Datacolor Spyder

Datacolor LightColor Meter – Rethinking Color Temperature and Exposure – A Real-World Case

Chris Lee — Fri, 05 Dec 2025 15:39:08 +0000

Our “Friend with Vision” Martin Koswig recently traveled to the Caribbean for a client project. His mission, to capture an incentive trip through photography and preserve the most beautiful memories for all participants. To ensure the images don’t just show scenes but evoke real emotions, they need to capture the atmosphere on location, the light of the Caribbean sun, the warmth of the sand beneath your feet, and the salt on your skin.

This mood must not be lost during post-processing. Photos trimmed to a neutral gray quickly look sterile and make emotions fade. But how can you preserve the vibrant colors and the feeling of the Caribbean when you’re back at your desk in often gray Germany?

Light moods are crucial for the atmosphere of a photo. A key factor here is color temperature, as it influences the color rendering and thus the emotional impact of the image. Warm color temperatures – like the gentle morning light – create a cozy, calm, or romantic mood. Cool light, on the other hand, conveys a more objective, distant, or fresh atmosphere. The right color temperature is therefore not a minor detail but an essential design element to enhance the desired feeling in a photo.

Technical approach
Martin deliberately starts his work in a neutral way. He first photographs with a gray card to ensure that all images have a neutral starting point. This allows him to begin post-processing from “zero” and build the desired mood step by step. During the shoot, he consciously avoids using the camera’s automatic white balance. This gives him maximum flexibility for later color grading.

This is where the new LightColor Meter comes into play. With this tool, Martin keeps an eye on color temperature throughout the entire shoot. This way, he always knows how the light on location truly behaves and can use this information later to authentically recreate the mood.

Perfectly suited for monitoring color temperature
Martin’s experience shows that there is almost always a difference between the camera’s color temperature readings and the measurements from the LightColor Meter. The LightColor Meter transmits its results in real time to the accompanying smartphone app, allowing Martin to conveniently document the Kelvin values via screenshot. This makes it easy to track the progression of color temperature throughout the entire shoot.

These discrepancies are not surprising: cameras measure color temperature only indirectly via the image sensor, whereas the LightColor Meter is specifically designed for precise measurement of color temperature and exposure. Due to its method of measuring direct light rather than reflected light, it is less prone to error compared to camera-integrated light measurement —a crucial foundation for authentic post-processing.

Post-processing using screenshots from the LightColor Meter
Back in Germany, Martin sits at his desk and begins editing the Caribbean photos. Next to him are the screenshots from the LightColor Meter app – his reference for the actual lighting conditions on location. These values help him gauge how far he can deviate from the original color temperature during editing without losing authenticity.

To better illustrate, Martin recreated the scene at home in his studio—using an image from another project, but the approach is the same. No more guessing the color temperature on the computer; instead, simply transferring the measured values from the LightColor Meter into Lightroom.

The LightColor Meter provides precise information: How bright was it? What was the color temperature? What light mood defined the scene? Martin compares this data with his own memory. When the image on the monitor matches the feeling he had on site, he knows he’s on the right track. The measured values bring the editing “back to reality” and slow him down whenever the deviation becomes too great.

In the end, it’s all about emotions. We all perceive a beach bar in a certain way. The color temperature, the sand, the water’s hue. And time and again, it turns out that everyone involved experiences the mood surprisingly similarly. This very consistency makes precise work with light and color so valuable.

If you stick to a neutral gray starting point, the camera images won’t reflect actual perception. Neutral gray doesn’t capture the mood – neither the warm glow of the sunset nor the intense warmth or the breathtaking blue of the water. This is exactly where Martin’s real task begins. He must edit the images so they authentically convey the atmosphere and emotions of the location.

The LightColor Meter – The digital gray card for post-processing
Martin aims for perfect images that impress the client. This is where the new Datacolor tool comes into play. A conventional light meter provides values but offers no way to capture the lighting situation via screenshot. Some devices have electronic displays, but they’re hardly practical for quick documentation.

The LightColor Meter makes things easier. During the shoot, Martin regularly checks his smartphone anyway and uses the LightColor Meter app to take a screenshot with a single tap. The data is transmitted in real time, and the compact device doesn’t get in the way, even when clipped to a shirt. This way, Martin always has precise information for color temperature and exposure on hand.

In principle, it doesn’t matter which user interface you prefer, since all of them display the measured color temperature.

By regularly taking screenshots that capture the LightColor Meter’s real-time data, the lighting situation can be tracked throughout the entire day. While the device cannot directly tell you what the mood on location was, that mood is strongly influenced by color temperature. This is precisely why the documented values are so valuable. They form the foundation for authentically recreating the atmosphere later and preserving the emotions in the image.

If the LightColor Meter shows a color temperature of 5,950 Kelvin, Martin sets the same value in Lightroom. This way, he quickly achieves a neutral starting point far more accurately than if he relied solely on the camera and its automatic white balance.

Tip: Recording Measurement Data
Martin has fully integrated screenshots into his workflow. While this wasn’t the originally intended method, ultimately everyone decides for themselves how they work as long as the goal is still achieved. However, there’s another option: The LightColor Meter automatically logs all measurements. This data can be exported as a CSV file and then transferred into an Excel spreadsheet. This provides a complete overview with date, time, and all recorded values.

Depending on the set measurement interval, large amounts of data can accumulate, which can later be matched with the timestamps of the image files. This creates a precise link between the lighting conditions on location and the corresponding shots—ideal for authentic post-processing.

About Martin Koswig

Self-employed since 1997, Martin works as a freelance photographer both on location and in his own studio in Freiburg. His clientele of business and private customers extends beyond Germany’s borders, and his assignments take him around the globe.

At the heart of his photography is the human element. Business and artist portraits are his passion, as are reportage-style shoots of corporate events, travel, and projects.

Martin is a member of the BPP – Association of Professional Portrait Photographers – and has held the BPP Certified Photographer title with top ratings since 2018.

https://www.koswig.de/

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The Top 20 Images from the Datacolor & Friends “Green” Photo Contest 2025

Chris Lee — Wed, 19 Nov 2025 11:39:16 +0000

The theme of the 2025 Datacolor & Friends Photo Contest was Green, inviting photographers of all levels to share their creative vision. For us, green is more than the color of hope — it represents nature, life, growth, and renewal. It was inspiring to see so many reconnect with nature, sustainability, and environmental awareness.

We looked for images that captured the essence of “green,” whether through dominant color, subtle accents, or even symbolic interpretation. The choice was entirely up to the participants, as long as the essence of the theme was evident.

Attractive prize packages awaited the creators of the top five images, selected by an expert jury:

Maike Jarsetz – Photographer, Adobe trainer, and author
Andreas Klein – TAMRON
Kreativstudio Pavel Kaplun – Photo & Videography
Markus Siek – DigitalPHOTO
Nicolas Alexander Otto – Photographer and Datacolor Friend with Vision
Philipp Jakesch – Photographer and Datacolor Friend with Vision
Ernst Thürnau – Senior Marketing Manager EMA, Datacolor

The contest was organized in collaboration with B+W Filter, DigitalPHOTO, dpunkt.verlag, FotoTV, Kreativstudio Pavel Kaplun Art, Patona, Rheinwerk Verlag, Rollei, and Tamron.

We’re excited to showcase the top 20 winning images.

Overall Winner

Andreas Ettl – “Circle of Light”

After weeks of cloudy skies, we finally witnessed an exceptionally vivid aurora over Skagsanden Beach in Norway’s Lofoten Islands. The lights were so bright it felt as if you could reach out and touch them. Then, the aurora formed a perfect semicircle above Mount Hustinden, aligning with my planned composition. Reflected in the wet sand, it created an almost complete circle — inspiring the title “Circle of Light.”

2nd Place

Kurt Seibt – “Grasfront Smaragd”

Collage of a glass façade

3rd Place

Adam Neuba – “The Green Ball”

Succulents are fascinating plants with structures that form striking, self-contained patterns. Particularly captivating are the spherical species of this genus. Even tiny offshoots — like the 13 mm specimen shown here — display perfect symmetry down to the smallest detail at the plant’s center.

4th Place

Herbert A. Franke – “Alone in the Stadium”

A small boy sits alone in the vast Munich Olympic Stadium — a moment of solitude in an iconic space.

5th Place

Andrea Schüpbach – “The Green Cone”

Visiting the Maellifell volcano in Iceland’s highlands had long been a dream. Reaching it wasn’t easy, so I joined a guided tour. A Super Jeep brought us to the base of this green wonder — and my drone (with permission) captured the rest.

6th Place

Ahmand El Hanjoul – “Eyes of Resilience”

A 12-year-old Syrian refugee in Lebanon works in a café to help support his family. His striking green eyes often catch guests’ attention, earning him generous tips. His face reflects both innocence and resilience — a quiet symbol of dignity amid hardship.

7th Place

Adam Neuba – “Delicate Pearls”

Nasturtium leaves adorned with shimmering water droplets — nature’s jewelry.

8th Place

Herbert A. Franke – “Spiral Staircase in ‘Den Bell’”

An architectural spiral captured in Antwerp’s historic “Den Bell” building.

9th Place

Thomas Krey – “UN-PLANT”

Tractor tracks as lifelines — often parallel, until an unexpected turn changes everything. This tree might never have grown tall if the path had stayed straight. Captured by drone near Verden an der Aller. UN-PLANT — a playful twist on words.

10th Place

Man Ngoc Nguyen – “My Way”

A quiet village path in Warendorf — a simple yet evocative scene.

11th Place

Friedrich Koehler – “Lofoten – Mountains on Fire”

During a November photo trip to Norway’s Lofoten Islands, we hoped for northern lights — and were rewarded. Around midnight, the aurora danced above the peaks, reflected in the fjord, painting the night in every shade of green. An unforgettable spectacle.

12th Place

Isabell Kurtze – “Ophelia”

Shot with a Nikon D750. Model: Kirsi Paeonia — a portrait evoking timeless beauty.

13th Place

Sonja Sayer – “Aphid”

While photographing an artichoke blossom, this tiny aphid made itself at home — a delicate detail in a vibrant scene.

14th Place

Roger Koller – “Green in the Morning Sun”

A serene moment bathed in soft morning light.

15th Place

Adam Neuba – “The Jumper”

A bright green grasshopper landed on my lap in the garden. I photographed it in my home studio, carefully placing it on a metal plate for this striking close-up.

16th Place

Richard Rduch – “Jellyfish”

An ethereal underwater subject — delicate and mesmerizing.

17th Place

Konrad Biehl – “Casa Verde”

A splash of green at the Algarve — architecture meets nature.

18th Place

Susanne Grill – “Champagne Glass Underwater”

An elegant composition blending fluidity and form.

19th Place

Hans Wichmann – “Stonerunner”

A lone jogger on a dike in the Netherlands — motion against stillness.

20th Place

Frank Müller – “This Way”

A praying mantis locking eyes with the viewer — nature’s quiet intensity.

The post The Top 20 Images from the Datacolor & Friends “Green” Photo Contest 2025 appeared first on Datacolor Spyder.

Error Chain in Printing

Chris Lee — Tue, 18 Nov 2025 14:06:52 +0000

Wrong Colors? Never Again!

If you want to avoid disappointment with photo books and other photo products, you should calibrate your monitor and understand the other potential pitfalls in the editing process. Rest assured, we’ll show you what to watch out for.

Maybe this sounds familiar: You’ve lovingly edited photos from your last vacation or family celebration and ordered a photo book or wall print from a service provider – only to find the results aren’t what you expected. Brightness, contrast, and colors look completely different from what you saw on your screen. Before you complain to the provider, it’s worth checking where the problem really lies because most of the time, the issue starts with you.

Every monitor comes with its own inherent color characteristics, which form the basis for your color corrections during image editing. Given this starting point, how can a print service possibly deliver color-accurate results?

Every Output Medium Requires Specific Monitor Calibration

The most important prerequisite for successful image editing is a calibrated monitor. High-quality monitors for photo editing usually come factory-calibrated – but calibrated for what? Web display, print, or even video editing? That’s the crux of the matter. There’s a world of difference between preparing images for a self-illuminating display, where red, green, and blue diodes mix colors (additive color), and preparing them for print, which uses subtractive colors (cyan, magenta, yellow, and black). With subtractive color, printing inks absorb all other color components of the visible light spectrum from ambient light. It’s obvious that a self-illuminating display offers a much higher contrast range than print. The same goes for the color gamut. That’s why it’s absolutely essential to calibrate your monitor for the intended output – print. Whether you’re using a “factory-calibrated” premium monitor, an old office screen, or a laptop, most monitors are set far too bright by default. This leads to the final link in the error chain: dark prints with crushed shadow details.

Every output medium—print, video, fine art, tablet, and more requires Its own monitor calibration. Your monitor acts as the central workspace where all output media is simulated. Since these media differ fundamentally in their physical properties, there is no single monitor setting that works for everything.

Color Measurement Devices Make Calibration Easy

Colorimeters such as the new Spyder or SpyderPro from Datacolor, handle this job simply, precisely, and perfectly for each specific output medium. The SpyderExpress, on the other hand, makes the selection process easier for users. For those less familiar with the technical details, it offers a simplified workflow: “Create Digital Content” and “Prepare for Print.” All Spyder devices work by being placed directly on the monitor display, while the software guides the user step by step through the calibration process:

It’s That Simple. Just place the sensor on the indicated measurement area and hit the Start button. In about 90 seconds, the Spyder creates a color correction profile that is automatically applied after saving.

Brightness and Contrast Adjustment & Color Measurement

First, the monitor’s brightness and contrast are adjusted, followed by measuring the individual colors. If you select “Desktop” as the output monitor in the Spyder or SpyderPro version, the software automatically recommends settings that optimize your monitor for print output. From these measurements, an ICC profile for the “Print” output medium is created. Calibration is therefore not only necessary to counteract the aging process of the monitor, but also to precisely adjust the monitor’s color and brightness for the intended output medium.

The goal is simple: to make sure the colors in the final printed product come as close as possible to the colors you saw (and possibly edited) on your monitor.

Pay Attention to Paper Profiles

Only a properly calibrated monitor ensures reliable print editing. Images can only be reliably prepared for print on a correctly calibrated monitor. This is where you judge colors, contrast balance, and shadow details so the monitor must accurately reflect the physical characteristics of the printed image.

There’s one more factor to consider: the impact of paper. Colors and contrasts look different depending on the paper used. To evaluate this effect, you should ideally load a paper profile in your image editor. Many print service providers offer ICC profiles for high-quality fine art prints, enabling you to perform a soft proof.

The new Spyder from Datacolor also provides this functionality through its DevicePreview^® feature, which simulates how colors will appear on specific papers or displays. SpyderPro’s DevicePreview^® Plus, goes even further, offering more extensive comparison and control options. These features are particularly valuable for users who don’t want to invest in expensive image editing software or commit to a subscription.

Compare Images Across Different Media. With the DevicePreview® Plus software included with SpyderPro, you can compare how images look on various media such as different printing processes or smartphone displays. Many high-quality print service providers offer ICC profiles for download, which can be installed. On a calibrated monitor, DevicePreview® Plus then enables you to simulate how colors will actually appear in the final print.

By the way: Spyder and SpyderPro now calibrates OLED, QD-OLED, Mini-LED, and Apple’s “Liquid Retina XDR” displays – a feature that’s particularly interesting for MacBook Pro users.

Color Gamut and Color Temperature

When editing RAW files, color space matters. When you edit RAW files, you have access to a wide color gamut but your printer can’t reproduce all of it. To avoid unpleasant surprises, check with your print service provider to see which color space they support and which settings they recommend for their workflow.

Here are a few providers that share this information.
Note: Information provided without guarantee. These details come from the respective manufacturers’ support pages or were supplied upon request.

Recommended Settings from Print Service Providers

Whitewall supports AdobeRGB and recommends:
- Color temperature: 6500 K
- Brightness: 90–100 cd/m²
- Gamma: 2.2
CEWE recommends:
- Color temperature: 6500 K
- Brightness:
  - TFT screen: approx. 120–160 cd/m² luminance
  - CRT screen: approx. 120 cd/m² luminance
- Gamma: 2.2
Saal-Digital recommends:
- Color temperature: 5000 K
- Brightness: 90–100 cd/m²
- Gamma: 2.2

These settings can be configured in the Spyder and SpyderPro software, as well as directly on the monitor.

SpyderExpress, Spyder, or SpyderPro?

SpyderExpress: Ideal for photo enthusiasts, content creators, and graphic designers
Spyder: Ideal for professional photographers
SpyderPro: Ideal for video, film, broadcasting, 3D animation, professional photography, digital design, and content creation

Conclusion

A calibrated monitor is an essential prerequisite for reliable image editing and helps prevent costly printing errors. The Datacolor Spyder family provides all the tools you need – from calibration to soft proofing.

Guest Author – Andreas Jordan

Andreas Jordan is a journalist and media designer who has been working as an editor and writer since 1994, specializing in multimedia, imaging, and photography for various trade and special-interest magazines (including Screen Multimedia, Computerfoto, MACup) and daily newspapers (Hamburger Abendblatt, Berliner Kurier). Since 2003, he has been an editor at fotoMAGAZIN and has led its technology section since 2007.

The post Error Chain in Printing appeared first on Datacolor Spyder.

Location Planning & Image Editing for Landscape Photography

Carsten Tschach — Mon, 14 Jul 2025 07:39:47 +0000

As photography is not my main profession and I love spending time with my family, I don’t often take the time to go on photo trips on my own. Therefore, these times with the camera in nature and in faraway countries are all the more valuable to me. Over the years, I have learned that it is not enough to simply spend a week or two on location and simply react to the landscape and lighting conditions if I want to take home convincing images. That’s why it’s very important to plan the exact location and time for my shots beforehand and I devote a lot of time to the planning.

In September, I visited Iceland to experience the island in its fall colors. Anyone who thinks that there are no autumn colors on Iceland should definitely fly there in mid/late September. The grasses, bushes and trees turn into wonderful colors. On my route, I also visited classic Icelandic motifs such as Cape Dyrhólaey.

Using two pictures as examples, I would like to explain how these shots came about, what worked well and what didn’t turn out quite as planned.

Location planning & recording

The first location is the Háifoss waterfall in Iceland’s highlands. I use both Google Earth Pro and the website https://www.suncalc.org/ for “digital” location scouting from my desk at home to plan my photo location and time of day as precisely as possible. In addition to the nature of the terrain, these applications can also be used to directly display sunrise and sunset dates and lines as well as the height of the sun at certain times of day.

Screenshot of the photo planning for the time and location at Háifoss.

As I had a sunset shot in mind in which the waterfall and the valley would be partly in the shade, it was important to determine the right time so that the sun would still be above the edge of the valley. On the other hand, I was prepared to use exposure bracketing or graduated filters to ensure the correct exposure for both the light and shadow areas. The exposure time should also not be too short in order to achieve a nice soft focus of the waterfall.

Drone shot of my location at Háifoss.

I mainly monitor the local weather using the Windy app and the Icelandic website https://vedur.is/. The weather in Iceland often varies, but the forecasts have nevertheless become quite accurate – there is always a residual risk, of course.

My biggest challenge is my limited travel time. I can’t wait a week at a particular photo location for the perfect conditions, so I plan different locations in advance of the trip and then decide at short notice which one I’m going to visit.

High clouds were forecasted for this evening, but they weren’t supposed to move in before sunset. Unfortunately, they arrived a good hour earlier then planned, so my shot of Háifoss wasn’t as spectacular as I had hoped. Nevertheless, I am satisfied with the result.

Canon EOS R6 Mk II, RF 15-35mm F2.8 IS USM @15 mm, 1/125 sec, f/22, ISO 200
3 exposures

The second location is Cape Dyrhólaey in the south of Iceland. The well-known cape has a spectacular cliff edge and the raging ocean often hits the beach and rocks with high and dangerous waves and has knocked over many a tripod of careless photographers.

My aim was to take a shot from the rocks of the cape in the direction of the setting sun over the beach. In summer, such a shot is not possible as the sun sets elsewhere, and I really wanted to integrate the warmly lit rocks of the cape and the low sun into my composition.

Screenshots of the photo planning for time and location at Cape Dyrhólaey.

Drone shot of my location at Cape Dyrhólaey.

This time everything worked out. Even the clouds cooperated. The sun peeked out from under them again shortly before sunset and allowed me to take the picture with the aperture star that I had already imagined at home: Portrait panorama of 7 images with 3 exposures each.

Canon EOS R6 Mk II, RF 15-35mm F2.8 IS USM @15 mm, 1/50 sec, f/22, ISO 100

Calibration and subsequent image processing

Back at home, it was now time to view and edit the resulting images. As I always do at regular intervals and especially before important image processing, I started the calibration process with the help of the new SpyderPro before processing.

Calibration of my laptop with the help of the SpyderPro.

Calibration is so important because my monitor is the only window to my file and if the window is not properly cleaned and (to stay with this comparison) there is green pollen from the early bloomers on the pane in spring, the landscape behind it (in this case my photo) also looks greener than it actually is. In addition to the neutral representation of the colors on my display, the calibration ensures that highlights and shadows are correctly adjusted and that nuances and gradations can therefore be reliably assessed. This prevents me from brightening an image area that is supposedly too dark and then realizing later in print that the image has too little contrast.

Display of the color space coverage of my laptop after calibration

Of course, the lighting in the room also plays an important role, because if the ambient light is too bright, my picture cannot be judged properly. Anyone who has ever tried to recognize all the nuances of a picture on a laptop or cell phone display in the sun will know this all too well. If the SpyderPro remains connected to the monitor even after calibration, it can monitor the ambient light and adjust the calibration if necessary, should the changing light make it necessary. What I particularly like about the new Spyder is that it now also includes a Device Preview feature. Not only can I use this preview to select ICC print profiles for a soft proof and assess my image accordingly before printing, there is also a preview for tablets and cell phones that shows me how my image will be displayed to my Instagram followers, for example.

Device preview of my panorama of Cape Dyrhólaey.

My photo editing workflow is as follows. First, I import my photos into Adobe Lightroom. There, I make a selection of the images and then edit the selected photos. Depending on the requirements, I may also use Adobe Photoshop for editing.

The image of Cape Dyrhólaey is a panorama of 7 portrait format images, which I first had to stitch together. Calibrating the display beforehand helped me to find the right color representation when editing.

Then I adjusted the shadows, highlights, contrast for the sky and foreground and then added a little Orton Glow in Photoshop to make the image a little “softer”. I am very happy with the result.

SpyderPro

Advanced color calibration for your editing monitor

"In addition to the neutral representation of the colors on my display, the calibration ensures that highlights and shadows are set correctly and therefore nuances and gradations can also be reliably assessed."

– Markus van Hauten

About Markus van Hauten

Markus van Hauten began photographing in 2006 and after long periods in sports photography, he finally landed in landscape photography in 2014. He is particularly fond of Iceland, mountain regions and coasts. Being able to enjoy the fantastic sunrises and special weather moods in places in the middle of nature alone with his camera is always a special contrast to his everyday life. These are moments that help him recharge his batteries. This often results in pictures his viewers seem to remember for a long time.

Since 2015, he has taken part in competitions on a regular basis, and in 2016 he won the “Panoramic” category at the prestigious “Sony World Photography Awards”, among others.

Website:
www.van-hauten.eu

Instagram:
@markusvanhauten

Facebook:
www.facebook.com/vanhautenfotografie

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Martin Koswig – Reportage Shooting

Carsten Tschach — Thu, 22 May 2025 14:37:38 +0000

Yes, I love reportage!

It is challenging in every way, because every moment is just a moment, a second of the day. It has to be captured, emotionally charged, the way that second is experienced in that moment. That second means you have to get everything right! Light and shadow, perspective, technique, facial expression, gaze, details, framing, background… If one of these factors is not right, the pictures will not be appreciated by the client and it is impossible to retouch 3,000-10,000 pictures.

Reportage is versatility.

Another thing I like about reportage is the wide range of genres it covers: Portrait, product, food, vehicles, landscape, sport. Each picture should look perfect, as if it had been staged, when in reality it was only a second, a moment that passes so quickly.

Reportage photography lives from its variety of photographic genres. The art is in creating an atmosphere, a mood that captures the whole event or journey in all its diversity.

The art of proper image editing

In addition to wedding reportage, I am mainly booked by companies, with a focus on travel reportage, but also day events and conferences. I often accompany 70 to 180 people who all experience the event with me. They experience the same atmosphere, the same impressions and the same overwhelming colors as I do. Now comes the art of correct image processing. I can and must alter the colors to enhance the atmosphere I have captured. Sunsets, candlelight evenings, dinners, kayaking, walking tours, safaris – each situation requires its own color mood and everything in the pictures should look as it was felt by all participants. It’s an art, as such a view is very individual, so not necessarily an easy undertaking with over 80 participants. Experience is essential for me at this point. To optimize this process, I also like to use a grey card, the Spyder Cube to define a correction preset during RAW conversion, which I can then apply to the entire series. If I am working with several camera systems, it is even useful to use the Spyder Checkr to compensate for possible ” color interpretations” of the different systems. For me, this is the starting point from which I can do color grading if necessary.

One image, multiple output formats

The images are published after each trip. On the web, in company magazines, exposed and printed prints, albums, large-format images for the office and living room. This means that the colors have to be right for all applications. This is definitely not always guaranteed on home monitors, as everyone has their own color preferences or has never adjusted their monitor at all – in fact, almost all monitors are shipped with the default setting of 6500 Kelvin, which is of course too “cool”. Of course, we don’t have this problem with conscientious service providers, because they work with a profiled or calibrated workflow based on 5000 Kelvin – neutral, white light.

I, of course also work in a profiled 5000K workflow. I.e. my prints or prints ordered from a service provider as well as albums are color identical under my 5000 Kelvin norm lightbox as on my 5000 Kelvin calibrated monitor. It should be mentioned that I work with a hardware calibrated monitor in my studio. Of course, I don’t have this monitor with me when I’m on assignment, so, while travelling, I have to rely on my Spyder to make sure that my measuring technique profiles my laptop monitor in the best possible way. I have been using Spyder products for a long time. The Spyder provides me with measurement data for hardware calibration and ensures correct color and brightness reproduction “on location”! Why is this important? Every day, my clients expect me to select about 30-50 retouched images, which are then published on internal company networks, as well as on social media. They are also used for albums that are distributed to every employee immediately after the trip. So I have to be able to work on the spot with absolute color accuracy so that there are no misprints during production. Misprints mean a lot of hassle, cost, stress and time – I can’t afford that.

I usually review the day’s shots in my hotel room every evening and make a pre-selection. Depending on the job and the client, these are then edited directly on the laptop and prepared for the respective output format. Sometimes, I do this on the plane on the way home.

Do-it-yourself printing & fine art printing

In my studio, the output is of course also profiled. Both my A2 printer and my large format printer run on color profiles I measured myself for the respective printer / paper / ink combination. For a long time I used the printer manufacturer’s own paper, which was very easy to profile – the quality was consistent, which saved a lot of time and money. I do my own profiling with Datacolor’s Spyder Print. Nowadays, I use Tecco and Ilford papers. I use Tecco’s high quality photo papers for my daily work and Ilford has a very wide range of Fine Art papers for inkjet printing. High grammage watercolor papers and some gallery papers are my favorites. In general, it’s important to me that I don’t have to profile each time I place a repeat order, which speaks for the quality of a paper, meaning the quality is consistent from one batch to the next.

Spyder Print Studio

As you can see from this article, I’ve been using the Spyder product range for a long time. Color management is indispensable to me and is the oil in the gear of my photographic workflow. It helps me to save time, deliver high quality to the customer, avoid complaints and minimize misprints. It ultimately ensures consistency and high quality. That’s why I like to recommend the Spyder Print Studio, which includes all the color management tools you need when printing photos by yourself.

About Martin Kosweg

Since 1997 I have been working as a freelance photographer on location and in my own studio in Freiburg. After more than 20 years my business and private clientele extends beyond the German borders with a focus on Germany, Austria and Switzerland. However, my radius of action extends around the globe.

The focus of my photography is the human being. Business and artist portraits are my passion as well as the reportage of company events, travels or projects.

Consult and lecturer for:

Datacolor AG Europe
EPSON Deutschland
Hasselblad Vertriebsgesellschaft mbH
Adobe Systems GmbH

Website:
www.koswig.de

Email:
martin@koswig.de

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Making light of Multitasking

Chris Lee — Tue, 29 Apr 2025 12:18:22 +0000

PHOTOGRAPHY HAS ALWAYS served as a bridge between the past and the present, and a recent studio shoot I collaborated on with fellow photographer Salli Gainsford exemplified this perfectly. The project focused on capturing a reenactor styled as Henry VIII, set against the enchanting backdrop of candlelight. This shoot not only celebrated the lavishness of the Tudor era but also showcased the advanced technology that guarantees historical accuracy and vibrant detail in contemporary photography.

The setting was carefully designed to transport viewers back to the 16th century. Our reenactor, dressed in regal garments, sat at an elaborate table, deep in thought under the flickering candlelight. An open book rested in front of him, its pages hinting at secrets from the past, and the overall scene radiated a sense of solemnity and grandeur, fitting for the larger-than-life persona of Henry VIII.

Behind the Scene

The significance of color management

Both Salli and I have always understood the crucial role of color management in scenarios like this. In today’s digital world, it’s tempting to believe that you can simply take a few photos and then adjust them by eye to achieve the desired result. However, as professionals, it’s essential to master every aspect of the image-making process. When equipped with the right tools, it doesn’t take long to do things correctly and maintain complete control over your color in every situation. In this particular instance, there was so much at stake that getting it right was vital. Our reenactor had to travel three hours each way to reach us, and then spend additional time donning the costume necessary to embody Henry VIII. Considering all that effort, I wanted to ensure that we executed everything perfectly on our end.

We currently utilize a comprehensive array of color management tools from Datacolor, and we have recently added the recently launched LightColor Meter to our collection. This wireless device, which connects via Bluetooth, measures both strobe and ambient light, delivering real-time color temperature readings directly to our mobile phone. With the reenactor adorned in regal attire, Salli skillfully utilized the meter’s flash mode, allowing her to carefully measure and evaluate the outputs of the studio strobe lights, resulting in flawless exposure.

The ability to balance the Kelvin degrees in the camera was essential for achieving the ideal blend of warm candlelight and cool ambient light that we were looking for. Additionally, the LightColor Meter’s precision and immediate feedback guaranteed that every shot was perfectly exposed.

To further enhance her craft, Salli used the Spyder Checker, which provided us with a crucial reference point for postproduction as she leveraged the latest technological advancements, including AI, to create a suitably grand background. This combination of traditional artistry and state-of-the-art technology enabled Salli to elevate the ordinary to the extraordinary, producing an image that is both historically resonant and strikingly contemporary.

Behind the Scene

The challenge of color accuracy

With exposure taken care of, our next challenge was to ensure accurate color representation, and this is where Datacolor’s Spyder Cube came into play. The Spyder Cube’s unique three-dimensional design differs from traditional grey cards in that it mimics the way light falls on your subject. This allows you to see primary and secondary light sources for accurate white balance correction, and it includes a black trap for an absolute black reference, which allows you to set a true black point in an image. Additionally, its chrome ball allows you to see specular highlights.

Thus, the Cube is a reliable reference for color balance, white point and black point, making it easier to achieve consistent and true-to-life colors during editing. The Spyder Checker was also an invaluable tool, ensuring that the vibrant hues of Henry VIII’s finery could be faithfully reproduced.

Ensuring Color Accuracy

Once exposure was under control, the next hurdle was achieving accurate color representation, and this is where the Datacolor Spyder Cube became essential. Unlike traditional grey cards, the Spyder Cube features a distinctive three-dimensional design that simulates how light interacts with your subject. This design allows you to identify both primary and secondary light sources, making white balance adjustments more precise. It also includes a black trap to establish a true black point in your image. The chrome ball further helps by revealing specular highlights.

With these features, the Cube served as a dependable tool for color balance, white point, and black point, simplifying the process of obtaining consistent, lifelike colors during editing. The Spyder Checker was equally invaluable, ensuring that the vivid colors of Henry VIII’s attire were accurately captured.

Final shots

The significance of detail

The reenactor’s elaborate costume, featuring rich fabrics and intricate embellishments, was a central focus of the shoot. It was crucial for us to preserve the vibrant finery that defined the Tudor court. By combining the light meter with color calibration tools, we were able to capture the texture and hues of the costume with remarkable accuracy. This ensured that every velvet fold and every shimmer of gold thread was faithfully reproduced.

The final images reflected a seamless blend of creativity and technical skill. Henry VIII, illuminated by the soft glow of candlelight, seemed almost lifelike, commanding attention within the frame.

The harmonious interplay of light and color brought the scene to life, evoking the grandeur and richness of the Tudor period. Meanwhile, modern technology ensured that every detail, from the fabric texture to the overall atmosphere, was captured with exceptional precision.

In Conclusion

Our Henry VIII photoshoot was more than just a historical recreation; it showcased how modern technology can enhance our ability to capture and portray the richness of the past. The Datacolor LightColor Meter, along with the Spyder calibration tools, proved essential in achieving the visual precision that made this project a success. As photographers, we’re always striving to push the limits of what’s possible, and this shoot highlighted the remarkable potential of combining historical accuracy with technological innovation.

Having tools like the LightColor Meter is incredibly valuable, and the more familiar you become with its capabilities, the easier it becomes to work with. I can already see how it will play a pivotal role in our workflow, becoming second nature over time. Its adaptability also means we’ll be using it for our future video and hybrid photo/video projects as well.

From a professional standpoint, having an accurate starting point for your lighting is crucial, and this tool provides just that. If your initial setup is off, you’re facing a challenge right from the start, but with a quick and easy reading, you can move forward confidently. What’s not to appreciate about that?
In an era where photography is constantly evolving, it’s both exciting and inspiring to witness how our tools can breathe life into history in ways that were once unthinkable. The fusion of artistry and technology in this shoot has set a new benchmark for historical re-enactment photography, and we’re eager to dive into more projects that honor the beauty and detail of our shared heritage.

Studio Masters

Mike and Salli have teamed up to launch their educational platform, Studio Masters, with the goal of providing guidance and inspiration to both aspiring and professional photographers looking to elevate their craft—whether through mastering in-camera techniques or exploring composites and AI.

“Our content is built on the skills and methods we’ve honed throughout our careers,” says Mike. “We’re thrilled to share these insights with the broader photography community. With over 30 years of combined experience across various photography disciplines, our professional team is flexible and proficient, able to collaborate seamlessly or work independently.”

Salli first met Mike during one of her open model days, where she was struck by his deep passion for sculpting and manipulating light. “It sparked the chance for us to merge our expertise and offer it to clients,” she explains. “The synergy we’ve developed has taken our work to the next level, and the way we inspire each other has led to the creation of an educational platform where we can share our combined knowledge and experience with other like-minded creatives.”

Those interested can sign up for weekly updates covering postproduction and lighting techniques, participate in live discussions, watch live shoots, and book workshops or shooting days.

More information:
https://www.studiomasters.org/

Explore all of our Datacolor Spyder products at
https://www.datacolor.com/spyder/products/

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Celebrating 25 Years of Spyder: Revolutionizing Digital Photography

Carsten Tschach — Thu, 23 Jan 2025 13:50:03 +0000

A lot has changed over the past 25 years since Datacolor launched its first Spyder monitor calibrator in the year 2000.

The switch from film to digital was a huge shift in photography. It fundamentally changed the way photographers crafted their work, incorporating computers and technology into the creative process. What the original Spyder did for photographers was to bring accuracy into a new workflow.

Photo History Highlights: Film Photography

Film photography required dedicated practice to the craft, and valuing the importance of accuracy. Correct image exposure included careful consideration of the subject, its environment, plus calculations using a light meter. Film was expensive to purchase, develop and print, not to mention exacting and time-consuming to process and edit it. Here’s what it looked like.

Techniques included:

Manipulating the exposure time during the printing process to selectively lighten (dodge) or darken (burn) an area of the print.
Retouching negatives by using fine brushes, pencils – even scalpels – to make small adjustments directly on the film negatives.
Chemical processes were needed to alter the color, contrast, tone, and color of prints.

Edits could involve physical manipulation:

Creating composite images or removing elements from a photo by physically cutting and reassembling prints.
Smoothing skin tones or removing blemishes or wrinkles by airbrushing images with paints or dyes.

Color and creative effects required:

Using colored filters or gels on the camera lens or enlarger to alter color balance or focus sharpness.
Photographers would expose the same film image multiple times to create composite images or for creative effect.

Printing techniques used:

The contact printing method was often used when making high-quality prints. The photographer would place the negative directly onto photographic paper and expose it to light.
An enlarger was used to make large prints by projecting a larger rendition of the negative onto photographic paper. This allowed for editing size and composition during the printing process.

Timewise, just developing the film alone could take several hours or days if you sent it out to a lab instead of developing it in your own darkroom. Editing and re-touching photos were labor-intensive, taking up to several hours per image in-house, or sometimes weeks if you sent it to out to a specialist. Even printing could take several hours to perfect each image.

Enter the Digital Age of Photography

While digital cameras became mass-market popular in the early 2000’s, their development began decades earlier.

Semiconductor technology in the early 1960’s and 1970’s included the development of charge-coupled devices (CCDs) which converted light into electronic signals – essential for digital imaging. Advances in microprocessor technology made processing and storing digital images possible.
In 1975, Kodak engineer Steven Sasson created the first portable digital camera prototype using a CCD sensor.
In 1981, Sony released the Mavica, an analog electronic camera that recorded images on a mini disk.
While Fuji introduced the Fujix DS-1P in 1988 – the first digital camera to store images as computer files – it never reached the market.
The first commercially available digital camera was the Logitech Fotoman, launched in 1990.
A year later in 1991, Kodak launched the DCS 100, the first professional digital SLR camera, featuring a 1.3-megapixel sensor.
Apple’s release of the QuickTake 100, was one of the first consumer digital cameras
In the 2000’s, digital cameras finally go mainstream thanks to improvements in image resolution, increased storage capacity and affordability. In 1990, the Logitech Fotoman sold for about $1000, while Kodak’s first digital camera, the DCS 100, had a price tag of $20,000 in 1991. A mid-range digital camera today can cost around $600-$700.

With digital photography, there was no longer film waste or the need for costly development supplies. As digital cameras became more affordable, photography became more accessible to amateurs and hobbyists, and it also opened up more creative possibilities.

Image results could be viewed immediately, profoundly changing the editing process. Lighting adjustments could be made on the spot, streamlining post-production workflows. Features like batch processing and presets further streamlined repetitive tasks, saving even more time. With greater efficiencies, images could be delivered to clients more quickly.

Monitor Calibration – Spyder Becomes a Breakthrough Solution

Monitors became an integral part of a digital photographer’s workflow, and monitor calibration became critical since monitor color could drift dramatically over time and required regular calibration. Colorimeters were introduced in the mid 1990’s to measure the color output of monitors and help users adjust settings to achieve more accurate color representation. Editing software advancements in products like Adobe Gamma in the early 2000’s coincided with Datacolor’s launch of the first Spyder in 2000 (called Pantone Colorvision Spyder, then). These programs worked in conjunction with hardware devices for more precise calibration. In the mid-2000’s, the introduction of the International Color Consortium (ICC) profiles standardized color management across different platforms and devices. Throughout its history, Spyder has evolved as digital photography and videography have evolved.

Spyder Monitor Calibration Timeline

2000: Datacolor introduces the first Spyder monitor calibrator (Pantone Colorvision Spyder), aimed at providing affordable and accurate color calibration for CRT monitors for photographers and digital designers. Its ease of use and integrated software helped guide users through this vital workflow step in digital color management. It was also relatively cost-effective when compared with other calibrators available at the time. It took about 5+ minutes to color calibrate a monitor with this device.

2004: Launch of the Spyder2, offered improved accuracy and ease of use compared to the original model. It was able to calibrate CRTs, LCDs and laptop displays, keeping up with the demands of evolving technologies.

2007: Introduction of the Spyder3 featured the only seven detector color engine on the market and boasted a 400% extra light sensitivity for increased accuracy. Other features included a built in ambient light sensor, combined desktop cradle and tripod mount and ‘before and after’ SpyderProof proofing capability.

2012: Release of the Spyder4 included the popular features of ambient light monitoring and support for multiple displays. This fourth generation of Spyders also included double-shielded color filters for a closer match to CIE color standards and improved long term stability. Color accuracy was improved by 26% compared to the previous Spyder.

2015: Spyder5 is launched, with a redesigned patented 7-detector optical engine to deliver up to a 55% improvement in tonal response, resulting in more accurate shadow detail and smoother gradients. Along with ambient light monitoring, multiple display support and SpyderProof proofing, the Spyder5’s Display Analysis feature lets users evaluate and compare the performance of all of their laptop and desktop monitors.

2019: The SpyderX series introduced a major shift to an advanced lens-based sensor system for significantly faster and more accurate calibration. Calibration could now be performed in under 2 minutes. Speed, accuracy and ease of use were all improved and features like one-click calibration made calibration inviting and accessible for even first-time users.

2023: Launch of the Spyder X2 series added the functionality to support high-brightness monitors, supporting newer monitor technology and accurate color calibration in situations like tethered outdoor shoots. A redesigned user interface is streamlined and more intuitive for a cleaner, enhanced user experience.

2024: Launch of the 2024 Spyder and SpyderPro. The latest Spyders can calibrate a wide range of monitors including OLED, mini-LED and Apple Liquid Retina XDR. Exclusive features like Device Preview simulate how images can appear on the latest tablet and mobile devices so users can feel confident that their pictures will appear as intended, and calibration speed has been improved to taking only 90 seconds to fully calibrate your monitor.

2025: Datacolor is committed to consistently improving its calibrators, incorporating new technologies and features to meet the evolving needs of photographers, videographers, content creators and digital designers, from entry level to professionals.

Explore all of our Datacolor Spyder products at https://www.datacolor.com/spyder/products/.

The post Celebrating 25 Years of Spyder: Revolutionizing Digital Photography appeared first on Datacolor Spyder.

Gift Ideas for the Creatives on Your Holiday List

Chris Lee — Wed, 20 Nov 2024 14:11:16 +0000

Stuck for ideas for the creative people on your gift list? Let Datacolor help! Whether your list includes a content creator, photographer, videographer or digital designer, we have products to help make their work easier by streamlining workflows, saving them valuable time and effort. These tools are designed to support creativity, from managing color accurately, to ensuring that every detail is captured in photos or videos, to producing impeccable prints to sharing online content as it was intended.

Our Newest Spyder and SpyderPro Calibrators – Be Confident in the Color Accuracy of the Latest Displays and Edit from a Point of Color Precision

Both Spyders calibrate monitors in only 90 seconds, and ensure color accuracy, consistency and optimization of the latest display technologies such as OLED, Mini-LED and Apple XDR Liquid Retina. Content Creators will love the Device Preview Beta feature, available in both Spyders and SpyderPro, that simulates what your photos would look like on the latest smartphones and tablets.

The SpyderPro is perfect for Videographers and Hybrid Photo/Video shooters with its video targets (Rec.709 and Rec. 2020) and StudioMatch feature that allows for side-by-side calibration, ensuring consistent, accurate color reproduction across multiple connected monitors or computers.

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Spyder Checkr Color Targets (Spyder Checkr, Spyder Checkr 24, Spyder Checkr Photo and Spyder Checkr Video) – Ensure Accurate Color at the Point of Capture

The Spyder Checkr family of products provide a fast, easy way to color calibrate your camera and ensure consistent, accurate image color at point-of-capture. This streamlines post-production workflows, as well as ensures color consistency across a variety of cameras, lenses, and sensor combinations.

Use the Spyder Checkr color target card as a color reference in your photo shoot and Spyder Checkr’s software will automatically color correct images through an HSL preset in Adobe Lightroom Classic® Adobe Camera RAW®, or Hasselblad Phocus® for seamless color correction.

Spyder Checkr – Offers color targets with a durable self-casing construction and a tripod mount great for studio or location photo shoots.
Spyder Checkr 24 – Its compact size and protective sleeve make it a take-with-you-everywhere photo tool to always have on hand in your bag or pocket. Ideal for content creators, photographers, and digital designers.
Spyder Checkr Photo – Offers one of our most comprehensive collections of color targets in a unique, ultra-matte finish that’s perfect for photography and for incomparable color accuracy and depth. The ergonomic case is easy to grip and comfortable to hold, minimizing handling errors. It comes with 4 color target cards that can be interchanged with our Spyder Checkr Video cards for a truly customizable workflow. A great tool for the photographers, content creators and digital designers on your list.
Spyder Checkr Video – Includes our patent-pending Color Pattern Card that generates a pattern of hues at two saturation levels, allowing you to see how all colors are being captured, not just primary and secondary colors. The easy-to-understand circular pattern that’s created provides an unprecedented level of color information, instantly. Videographers and video content creators will value how easy it is to maintain color consistency across multiple cameras.
Spyder Checkr Card Sets – Save money and take advantage of the versatility of your Spyder Checkr Photo or Spyder Checkr Video by expanding your target card selection to include a Spyder Checkr Card set. Purchase the Video Card set if you already own a Spyder Checkr Photo, or the Photo Card set if you already own a Spyder Checkr Video, to ensure all your workflows are streamlined and precise. Perfect for photographers, videographers and hybrid photo/video shooters.

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Spyder Cube – Easy-to-use, portable reference tool for setting your exposure, white balance, white and black point, and contrast right from the start of image editing

Perfect for both photo and video, Spyder Cube’s unique 3-dimensional design differs from traditional grey cards by mimicking the way light actually falls on your subject, allowing you to see primary and secondary light sources for more precise white balance correction.

This essential tool provides accurate correction across shadow and highlight tones and instantly color-corrects images by setting a color temperature value to neutralize the light source. Additionally, it includes a black trap for an absolute black reference which allows you to set a true black point in an image, and a chrome ball that lets you see specular highlights.

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Spyder Print – Advanced analysis and calibration tool for optimizing print results

Perfect for photographers, digital designers and fine art printers looking for precise printer and paper profiles for optimal screen-to-print continuity. Create a custom profile for each paper and ink type you use for the most precise color results from your printer. The Spyder Print software creates a fully editable, custom profile to ICC standards for the most color-accurate reproduction of your image files. Reduces ink and paper waste from repeated print outputs while optimizing the performance of your printer.

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Spyder Kits – Comprehensive, cost-effective solutions for managing color throughout various workflows.

Our Spyder kits are designed for both novices and pros alike, offering color management tools from capture, through editing, display and print.

Spyder Photo/Video Kit – The ultimate all-in-one workflow solution for precision color control for photo and video, from capture through editing.

This versatile kit includes everything the photographer, videographer, hybrid photo/video shooter, content creator or digital designer on your list could want! It comes with the SpyderPro calibrator, the Spyder Cube, the Spyder Checkr Video and the Spyder Checkr Photo card set for unmatched flexibility and color accuracy.

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Spyder Print Studio – Complete end-to-end color management for photo workflows, from capture, through editing to print.

Photographers, digital designers, and fine art printers will find this kit invaluable for precision color management from capture, through editing and printing. It comes with the SpyderPro calibrator, the Spyder Cube and the Spyder Print tools for unmatched color management.

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ColorReader Products (ColorReader, ColorReader Pro, ColorReader EZ) – Simplify the color identification process with one of the products from our ColorReader family.

These portable, pocket-sized color measurement tools streamline color selection for professional and home projects, saving valuable time, effort and costs. Simply use the device to scan the flat surface of a color you like and with the ColorReader app, instantly get its closest paint color match, Savage Universal background match, plus valuable color data.

Ideal for:

Photographers, videographers and content creators who want to color-coordinate shoots
Digital designers who want to ensure accurate and consistent color reproduction for branding/logo design
Professional paint contractors who want to help clients select and coordinate paint colors and match wall colors without drywall removal
DIYers who want to feel confident in their color selections, from color matching to color coordinating

ColorReader Pro – Our most comprehensive ColorReader. View precise color measurement results right on the device’s LED screen, get paint color matches for top paint brands, as well as Delta E, CIE Lab, RGB, Hex, CMYK, LRV and LCH measurements. Also displays RAL® standards. Includes an advanced quality control feature that shows pass/fail tolerances, made for rigorous industrial setting standards.

ColorReader – Instantly get accurate paint color matches for top paint brands, as well as Delta E, CIE Lab, RGB, Hex, CMYK, LRV and LCH measurements. Also displays RAL® standards. Browse digital fan decks, create color palettes, then save, label and share colors with your paint store, family and friends, right from your phone. Order Samplize peel-&-stick re-positionable paint samples from the convenient ColorReader app.

ColorReader EZ – Capture color inspiration wherever you find it. Get accurate color matches to the top paint brands, Savage Universal backgrounds as well as CIE Lab, RGB and Hex color values. Boost color selection confidence when coordinating colors, during photo shoots and DIY projects. Explore full room color palette options for additional inspiration.

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Shooting Shadows & Silhouettes

Chris Lee — Fri, 15 Nov 2024 13:12:48 +0000

Autumn’s waning light may leave you wondering what’s lurking in the shadows or if that silhouetted figure is something you should be hiding from, but when it comes to your photos, shadows and silhouettes shouldn’t scare you!

Let’s define the terms – in photography, shadows help create texture and add depth and balance to a subject or scene. The edges of a shadow can be sharp or soft, and the opacity of a shadow can range from almost transparent to virtually opaque.

Silhouettes are the solid shape of a person, object or scene, with crisp edges outlined by the dramatic contrast of light and dark that match the shape of subject. You can also create partial silhouettes, where one side of the subject is illuminated while the other is in darkness.

Shadows and silhouettes are a wonderful way to add mystery and mood to your images, as well as make intriguing subjects on their own. Here are some expert tips on how to shoot them and get the results you’re looking for:

Choosing Your Subject

There’s no limit to your subject matter, but a few things are helpful to keep in mind. When shooting silhouettes, consider the outline and shape of your subject. Is it easily identifiable?
Think about the white space between your subject and other elements to ensure a crisp outline that’s recognizable. This is especially important when shooting people together. You need enough space between them, so their silhouettes are distinct.
Consider shooting a side view to portray facial features otherwise lost in a front-facing deeply shadowed or silhouetted capture.

Composition

As they say, every picture tells a story, including ones of shadows and silhouettes. Determine what you want to say with your photo, then decide on the feeling or mood you want to convey, whether it’s something dramatic, mysterious, sharp or soft.
The basic elements of good photo composition still apply – an appealing balance of space and detail that avoids visual clutter, a good use of negative space, the positioning of the subject (which may be the shadow or silhouette), the light angle and its intensity, and the line, shape, tone and visual weight of each element in the frame.
Consider using shadows as a visual frame for your composition, too.

Light

Obviously, when it comes to shadows and silhouettes, light plays a pretty prominent role. What may be considered “harsh” light for a typical photo can net amazing results for shadows.
The size of your light source, the angle of your light source, the proximity of your subject to the light source and the color temperature of your light source all affect the look and quality of your shadows.
Bright light directly behind a subject will result in a crisp silhouette.
The larger and further away a light source is from a subject, the softer the shadow.
Warm light will cast a cool shadow while cool/artificial light will cast a warm shadow.
You can create and define shadows by the direction you angle your light source.
Right before sunrise or sunset is a great time to shoot silhouettes outdoors, when your subject can be easily backlit and clearly contrasted against the sky. Position your subject directly in front of the brightest area of light.
Shooting during sunrise or sunset allows you to take advantage of the sun’s low angle for long, dramatic shadows. For sharper shadows, plan outdoor shoots a few hours before or after 12 noon.
Placing your subject closer to the light and lowering your ISO lets you properly expose your subject while deepening shadows.
Elements with repetitive patterns like fences or grids can add to your shadow composition, so keep an eye out for them.

Camera Settings

Shoot in manual mode when you can and keep your ISO low, so your camera doesn’t lift darker areas. This will keep your shadows rich.
Focus your subject first, then meter to the background light, not your subject. Always opt for underexposure by selecting a faster shutter speed to enhance contrast and preserve details.
Shooting in RAW will allow for easier editing of underexposed images in post.
A fixed lowlight lens such as a 50mm f/1.2 or a 35mm f/1.4 will help capture light that’s barely perceptible to your eye.
If you want shadows to be your focal point, it can help to shoot in black and white to simplify your composition and highlight tonal range.
A tripod helps prevent camera shake when working in low light and a circular polarizer lens filter can help create more background depth, contrast and saturation.
Use an aperture of f/8 or narrower when photographing directly into a light source, like a sunrise or sunset, to minimize chromatic aberration, or the blooming of color along the edge of elements within the frame.

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Olympic Shot: Q & A With Olympic Photographer Jeff Cable

Carsten Tschach — Tue, 17 Sep 2024 07:53:45 +0000

Professional photographer and Datacolor Friends with Vision contributor Jeff Cable photographs personal and corporate clients in addition to leading photo tours here in the U.S. and around the world. However, he is perhaps best known for capturing photos for the US Olympic Committee, having photographed the last eight Olympic games, in Beijing, Vancouver, London, Sochi, Rio de Janeiro, PyeongChang, Tokyo and, most recently, Paris. Here, Jeff shares some of his experiences and incredible photos from the 2024 Olympic games in Paris.

As an experienced photographer for the Olympics, did you have any expectations prior to your arrival in Paris? If so, what were they? If not, why not?

I always have expectations before every Olympics. There is a lot of stress leading up to the Games because I know that I will have to figure out the transportation and logistics for a brand new region and this happens every two years. I had high expectations for the Opening Ceremony and those feel far short of what I had hoped for. But I also had high expectations for the venues in Paris and they met those expectations very well.

Walk us through your process of taking a photo at the Olympics. Do you approach every sport with the same photographic goals? If not, what are the differences? (starts, finishes, venues, etc.).

My goal at every Olympics is to take photos that go beyond the standard image. I want to create photos that are creative and different from what the other photographers are capturing. Every sport is different, and I do my best to find the uniqueness of each sport and find a way to capture that in a different way, whether it be a motion capture, a wide angle shot or something else.

What are your go-to’s in terms of cameras, lenses, settings, tools, accessories, etc.?

I spent most of the time using the Canon R1 camera and the new RF 100-300mm lens. This combination proved invaluable at these Games. I don’t have a go-to for settings since each sport is so different.

How much influence do the photographers at the Olympics have with the Photo Manager in terms of where you can shoot, lighting issues, etc.?

We have almost no influence over the photo positions or just about anything else at the Olympics. It is very locked down, both from a security perspective and the fact that everything is geared for TV and they don’t want us getting in the way.

What do you look for during the actual competition?

I look for that peak of action when athlete is doing something really spectacular AND I also look for when they are in the best position for a photo. I like to have the Olympic Rings or logos in the background to tell the story of where I am.

What makes a great shot in your opinion?

There are so many things to come into play to create a great photo. As I mentioned before, it could be the athlete doing something amazing, it could be where I am to capture that moment, the choice of lens I happened to be using, the camera settings I am using. I try to plan out my shots as best as possible, but sometimes there is also a bit of luck involved to have it all work out.

What were your top 3 highlights and lowlights of your experience this time at the Olympics?

Let me start with the lowlights. I thought that both the Opening Ceremony and Closing Ceremony were terrible. They were definitely made for television, but as a photographer on site to capture those ceremonies, they were horrible. As for the highlights, I loved capturing Simone Biles in action, being right against the fence to photograph the horses in Versailles, and when the men of USA Water Polo won an unexpected Bronze Medal (and I got to experience that with them – and wear a medal too).

Were you surprised by anything at this year’s games?

I was surprised at how physical the games were this year. Not for the athletes (which is expected) but for us photographers. We had to walk way more than normal and climb endless stairs with all of

Did you have a favorite sport to shoot?

I love capturing all sports at the Olympics, but I definitely had a favorite venue. I loved the beach volleyball venue which was right up against the Eiffel Tower. Amazing!

Has much changed over time as you’ve photographed several Olympics? What takeaways do you have from this Olympics vs. years’ past?

The deadlines have changed so much over the years. Now with social media and faster internet connections, the client wants the images almost immediately.

If you could give a new photographer only one piece of advice for shooting at the Olympics, what would that be?

Be prepared for anything. Photographing the Olympics is a crazy experience where we work very long hours and on very little sleep. Along the journey, we run into countless restrictions, road closures, venue changes, new rules, and you have to be ready for that.

In your blog, you noted you had 15 minutes from the time you took a shot to when you got the images back to the team. Walk us through that process (photo selection, editing, etc.).

It goes something like this:

Run back from the pool deck to the media room
Download images from memory card to my MacBook Pro
Cull through the images in Photo Mechanic (marking my favorites)
Retouch (adjusting exposure, crop) my favorites
Resize the images to 2000 pixels (which the team prefers)
Copy those images to the content manager of the team
Delete all duplicates and out of focus images

Were there any new cameras/lenses/tools that you used at the games that you now want to have in your own collection?

The Canon R1 and Canon R5 Mark II (and these are already on order). The new Canon RF 100-300mm which I now own. The only other product I used that I do not have is the Canon RF 10-20mm lens. That was cool. I need one of those!

You logged a lot of walking miles during your time in Paris. Were you prepared to do that much walking? If you knew then what you know now, would you do anything differently? (lightweight equipment, clothing, etc.)

I knew I would be walking a lot but did not expect all the stairs. I walk between 7-10 miles every day at home, so I am prepared for this.

Is there a shot you feel captured the spirit of the games this year? Or a favorite shot(s)?

Definitely the sunset shot from the beach volleyball venue. It shows Paris at its finest.

Was there a shot you feel you might have missed?

Too many to mention! I never once made it to the USA men’s basketball (due to conflicts with other commitments) and that still bugs me.

Final comments about your time shooting the Olympics in Paris?

Like every Olympics, it was exhausting but fun. The pace is crazy but having the chance to experience my 8th Olympics is still unbelievable to me. I came away with some really nice photos and I got to share my experience with the world. With more than 700,000 readers on my blog, it was fun to give them the behind-the-scenes of this worldwide event.

About the author – Jeff Cable

Fine Art Gallery:	https://fineart.jeffcable.com/
Blog:	https://blog.jeffcable.com/
Facebook:	https://www.facebook.com/jeffcablephoto
Instagram:	https://www.instagram.com/jeffcablephotography/
Check out my videos at:	https://www.youtube.com/c/jeffcable
Check out my gear of choice at:	https://www.jeffcable.com/mygear
Check out my photo tours at:	https://www.jeffcable.com/phototours

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