date:20160430

Re: PESO - Lacewing

2016-04-30 Thread Christine Aguila

Wow!  And I agree with Cotty!I want to say you caught a great 
expression—because I feel like there is expression there—but I have absolutely 
no idea what bug expression looks like :-).

Great work!  Cheers, Christine 

 
> On Apr 30, 2016, at 3:15 PM, Jostein  wrote:
> 
> Here's my first stacked bug. Not a live one, though.
> http://www.alunfoto.no/innhold/lacewing/
> 
> Comments and ideas for improvement most appreciated.
> 
> Jostein
> 
> 
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Re: PESO Spring Finery

2016-04-30 Thread Christine Aguila

That’s pretty!  The yellow wonderfully pops, and the detail in the feathers is 
amazing.  Nice work, Paul!

Cheers, Christine 


> On Apr 30, 2016, at 4:18 PM, Paul Stenquist  wrote:
> 
> My goldfinches are now wearing their spring and summer colors. DFA 150-450 
> plus DA 1.4X converter,  nice chair, and a few fingers of scotch.
> 
> http://photo.net/photodb/photo?photo_id=18226037=lg
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Re: PESO and an experiment - Spring Walk

2016-04-30 Thread Christine Aguila

Hi Rick:

They look really similar. Hard to tell a difference.  I’m using a Macbook Pro 
with Retina screen.

Cheers, Christine 


> On Apr 30, 2016, at 1:44 PM, Rick Womer  wrote:
> 
> Two exports of the same photo, one in sRGB and the other in Adobe RGB.
> 
> Please let me know:
> 
> Do they look different?
> 
> If so, which looks better?
> 
> What kind of monitor are you using?
> 
> The PESO:
> 
> http://photo.net/photodb/photo?photo_id=18225953=lg
> 
> http://photo.net/photodb/photo?photo_id=18225952=lg
> 
> Cheers,
> 
> Rick
> 
> 
> 
> 
> 
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Re: * SPAM *PESO - The Encounter

2016-04-30 Thread Alan C


Thug school?

Alan C

-Original Message- 
From: Marco Alpert

Sent: Sunday, May 01, 2016 12:12 AM
To: Pentax-Discuss Mail List
Subject: *** SPAM ***PESO - The Encounter

http://www.alpert.com/marco/photo16/peso4.html

Comments, as always, welcomed.

-Marco

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Re: * SPAM *PESO Spring Finery

2016-04-30 Thread Alan C


A male, I presume? He is a handsome fellow & very well caught too.

Alan C

-Original Message- 
From: Paul Stenquist

Sent: Saturday, April 30, 2016 11:18 PM
To: Pentax-Discuss Mail List
Subject: *** SPAM ***PESO Spring Finery

My goldfinches are now wearing their spring and summer colors. DFA 150-450 
plus DA 1.4X converter,  nice chair, and a few fingers of scotch.


http://photo.net/photodb/photo?photo_id=18226037=lg
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Re: * SPAM *PESO - Lacewing

2016-04-30 Thread Alan C


I do believe you've got it. Mark C will be thrilled.

Alan C

-Original Message- 
From: Jostein

Sent: Saturday, April 30, 2016 10:15 PM
To: Pentax-Discuss Mail List
Subject: *** SPAM ***PESO - Lacewing

Here's my first stacked bug. Not a live one, though.
http://www.alunfoto.no/innhold/lacewing/

Comments and ideas for improvement most appreciated.

Jostein


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Re: * SPAM *Re: PESO and an experiment - Spring Walk

2016-04-30 Thread Alan C

No difference. Acer Travelmate.

Alan C

-Original Message- 
From: Mark Roberts

Sent: Saturday, April 30, 2016 9:45 PM
To: Pentax-Discuss Mail List
Subject: *** SPAM ***Re: PESO and an experiment - Spring Walk

Rick Womer wrote:

Two exports of the same photo, one in sRGB and the other in Adobe RGB.

Please let me know:

Do they look different?

If so, which looks better?

What kind of monitor are you using?

The PESO:

http://photo.net/photodb/photo?photo_id=18225953=lg

http://photo.net/photodb/photo?photo_id=18225952=lg

Absolutely identical.

I'm using an HP 24" IPS monitor,profiled with a Spyder II, on a fully
color-manages system (including browser), so if you've embedded the
correct ICC profiles in each image they should look identical. And
they do :-)

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Re: May PUG - Last Call

2016-04-30 Thread Darren Addy

Thanks for the reminder Brian, I've submitted.

As I type this it is early afternoon on Sunday in Oz, so you only have
about 6 hours to submit to this month's PUG.
"Golden Hour" is a theme that nearly everyone should have SOMETHING
for. Let's see another great gallery!



On Sat, Apr 30, 2016 at 7:15 AM, Brian Walters  wrote:
> G'day all
>
> I'll be closing submissions on Sunday evening (Sydney time).
>
> Theme: Golden Hour
>
> As usual submit here:
>
> http://pug.komkon.org/submit/
>
> Full Submission Guidelines here:
>
> http://pug.komkon.org/general/autosubmit.html
>
>
> Cheers
>
> Brian
>
> ++
> Brian Walters
> Western Sydney Australia
> http://lyons-ryan.org/southernlight/
>
>
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Re: PESO Spring Finery

2016-04-30 Thread Daniel J. Matyola

Very Nice!
Dan Matyola
http://www.pentaxphotogallery.com/danieljmatyola


On Sat, Apr 30, 2016 at 5:18 PM, Paul Stenquist  wrote:
> My goldfinches are now wearing their spring and summer colors. DFA 150-450 
> plus DA 1.4X converter,  nice chair, and a few fingers of scotch.
>
> http://photo.net/photodb/photo?photo_id=18226037=lg
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Re: OT: Monitor Specs

2016-04-30 Thread Paul Stenquist

You can print from Prophoto on the Epson. It likes it. Just make sure you 
indicate that in the print directions.

Paul via phone

> On Apr 30, 2016, at 9:43 PM, Mark C  wrote:
> 
> Again - many thanks, Godfrey.
> 
> Your explanations really help me understand how this works. I reviewed my 
> color settings in Photoshop and also reviewed workflow and made some changes 
> so ProPhoto RGB will be my standard RGB work space. I'm already converting  
> files to sRGB when outputting for screen displays. I'll do a similar 
> conversion to Adobe RGB when outputting for printing.
> 
> I think my digital image color management is improved, now I have to sort out 
> my scanning workflow...
> 
> If you don't mind one more question - what would be the recommended default 
> profile for 16 bit gray scale images? I shoot mostly B film and scan with a 
> Nikon LS8000, using either Nikon Scan or Vuescan.  Adobe defaults to "Dot 
> Gain 20%" for grayscale files.  The LS 8000 with NIkonscan v4.0.3 embeds a 
> profile called "Nikon Gray2.2 v4.0.0.3".  What is the optimal profile for 
> working in gray scale? (Or is it better to not work in grayscale and work in 
> RGB, even for mono images?)
> 
> Thanks
> 
> Mark
> 
> On 4/28/2016 9:04 PM, Godfrey DiGiorgi wrote:
>>> On Apr 28, 2016, at 4:19 PM, Mark C  wrote:
>>> 
>>> - Its not much of a hassle to work in Adobe RGB. Just convert to SRGB 
>>> before saving for screen devices. …
>> It's not a 'hassle' to work with Adobe RGB. Any editing is a lossy process, 
>> with Adobe RGB you lose less than you lose with sRGB, with ProPhoto RGB you 
>> lose less than with either. It only makes sense to do your *editing* in the 
>> greatest bit depth and largest color space you can use, and 
>> convert/downscale color space and bit depth for output products.
>> 
>>> - When it comes to printing - I may be wrong on this but I don't think that 
>>> the Epson printer I use is either an sRGB or Adobe RGB device. Basically 
>>> there is a native color space for each type of paper and a corresponding 
>>> color profile.  … The color space isn't sRGB or Adobe RGB, it's "Premium 
>>> Glossy" or "Enhanced Matte" or whatever... The color spaces for the 
>>> different types of papers can be fairly constrained (in the case of matte 
>>> papers particularly) or broad. It makes sense to use a wider gamut like 
>>> Adobe RGB in source files for printing and let the print process convert 
>>> colors that are outside the destination gamut if needed. Epson i s 
>>> continually increasing the gamut of their inks and papers, so it seems best 
>>> to preserve as much color info in the source file as possible, in case you 
>>> want to print it in the future.
>> Printers don't have a color space per se. They have gamut (the range of 
>> colors they can produce) and Dmax (the maximum density they can produce). 
>> Both of those are the combined characteristics of the printer's mechanisms, 
>> ink, and paper used. An output calibration profile maps the colors 
>> represented on screen in your image into the printer/ink/paper's Dmax and 
>> gamut.
>> 
>> Most higher-end printers these days do a pretty good job of covering the 
>> standard sRGB colorspace. Adobe RGB, as I mentioned in another post, was 
>> designed to emulate (or encompass, probably a more precise word in this 
>> context) the gamut and density of a late 1990s CMYK web press, which is both 
>> slightly larger in gamut and differently weighted from an RGB display.
>> 
>>> - Printing via services - for low end services (drug stores, big box 
>>> stores) converting to srgb makes sense. Its a safe harbor - sRGB is the 
>>> least common denominator so odds are any printer can handle it. If you are 
>>> paying any kind of premium or working with a lab that holds itself out as 
>>> having any kind of professional status, they should be using a color 
>>> managed process and should be able to work with the profile embedded in 
>>> your image.
>> Consumer print services generally presume sRGB or untagged images, so you're 
>> safe with that.
>> 
>> Good print services (high-end, pro, whatever) provide instructions and/or 
>> output profiles to optimize your image files for their printing process. Or 
>> they'll tell you whether they want 8- or 16-bit, and sRGB or Adobe RGB to 
>> print from.
>> 
>>> From what I've been able to tell, monitors work within their native color 
>>> space, which may or may not correspond to sRGB or AdobeRGB or whatever. So 
>>> a monitor that is 78% of sRGB is just that - its native color space 
>>> coincides with 78% of the sRGB space. Some monitors can emulate certain 
>>> standard color spaces. I think this is what Igor was referring to when he 
>>> mentioned that some software assumes that the monitor is sRGB and can 
>>> produce off results when a wide gamut montior is actually used. But the 
>>> color space used by the monitor is not necessary a standard space, hence 
>>> the

Re: OT: Monitor Specs

2016-04-30 Thread Mark C

Again - many thanks, Godfrey.

Your explanations really help me understand how this works. I reviewed
my color settings in Photoshop and also reviewed workflow and made some
changes so ProPhoto RGB will be my standard RGB work space. I'm already
converting files to sRGB when outputting for screen displays. I'll do a
similar conversion to Adobe RGB when outputting for printing.

I think my digital image color management is improved, now I have to
sort out my scanning workflow...

If you don't mind one more question - what would be the recommended
default profile for 16 bit gray scale images? I shoot mostly B film
and scan with a Nikon LS8000, using either Nikon Scan or Vuescan. Adobe
defaults to "Dot Gain 20%" for grayscale files. The LS 8000 with
NIkonscan v4.0.3 embeds a profile called "Nikon Gray2.2 v4.0.0.3".
What is the optimal profile for working in gray scale? (Or is it better
to not work in grayscale and work in RGB, even for mono images?)

Thanks

Mark

On 4/28/2016 9:04 PM, Godfrey DiGiorgi wrote:

On Apr 28, 2016, at 4:19 PM, Mark C wrote:

- Its not much of a hassle to work in Adobe RGB. Just convert to SRGB before
saving for screen devices. …

It's not a 'hassle' to work with Adobe RGB. Any editing is a lossy process,
with Adobe RGB you lose less than you lose with sRGB, with ProPhoto RGB you
lose less than with either. It only makes sense to do your *editing* in the
greatest bit depth and largest color space you can use, and convert/downscale
color space and bit depth for output products.

- When it comes to printing - I may be wrong on this but I don't think that the Epson printer I use
is either an sRGB or Adobe RGB device. Basically there is a native color space for each type of
paper and a corresponding color profile. … The color space isn't sRGB or Adobe RGB, it's
"Premium Glossy" or "Enhanced Matte" or whatever... The color spaces for the
different types of papers can be fairly constrained (in the case of matte papers particularly) or
broad. It makes sense to use a wider gamut like Adobe RGB in source files for printing and let the
print process convert colors that are outside the destination gamut if needed. Epson i s
continually increasing the gamut of their inks and papers, so it seems best to preserve as much
color info in the source file as possible, in case you want to print it in the future.

Printers don't have a color space per se. They have gamut (the range of colors
they can produce) and Dmax (the maximum density they can produce). Both of
those are the combined characteristics of the printer's mechanisms, ink, and
paper used. An output calibration profile maps the colors represented on screen
in your image into the printer/ink/paper's Dmax and gamut.

Most higher-end printers these days do a pretty good job of covering the
standard sRGB colorspace. Adobe RGB, as I mentioned in another post, was
designed to emulate (or encompass, probably a more precise word in this
context) the gamut and density of a late 1990s CMYK web press, which is both
slightly larger in gamut and differently weighted from an RGB display.

- Printing via services - for low end services (drug stores, big box stores)
converting to srgb makes sense. Its a safe harbor - sRGB is the least common
denominator so odds are any printer can handle it. If you are paying any kind
of premium or working with a lab that holds itself out as having any kind of
professional status, they should be using a color managed process and should be
able to work with the profile embedded in your image.

Consumer print services generally presume sRGB or untagged images, so you're
safe with that.

Good print services (high-end, pro, whatever) provide instructions and/or
output profiles to optimize your image files for their printing process. Or
they'll tell you whether they want 8- or 16-bit, and sRGB or Adobe RGB to print
from.

From what I've been able to tell, monitors work within their native color
space, which may or may not correspond to sRGB or AdobeRGB or whatever. So a
monitor that is 78% of sRGB is just that - its native color space coincides
with 78% of the sRGB space. Some monitors can emulate certain standard color
spaces. I think this is what Igor was referring to when he mentioned that some
software assumes that the monitor is sRGB and can produce off results when a
wide gamut montior is actually used. But the color space used by the monitor is
not necessary a standard space, hence the need to use the manufacture's
profile, or calibrate with a colorimeter.

As I said earlier, sRGB color space was designed to *model* the native
characteristics of a high quality CRT. Obviously, not all displays are 100%
sRGB calibrated (or capable) as delivered. All displays, standard and wide
gamut included, benefit from calibration and profiling for the purposes of
being a reference display for editing. A good display profile is most

Re: PESO and an experiment - Spring Walk

2016-04-30 Thread Mark Roberts

Rick Womer wrote:

>Interesting. I suspect that photo.net may convert to sRGB.

Nope. I just downloaded the first one and opened it in Photoshop. It's
Adobe RGB 1998.

I don't think there are any wildly saturated colors in that image that
are likely to be outside the sRGB color space, so for those using a
properly managed workflow the two images *should* look identical.

>>> http://photo.net/photodb/photo?photo_id=18225953=lg
>>> 
>>> http://photo.net/photodb/photo?photo_id=18225952=lg

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Re: PESO and an experiment - Spring Walk

2016-04-30 Thread Rick Womer

Interesting. I suspect that photo.net may convert to sRGB.

I'm going to have to experiment with a few other pix at some point.

Feel free to comment on the pic itself!

Rick

On Apr 30, 2016, at 8:01 PM, Paul wrote:

> They look the same to me.
> 
> Firefox
> ASUS PA249Q ips monitor
> Calibrated with a Spyder 4 to AdobeRGB
> 
> -p
> 
> On 4/30/2016 1:44 PM, Rick Womer wrote:
>> Two exports of the same photo, one in sRGB and the other in Adobe RGB.
>> 
>> Please let me know:
>> 
>> Do they look different?
>> 
>> If so, which looks better?
>> 
>> What kind of monitor are you using?
>> 
>> The PESO:
>> 
>> http://photo.net/photodb/photo?photo_id=18225953=lg
>> 
>> http://photo.net/photodb/photo?photo_id=18225952=lg
>> 
>> Cheers,
>> 
>> Rick
>> 
>> 
>> 
>> 
>> 
> 
> -- 
> Being old doesn't seem so old now that I'm old.
> 
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http://photo.net/photos/RickW



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Re: PESO and an experiment - Spring Walk

2016-04-30 Thread Paul


They look the same to me.

Firefox
ASUS PA249Q ips monitor
Calibrated with a Spyder 4 to AdobeRGB

-p

On 4/30/2016 1:44 PM, Rick Womer wrote:

Two exports of the same photo, one in sRGB and the other in Adobe RGB.

Please let me know:

Do they look different?

If so, which looks better?

What kind of monitor are you using?

The PESO:

http://photo.net/photodb/photo?photo_id=18225953=lg

http://photo.net/photodb/photo?photo_id=18225952=lg

Cheers,

Rick







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Re: PESO - Lacewing

2016-04-30 Thread Mark C

Excellent work, Jostein - the detail is very good. The lighting is very 
dramatic but I'd like like to see a more detail in the shadows - the 
eyes in particular. Out of curiosity - what stacking software are you using?


Mark

On 4/30/2016 4:15 PM, Jostein wrote:

Here's my first stacked bug. Not a live one, though.
http://www.alunfoto.no/innhold/lacewing/

Comments and ideas for improvement most appreciated.

Jostein





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Re: PESO and an experiment - Spring Walk

2016-04-30 Thread Jack Davis

Identical as well in Firefox on 
a Dell S2240M monitor.

J

Sent from my iPhone

> On Apr 30, 2016, at 3:42 PM, ann sanfedele  wrote:
> 
> They look identical to me  in Firefox...
> 
> my monitor is an HP w2072a and connected with a VGA cable to the computer
> 
> ann
> 
>> On 4/30/2016 2:44 PM, Rick Womer wrote:
>> Two exports of the same photo, one in sRGB and the other in Adobe RGB.
>> 
>> Please let me know:
>> 
>> Do they look different?
>> 
>> If so, which looks better?
>> 
>> What kind of monitor are you using?
>> 
>> The PESO:
>> 
>> http://photo.net/photodb/photo?photo_id=18225953=lg
>> 
>> http://photo.net/photodb/photo?photo_id=18225952=lg
>> 
>> Cheers,
>> 
>> Rick
>> 
>> 
>> 
>> 
>> 
> 
> 
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Re: OOF rendering in focus stacks

2016-04-30 Thread Mark C


Collin -

I'm not familiar with the lenses you reference or implications for lens 
design, but the sudden transition from in focus to out of focus that you 
get when focus stacking can be used to manipulate the bokeh. For 
example, I did not need ot stack this shot but did to put the background 
of out of focus, and only stacked the images needed to get the dragonfly 
in focus:


http://www.markcassino.com/b2evolution/media/blogs/calarti/2014/IMGP1396-1409_L.jpg

The abrupt transition is obvious in the blade of grass just to the left 
of the dragonfly's abdomen, near the bottom of the image. With some 
selective layering or cloning from one image to another that could have 
been easily addressed.


A couple other samples and comments about the images and stacking 
technique are here:


http://www.markcassino.com/b2evolution/index.php/stack-focused-dragonflies

Mark

On 4/29/2016 7:50 AM, Collin B wrote:

This has me curious. Can we use this technology to emulate a variety of lens
designs?
Take, for instance the old Pentax-A 70-210/4 vs the Takumar-A 70-200.  The
Tak-A has a much shorter transition from in-focus to out-of-focus.
Might one also use stacking with a mirror lens to eliminate the doughnut
bokeh?
Perhaps through stacking someone might emulate the unique character of a
Petzval or a Protar. They certainly can't be done in a single layer.
Will be interesting to see what the future holds.  An engineer might use
such technology with appropriate (mathematical) filters to predict lens
design behavior without ever building it. Like an optical add-in for catia.

Collin






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Re: PESO and an experiment - Spring Walk

2016-04-30 Thread ann sanfedele


They look identical to me  in Firefox...

my monitor is an HP w2072a and connected with a VGA cable to the computer

ann

On 4/30/2016 2:44 PM, Rick Womer wrote:

Two exports of the same photo, one in sRGB and the other in Adobe RGB.

Please let me know:

Do they look different?

If so, which looks better?

What kind of monitor are you using?

The PESO:

http://photo.net/photodb/photo?photo_id=18225953=lg

http://photo.net/photodb/photo?photo_id=18225952=lg

Cheers,

Rick








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Re: PESO Spring Finery

2016-04-30 Thread Jack Davis


Very nice indeed, Paul!
Our gold finches and house finches are all over the fence and a couple feeders.
Have shot them so many times in the past I'll possibly not get into
them much this season.
Sides, this is tough competition. :)

J

- Original Message -
From: "Paul Stenquist" 
To: "Pentax-Discuss Mail List" 
Sent: Saturday, April 30, 2016 2:18:21 PM
Subject: PESO Spring Finery

My goldfinches are now wearing their spring and summer colors. DFA 150-450 plus 
DA 1.4X converter,  nice chair, and a few fingers of scotch.

http://photo.net/photodb/photo?photo_id=18226037=lg
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Re: PESO - Lacewing

2016-04-30 Thread ann sanfedele


Can't argue with Cotty!

ann


On 4/30/2016 4:45 PM, Steve Cottrell wrote:

On 30/4/16, Jostein, discombobulated, unleashed:


Here's my first stacked bug. Not a live one, though.
http://www.alunfoto.no/innhold/lacewing/

Comments and ideas for improvement most appreciated.

I don't see how you can improve it - it's one of the most interesting
insect photographs I've ever seen.

Totally amazed! That's Nat Geo cover material buddy.

Sheesh




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Re: PESO - The Encounter

2016-04-30 Thread ann sanfedele


mezmerizing

ann


On 4/30/2016 6:12 PM, Marco Alpert wrote:

http://www.alpert.com/marco/photo16/peso4.html

Comments, as always, welcomed.

-Marco

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