Please note that Nikon D700 official website cannot optimize the calibration. Is there any way to make it up? Or send a setting parameter, thank you!

Most of these skills come from the Internet or books, and are briefly summarized.

I like landscape films recently, and I need color correction. I always forget the details of operation. Now I record this process.

Adjust the parameters (so as to leave a margin)

Set the target colors of dark straws to RGB( 10, 10, 10), gray RGB( 133, 133) and bright RGB(245, 245).

1) Find the dark part

Open the curve, hold down ALT, and then pull the slider on the left side of the curve. The first place where the picture turns from white to black is the darkest part we need to find. Press Shift+ straw to record this.

2) Find the bright part

Open permissions, hold down ALT, and then pull the right (highlight) slider of the curve. The place where the picture turns from black to white first is the brightest part. Press Shift+ pipette to record this.

3) Look for medium gray

1. Create a new blank layer, edit the fill, and select 50% gray.

2. Change the blending mode to difference.

3. Create a new adjustment threshold layer, drag the slider to the far left, and then drag it to the right to the first black area, that is, the gray point in the middle. Press Shift+ pipette to record this.

Then open the curve, and the three straws can select the corresponding recording points.

Simple steps of beauty ps:

1) whitening

Select the highlight (ctrl+shift+alt+~), add a new blank layer, fill it with white, and adjust the opacity to the appropriate%.

2) Color balance

Adjust the highlight to add cyan and magenta, and make the highlight cool.

3) color scale

Adjust the red channel (pull the dark part to the right) to darken the dark part of the skin and increase the three-dimensional sense.

4) Optional colors

Adjust yellow, reduce yellow and add red, and reduce yellow and add red to make it moist.

2 tips

Sometimes some parts of MT's face may be dark parts, which can be directly highlighted by curves, and then other parts can be erased by masks. But there is another method, that is, by overlapping layers:

1) copy a layer.

2) Change the blending mode to color filtering.

3)alt+ mask, then ctrl+b, turn white, and erase the places that need to be brightened.

4) Adjust the opacity to an appropriate percentage.

In addition, adding edge vignetting to portraits can make movies have a soft lighting effect on characters:

1) copy a layer.

2) It is modified as positive superposition.

3)M Use the rectangle tool to select an edge range.

4)ctrl+d eclosion, about 100-200.

5) Delete the selected range

Function of density gradient filter in simulation

Many times, when shooting a landscape with a sky, the sky is partly bright and the prospect is dim. If you want to darken the sky and keep the foreground exposure normal, you need to do some processing.

1) Add a gradient

Press d to set the foreground color to black, and then add a new adjustment layer (gradient).

2) The choice of gradient layer is opposite.

3) Modify the blending mode to overlay.

4) Modify the gradient bar of the gradient.

Press and hold the white mark on the right side of the gradient bar in the gradient editor to make the effect just at the junction of the sky and the ground.

At 20: 35 on March 24, 2009, Mowgli SMS was quoted to edit and delete personal photo albums and second-hand records of Mowgli's blog. This topic post summarizes this topic picture summary complaint post No.201.

myh

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Notebook: August 2002 D3 or D3X

In terms of maturity and applicability, D3 is a product with almost no shortcomings and is worth having. The only drawback is that the pixels are a little low, especially the 5D2 and Sony α900 are 20 million pixels. Looking forward,120,000 is not enough. However, the strength of D3 has become the weakness of D3X. D3 is sufficient in most occasions, especially ISO, which is difficult for other models to surpass. Low noise, focusing speed and continuous shooting speed are commendable. However, under D3X, it is a pity that these most applicable functions are missing. High pixel quality is necessary in necessary occasions, such as picture books, advertisements, professional studios, photo agencies and other professional and specialized photography, which is not necessary for most people and most occasions. But in these professional special occasions, D3X is not enough, which is obviously different from medium format and large format cameras. Because 135 is characterized by portability and mobility, he is somewhat unwilling to undertake the functions of other professional cameras, which is the embarrassment of D3X. This is a dilemma. I wanted to buy D3X directly, but I always felt that it was not as suitable as D3.

I try to feel that I should have D3, which can be used for 3-5 years at present. If it is not enough, use medium format. For example, Nikon's medium format can use special bayonet and 135 lens (which is almost impossible and can't play the role of medium format), so it is worth waiting for Nikon's medium format. Some people have analyzed that the upgraded version of D3 should reduce the minimum ISO value to 50, and the high sensitivity is wider, which should not be difficult to achieve in Nikon. As for the upgrade of dust removal function, it is said that it is chicken. There is no safe and reliable basis for automatic dust removal, on the contrary, it adds unfavorable factors to the professional machine, such as the influence of temperature change on the photosensitive processing function of the chip, which increases the sense of instability to the professional machine. It is also possible that the upgraded version of D3X will absorb all the advantages of D3 into D3X, which may be 3-5 years later. If it reaches this level, it will not be called D3Xs, but D4. 135 digital SLR to 24 million pixels, should not pursue high pixels, because the optical limitations of 135 lens make it difficult for high pixels to improve higher image quality. Therefore, the future D4 should reach the stage level of 135 digital SLR camera. Why else would Nikon plant it halfway? Nikon's main task in the field of 135 digital camera is to create more new lenses suitable for Quan Huafu digital SLR and improve its photosensitive chip and processing performance.

2009-03-24 17:50 Quote Mowgli SMS Editor to Delete Personal Photo Collection Second-hand Records Mowgli Blog This topic post summarizes this topic picture summary complaintNo. 199 post.

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Note: Before August 2002, someone asked me on the set if I could use my digital camera to measure light for his film machine. At that time, I simply answered "Yes". This answer may not be a big mistake, but it is obviously not accurate enough. I didn't get a definite answer until today.

Recently, I am addicted to fish tank, DIY carbon dioxide, DIY refiner and DIY lighting. In fact, these can be said, and there are many tricks. At this time, I want to talk about how to measure whether the lighting is enough. Generally, positive grass needs 2000lux to be cultivated. There is an empirical formula for fish tanks, and each liter is equipped with 0.5- 1W fluorescent lamp. However, in the absence of professional measuring equipment, how can we know how strong the light is at the bottom sand?

I thought of the Canon SLR in my hand. If a flat plate with diffuse reflection is placed at the bottom of the fish tank, and its reflectivity is known (for example, 18% gray plate), by shooting this flat plate or metering this flat plate, I believe that the metering mechanism of SLR must have a fixed relationship with the brightness of the scene, and the pixel value of the shot photo must also have a fixed relationship with the brightness of the scene.

So what is the relationship? After consulting a lot of materials, most physical relationships are obvious, except ISO sensitivity.

Ok, let's assume that these are linear relationships, and assume that the illuminance and sensitivity (defined as 0- 1.0) obtained at the photosensitive element have the following formulas:

Photosensitive value = negative illumination * exposure time * sensitivity * exposure coefficient

The rest of the formula is easy to handle, whether Google or its own derivation, you can get (using international units):

Pixel value = photosensitivity (1/ gamma) * 255 = photosensitivity (1/2.2) * 255

Illuminance of negative film = brightness of reflecting surface * solid angle of lens to light source/magnification 2

= brightness of reflecting surface * (π/4 * lens diameter 2)/ object distance 2 * (object distance/image distance) 2

= mirror brightness *π/4/ brightness aperture 2

Brightness of reflecting surface = ambient illumination * reflectivity/π

So, we have a result:

Ambient illumination = (pixel value /255) 2.2 * 4 * brightness aperture 2/ exposure time/sensitivity/exposure coefficient/reflectivity

Ok, now let's solve the problems of sensitivity and exposure coefficient. This thing, also known as ISO, has such great uncertainty. Just record the answer directly.

1, movie

Usually, the film sensitivity is determined according to the HD curve. Consider removing the gray mask and nonlinear region, record the measured exposure h at the density of gray mask +0. 1 density (logarithmic value), and then increase 1.3 (logarithmic value). The corresponding density should be gray mask density +0. 1 density +0.8 density with a sensitivity of 0.8/. If we also use the sensitivity value (0- 1.0, the corresponding density (gray mask density +0. 1 density)-(gray mask density +0. 1 density +0.8 density)) to represent the linear area of the photo, we can get this formula:

10-0.8 = negative illumination * 10 1.3 * exposure time * sensitivity * exposure coefficient = h *10/.3 * 0.8/h * exposure coefficient.

Derivation:

Exposure coefficient = 0.0 1

Taking the high-definition curves of various films with ISO= 100 as an example, we usually see that the logarithmic density of 0. 1 lux-second (logarithmic value-1) is 1.0, which is different from what we call (gray cover density +0. 1 density) Therefore, to use the latter conclusion, it is best to make your exposure results close to 1.0 density, otherwise the nonlinearity of the film will make the results deviate too much.

2. Digital International Organization for Standardization

When the digital output is saturated (i.e. sensitivity value = 1.0) and sensitivity =78/H, the definition of sensitivity is determined by measuring exposure h, and we can also deduce that:

1.0 = negative illumination * exposure time * sensitivity * exposure coefficient = H * 78/H * exposure coefficient.

Obviously:

Exposure coefficient = 0.0 128

If you use this coefficient, it is best that your exposure results are close to the exposure saturation (but it is best to be similar) to reduce the nonlinear influence.

In particular, most unmarked Japanese digital cameras (especially those before 2007) use this definition. This definition, combined with the ordinary photometric sensitivity (mentioned later), will keep half a reserved area in the highlight to prevent the phenomenon of dead white, but the picture usually feels a little dark.

3. Digital SOS

This thing may replace our commonly used ISO in the future. Its clarity is determined by measuring the exposure H when the digital output is gray (that is, the sensitivity value =0. 18), and the sensitivity =10/h. Let's also deduce:

0. 18 = negative illumination * exposure time * sensitivity * exposure coefficient = H * 10/H * exposure coefficient.

Obviously:

Exposure coefficient = 0.0 18

If you use this coefficient, of course, it is best to use gray board.

4. Photometric sensitivity

Photometry and exposure sensitivity are two different things. Think about measuring light with ISO400, but the film is ISO 100, and then you will know the situation.

The commonly used exposure meter measures light according to the scene with medium gray level, and determines the definition by calculating the exposure amount H (i.e. the sensitivity value =0. 18) required for gray level in the photosensitive output, and the sensitivity = 10/H:

0. 18 = negative illumination * exposure time * sensitivity * exposure coefficient = H * 10/H * exposure coefficient.

Like this:

Exposure coefficient = 0.0 18

5. Recommended sensitivity (REI)

This is a dizzy sensitivity, and the definition is simple. The manufacturer thinks that the set sensitivity makes the photo loOK just right, and the photo is ok if it is beautiful. This may not be a definition at all, but sadly, many manufacturers like this loose definition and even use it for photometric determination. But generally speaking, the exposure coefficient corresponding to this sensitivity is usually not much different from ISO(SAT) or SOS.

Before Canon's new SLR (1DIII, 1 dsii, 40D) came out, it was pointed out that its sensitivity was defined by SOS standard, and later REI was used. However, we can still guess whether its sensitivity definition is defined by SOS. After all, this clarity will make the photos brighter and more pleasing to the eye.

Canon's old SLR (before 400D) used this definition, and the sensitivity =ISO(SAT)* 0.75.

Perhaps it should be said that although there are so many definitions of sensitivity, the requirements for manufacturers are actually very loose, and it is not uncommon for the error of calculation results to exceed 20%.

The problem of sensitivity coefficient is solved and some details are added. For Nikon camera, the brightness aperture is given directly. It should be noted that Canon only gives the lens aperture, so it is necessary to consider:

Brightness aperture 2 = lens aperture 2 * (magnification+1) 2/ loss coefficient = lens aperture 2 * (magnification+1) 2/0.828.

The loss coefficient is determined by considering the lens loss coefficient of 0.9 and the fourth dark angle (10 degree), which is also an empirical formula used by manufacturers in measuring sensitivity, so it is a quite reasonable value.

Finally, our formula is quite complicated:

Ambient illumination = (pixel value /255) 2.2 * 4.83 * lens aperture 2 * (magnification+1)2/ exposure time/sensitivity/exposure coefficient/reflectivity

But this is already a formula that can be used. Based on this, I measured that the 95W lamp in my fish tank can provide me with 1700LUX, which is barely enough.

If there were an exposure meter, maybe we wouldn't have to go to so much trouble. Most exposure meters provide lux measurement. Otherwise, it can be deduced as follows:

Ambient light illumination = 0. 18 * 4 * brightness aperture 2/ exposure time/sensitivity/0.018 = 222 * 2ev/sensitivity.

When the formula given by the manufacturer is usually ISO= 100,

Ambient light illumination = 2.5 * 2^ev

I think this difference is very small, and it does not rule out that manufacturers have added some non-main factors to consider according to the actual situation.

The first question has also been answered. There is indeed a difference between the metering of film and digital camera.

At 22: 40 on March 23, 2009, Mowgli's blog was deleted by quoting Mowgli's short message editor. This topic post summarizes this topic's photo summary complaint postNo. 198.

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Notebook: What were you always doing in Tibet in August 2002?

Liu Shuyong

Seeing many photographers always looks tragic. As soon as they have time, they take a lot of photographic equipment to Tibet, saying that they are "engaged in creation." After a few months, they get back countless photos, and then find an opportunity to show the slides to others, or ask the editor of a photography magazine to publish them and ask him to talk about his feelings about "artistic creation". After running a few times, the photographer's expression became more and more tragic. It is said that his mind has also been purified, as if he suddenly received instructions from an expert, and his expression seems to be erratic. Every time I see such a quasi-expert, I am awed at first, but I don't quite understand it later. Look at the photos published in professional photography magazines and bring all those things around you: Tibetans wearing dirty fur coats, people who have changed or debated scriptures, living Buddha lamas, pilgrims, Manidui on the holy lake, celestial burial platforms and vultures, snow-capped mountains and glaciers, Tibetan operas and clouds, and so on. Characters are naturally different from us. They look fresh, but they get tired after watching too much. The scenery is also magnificent, which can be regarded as a weather map, not "art" or "art" So many people shoot these things over and over again, and they are clamoring all day to go to Tibet to "create". I just want to know if it is necessary, what does Tibet have to do with you, and why do you always go there?

Think too much, I think there are some reasons. First of all, it's probably because of curiosity. For foreigners visiting China and China people outside Tibet, Tibet must be a unique and relatively closed spectacle. It is so unique-its geographical position on the roof of the world, its unique religion and culture, its unique scenery and humanistic customs-that countless foreigners and China people flock here every year to "consume" this spectacle through tourism, photography, video recording, buying articles with strong national and local colors (clothing, knives and ornaments) and visiting the living Buddha. For those photographers, Tibet is a "creative base" (this word is ok if it is a travel guide, but it is a bit ignorant and ridiculous if it is serious! Such creative bases include Bashang Grassland in Zhangjiajie and Lijiang in Yunnan-actually tourist attractions). Even many people say: a photographer who doesn't go to Tibet is going for nothing! It seems that photography has a natural connection with Tibet. In any case, it is a fact that more and more China photographers and foreign photographers are more and more interested in going to Tibet. I think one of the important driving forces is that this universal curiosity has created an image market. Think about it, Tibetans wearing special clothes, Bai Fan under blue sky and white clouds, living buddhas and believers on pilgrimage, Manidui and snow-capped mountains on the roof of the world with celestial burial platforms. These completely symbolic and spectacular images of Tibet meet the reading needs of countless China people or foreigners who have never been here. They saw a Tibet that was interpreted and displayed by the photographer's superficial understanding. At the same time, their watching and expectation in turn consolidated and encouraged the photographer's superficial display and constantly hunted this strange image.

Another reason is that my understanding of photography is confusing. In the understanding of many domestic photographers, photos involving people's events are nothing more than news reports and documentaries; Landscape flowers with a little modeling light constitute a portrait, which is considered as "artistic photography" or "artistic" photography. Moreover, we professional photography magazines, which can help photographers from all over the world to evaluate their professional titles, have been conveying such a photography concept, which has no theory at all, but it is harmless to them, and they will never make any political mistakes. In the past 50 years, their favorite publications are those landscape photos that show the great rivers and mountains of the motherland. They spare no effort to introduce some retarded landscape photographers, and they also regard Adams as a leader to obey. Therefore, if people who touch the camera want to be "artistic" and can combine tourism, physical exercise, breathing fresh air and adjusting the pace of life with so-called "artistic creation", the best choice is to shoot the scenery. The grassland is slightly monotonous and the dam is mediocre. Leave it to enthusiasts to practice aiming. At least you have to pat the Great Wall with a long history, the wild and desolate western plateau, the misty Zhangjiajie and Jiuzhaigou. If you want to take a picture with a little connotation, a little religious mystery and fooling others, it must be Tibet.

If you think you are a little taller than others, you are neither curious nor confused, but you came to Tibet to find a spiritual home or destination, as you said, it is even more hypocritical. To put it bluntly, this reason is that more than half of them just go to Tibet to relax. Work pressure is too great. I have been busy for several years, and I have earned almost all my money. Being divorced recently and bored will be the best reason to go to Tibet. In fact, this is an escape, or a kind of trouble. What purifies the mind there is only that he has temporarily separated from those things that really bother us. Do it if you want. The question is, what does this have to do with any photographic art creation? To say the least, even if it matters, even if you just want to go to Tibet to "create", then Tibet, regardless of its geographical environment or profound culture, can't be understood by going to Tibet several times, visiting monasteries several times, reading several volumes of scriptures, taking photos with a living Buddha, or chatting with lamas. When you keep taking pictures of the symbolic things you are most interested in about Tibet, these conceptual images will strengthen and confirm people's wrong imagination about Tibet again and again, and at the same time cover up the true and rich connotation about Tibet. What do we see from your photos?

Laozi once said in Tao Te Ching: "You know the world without leaving home." If you don't peek, you will see heaven. During the Eastern Jin Dynasty, Jian Wendi visited China Garden and said to his entourage, "You don't have to stay away from the venue, but if you have trees, you will have your own ideas. "If you are aware of birds, animals, fish and birds, you will come to your relatives!" It is a unique way for China people to observe space by paying attention to the present and their own living experience, so as to understand the way of heaven and earth. Du Fu said in a poem: "Mountains and rivers help embroiderers, and the sun and the moon are close to carving beams." There was also a poem in the Song Dynasty: "Heaven and earth are fences, and eternity is long." Everyone is talking about this great realm of not asking too much, not asking too far, and attaching importance to close experience and inner understanding. It is also true that your own life activities, the culture and environment you are familiar with will constitute your real life. And all miracles are outside your life and judgment, which is beyond your mind's reach because it is outside your experience and knowledge background. You can watch it, but you can't be a real member like the people inside. You will always be just a tourist passing through Tibet. All your happiness and pain happen in the culture and land on which you live, and only here can your problems be finally solved. Outside your life, there is no real free place for your heart to stay. This is what Zhu said in those days, "living in one's place and enjoying oneself". After all, you have made your life clear, and you have settled yourself. What happened to the world? If you have to go to Tibet to "experience" life outside your life, it's like you've been living outside your life. Isn't that riding a donkey to find a donkey and grinding bricks for a mirror?

I had an evening talk with a united press international reporter who likes Sinology. He was a member of the beat generation that year, and experienced an era when he lost his survival goal. In order to settle their hearts, their efforts include following the Japanese Zen master to practice Zen; Learn from Laozi and Zhuangzi; Go to India to learn yoga skills; Living a primitive life in the wild Yuan Ye or a desert island. When the Japanese Zen master told him that the real Zen can only be obtained in China, he went to Middle-earth, not afraid of difficulties, to visit the monk Dade and ask for enlightenment. The most important gain he got was to return to the United States and his daily life, which is exactly what China philosopher said: "Where you live, you enjoy your daily life".

What does this have to do with art or photography?

About the author: Male 1962 May, from Linqu County, Shandong Province. 1983 Graduated from China Language and Literature Department of Nankai University with a Bachelor of Arts degree in July. In the same year, he went to the Chinese Department of the Central University of Finance and Economics (now the School of Culture and Media) to teach. In the mid-1980s, I began to devote myself to the comparative study of visual language and narrative style. In the late 1980s, taking China's calligraphy as a case, this paper makes a comparative study on the differences between the expressionist tradition in China's visual arts and the purification of western abstract language.

Liu Shuyong is regarded as the most radical photography critic in China. In many people's impression, Liu Shuyong seems to only "curse"-this mainly stems from the "amazing essay" written a few years ago-"Four Diseases of China Photography", in which he laughed and denounced almost all the problems of China's photography, so that all the photography media at that time were afraid (or unwilling) to publish this "essay" and the article was suppressed for several years. In fact, more of Liu Shuyong's photography theories and critical articles are peaceful, sharp, profound and rational research and analysis.

Later, Liu Shuyong's articles, such as why photographers make picture albums and the sociological function of images, caused great repercussions in the photography field. The Four Diseases of Photography in China was finally published, not in the traditional media, but in the more open and free online media, and soon a heated discussion was launched online. Liu Shuyong also had a live exchange with photographers on the Internet as a guest, and some traditional photography media also made relevant comments for the first time.