didn’t have any openings until September. Since I felt very comfortable with Dr. Patel, I opted to wait until we returned to Arizona. Surprisingly, the right eye deteriorated at an accelerated pace and by the time I got back, my right eyesight was severely compromised.

Today, 2 days after surgery, my right eye seems to have healed well and I’ve noticed an amazing difference. To show you, instead of just telling you, I prepared the photo below. The left side is what my uncorrected left eye sees. This effect uses a Photoshop Warming Filter 85 plus a small curves and desaturation adjustment. The effect is a bit exaggerated to make it easier to see but pretty close to what my uncorrected left eye sees versus my corrected right eye.


To me, the colors before surgery appear as if I had set the wrong white balance and slightly underexposed the image. There’s a slight yellow/orange cast compared to the corrected right eye.

So, if you’re of “a certain age” (code word for old,) you might want to have your eyes checked for cataracts. As you can see, editing and correcting colors can be a crapshoot with cataracts. Of course, everyone is different and every surgical procedure has risk so be sure to carefully discuss your options with your doctor.

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Yongnuo YN14-EX-C Ring Flash Review

by on Sep.11, 2016, under Articles, Lightroom, Monday Morning Tips, Photos

Another Yongnuo Flash Review!

Those who have followed my blog for a while (Thank you!) have read my previous posts about Yongnuo flashes and probably wondered if I have a financial stake in the company. My glowing reviews of the YN685 Canon E-TTL compatible flashes and Yongnuo 622 triggers even embarrassed me at times because I came off like some paid shill. So far, the Yongnuo flashes (I now own three) and triggers have proven to be reliable, durable and well built.

When I needed a ring flash for macro work, I turned to the Yongnuo YN14-EX-C. At $99 from B&H, it was too good to pass up compared to the Canon MR-14EX II for $499. My first impressions are that it’s quite well built. I’ll update this post if I find the build quality is an issue. Of course, build quality is secondary to light quality so let’s first look at “real” photos.

extreme_bug-101 extreme_bug-102 extreme_bug-103 extreme_bug-104

The 1st and 3rd photos are originals of my “model” Ms Stick, as in Western Walking Stick bug common in Arizona. This pretty specimen was hanging around our back porch so I enlisted her assistance in producing this MMT (Monday Morning Tip.) I forgot to make a photo of the entire bug to give you some idea of it’s size but the head is no more than 1.5mm to 2mm across so it’s a small critter. BTW, Ms Stick was not injured in the process of making these photos. I did, however, put her in the refrigerator for 30 minutes to sedate her.

The 2nd photo is a crop of its eye. The photo was made with THIS setup. I didn’t want to “nuke” the bug so I dialed back the ring flash to 1/32 power and opened the aperture to f/2.8. It probably didn’t make a huge difference but notice the extremely shallow DoF. The 4th photo is a crop of the mandible from the 3rd image showing fine hairs.

In both images, the light was even and smooth. I didn’t get a chance to experiment too much as the bug was recovering from its cold-induced stupor and I didn’t want to stress it again. Bottom line, I think the Yongnuo YN14-EX-C ring flash is an excellent device for $99.

The flash supports both Canon E-TTL and Manual Mode. I prefer Manual (M) because it gives finer control over the lighting but when using Ratios in E-TTL, I can quickly dial in adjustment using FEC (Flash Exposure Compensation.) One offers better control while the other is more convenient. It also supports 2nd Curtain, FEB (Flash Exposure Bracketing) and has Modeling Lights.

These are photos of a US nickel coin. The 1st one is with the YN14 set to E-TTL (Auto) and ratio set to 1:1. This will probably be the last photo I ever make in E-TTL. Compare this to the 2nd photo where I set it to Manual and dialed in the power I wanted. I think you’ll agree the manual setting has better contrast.

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These next two demonstrate the advantage of independent control over the left and right sides. Notice how the shadow along the rim shifts from left to right depending on which side is stronger. This helps emphasize important features on your subject.

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This 3rd set was made with the Canon 100/2.8 plus all 3 Kenko extension tubes for a maximum of 68mm. The total magnification is now about 1:1.7. This set really shows the difference between a 1:1 flash and a 2:1 flash. The 1:1 is great for illustration or forensic purposes while the shadowed one is preferred for artistic purposes. The ratios can be as much as 1:8 or 8:1 depending on how much shadow you want.

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Fake Duracell AA & AAA Batteries

by on Sep.09, 2016, under Articles, gear, Monday Morning Tips

Public Service Announcement!

As photographers, most of us probably use AA and AAA batteries by the boatload. Just be aware that boat may have come from China with fake poor quality, low power batteries of dubious origin. I recently fell for one of these eBay vendors.

Here’s a site that shows some ways to tell counterfeit Duracell batteries. BTW, don’t expect Duracell to be too awfully concerned if you report it. They’ll feign indignation but, bottom line, there are so many fakes out there chasing down a vendor is low on their priorities.

When I called the eBay vendor to complain, they immediately offered a refund, a sure sign that they know they’re selling fakes. They even took back the one cell I had taken apart to confirm my suspicions. The fakes are so good these days that it requires peeling off the fake plastic wrapper on a cell and comparing it to a known genuine battery.

The 1st photo below is a fake battery. Notice how the positive terminal isn’t completely crimped. This battery will readily leak and ruin whatever you use it in. Also, notice how the label is opaque on the backside while the genuine battery is clear, allowing the printing on the outside to be clearly seen from the backside. Finally, the fake label easily peeled off while the genuine label was a bear to remove. In the last photo, the fake was stamped “DURACELL” on the cathode (negative) terminal. The genuine battery had no such stamp.

fake1 genuine1 fake2

Even Walmart has been fooled so don’t take any chances. If you peel off the label, the batter will still work if it’s a genuine Duracell. If it’s a fake and you call the vendor, they will most likely take them back without a hassle because they don’t want to be targeted by eBay or Amazon or Duracell. They know they’re selling cheap Chinese junk.

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Photographing Old Transparencies (Slides)

by on Sep.07, 2016, under Articles, gear, Monday Morning Tips

Quickly Convert Old Transparencies to Digital

A friend asked me to print a photo from an old Kodachrome transparency. Photographing it was easy but without a light table, getting even light behind it was a bit trickier. After thinking about it, here’s what I came up with. This is a PITA if you need to convert more than a handful of slides but it’s a whole lot cheaper than a scanner. The 3rd image is an old slide I had from Vietnam. It’s hard to imagine I was once that young. I’m the handsome stud behind the camera.

_mg_1249 _mg_1247 transparency_scan

Needed/Recommended Gear

  1. A tripod is always recommended for this sort of exercise. You don’t need an expensive one, a cheap tabletop tripod will do as long as it’s sturdy enough to support your camera and lens.
  2. I used a Canon 7D because it has an APS-C sensor. In other words, the sensor is smaller than full frame so it has a narrower field of view, making it easier to fill the frame but any dSLR will do.
  3. The lens was a Canon 50/1.4 but the 18-55 kit lens is just fine. If you have a Canon 100/2.8 macro lens, that’s even gooder! Don’t worry about aperture because you’ll be stopping down to about f/22.
  4. Manual extension tubes. Don’t worry about auto focus contacts because all focusing will be manual.
  5. A flash with Manual Mode is necessary. If you have a newer Canon Speedlite (600EX, 580EX II or 430EX) you’re good to go. Even older models like the 550EX will work. You have to be able to set the flash power to a very low setting, e.g. 1/128. Third party flashes like a Yongnuo 685 or, even, a LumoPro will also work.
  6. You might have to buy a Stofen Omnibounce. Be sure to buy the correct one for your flash. Smart people can probably devise their own diffuser but for $10 the Stofen is easier for lazy people like me.
  7. If you have an older Canon flash that can’t be triggered remotely, e.g. wirelessly or optically, you’ll need a Canon off-camera TTL cable like THIS. The one in the above photos is a $70 Canon OC-E3. Unless you use it a lot, a cheap one will work just as well.

Setup, Focus and Exposure

  1. Hopefully, your flash came with a foot to hold it upright off-camera. If not, use another camera with a hot shoe to hold the flash or devise some way to hold it upright and level.
  2. Set the flash in Manual Mode and dial in the lowest power setting, usually 1/64 or 1/128.
  3. Attach the Stofen Omnibounce to the flash and tape the slide to be copied onto the front of the SO.
  4. Attach the off-camera TTL cable to the flash and camera with the camera on the tripod.
  5. If your camera has Live View Mode, that will make it easier to focus.
  6. Set exposure to Manual and shutter speed to about 1/100, ISO as low as possible and aperture to about f/16 or f/22.
  7. Unless you plan to make color corrections, set your camera to JPEG. Even RAW will have limited range of color correction so don’t expect miracles.
  8. Make gross focus adjustments by moving the tripod closer or further. A macro rail is useful but you might not want to buy such a specialized device unless you do lots of macros.
  9. Take a test shot and adjust focus and exposure as necessary. If your exposure is too bright and you can’t stop down aperture or reduce ISO anymore, add a sheet or two of tissue between the slide and Stofen.
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