"HD -- Edge Glow, PS". G1 + Lumix 20mm f/1.7.
It is a very nice inverted image with beautiful colors.
Thanks! I couldn't believe the richness of the colors last night. It was just beautiful to see!
Analog // Digital
Michael - made me 'laugh out loud'. BTW, I've been amazed how well the GF-1 has stood up to raging snow storms this week. I don't let it get ridiculously wet and hide it under my coat but it hasn't given up on me yet.
The G1 and 20/1/7 is an absolutely marvellous combination, and the files are lovely. Here's a snapshot taken this morning, in my lady's boudoir.
É2 seems like a lovely spot for this lens, too. Reminds me of yesteryear...
Original (but resized for here) and actual pixels:
(testing the 'upload via URL option)
Just received the 20/1.7 this weekend!
Shot at 1.7, very sharp, I think.
A quick question to the web gurus here: how do I post images so they appear at the posted size (like jlever's one above) rather than the reduced size of mine (uploaded via the Attachment function here)?
I just went to the resident page of the photo, in flickr, and copied the photo's address. Then I pasted that in the <insert image> knob on the reply field. So it uses the photo from its original source, unchanged. Didn't use the GetDPI upload function at all.
@ Brian and biglouis: A pleasure; like many here, we shoot what's to hand... and I have been using some of the cat images to learn C1 Pro 6. The local adjustment feature is very interesting; I used it here on her face.
My lady, who has no intrinsic interest in photography, liked this one for its OOF characteristics. I think this lens is simply outstanding. Cheers to all, kl
Thanks for that; the light in that room is pinkish (wall colour). I would probably make the WB slightly warmer; yours is accurate, but the resulting image is a bit clinical, for me. Cheers and thanks again, kl
Yes, it’s impossible to know what colours are really like; and there are some funny colour changes running through different areas. I often use the desaturate sponge in Photoshop when faced with odd-colour BGs.
Interesting leftover from my days making duplicate slides and transparencies in the ’70s — my employer stressed that if I was going to have a colour shift, red was the best, followed by yellow; green, magenta, cyan and blue were the worst. Still follow this advice to this day ...
Last edited by mediumcool; 20th December 2010 at 17:16. Reason: forgot green
Um, the dialogue in Capture One is called WHITE BALANCE, and I clicked on the OOF foreground, as stated (brightness around 150 or so). Not white (255).
I do not work for Phase One so there is no point me asking them to change the dialogue name. It should be called something like *Neutral Balance* ...
Leigh, with respect, you are in error. Any white, or grey, object can be used to assess white balance, providing no channels are blown. The terms "white" or "grey" mean, literally, absence of colour. "Absence of colour" means that no channel is dominant; that is, for any given luminance, all channels will show the same numerical values. Mediumcool used an object expected to be white (a sheet) with a luminance value of ~150, so perfectly suited to this purpose.
Put simply, any white/grey object in a scene can be used this way; the processing program simply ascribes equal values to the RGB channels for the selected object, independent of brightness. This ascription assumes that the white or grey object reflects equal amounts of all three channels, and hence is deemed to be neutral. The result is that any colour cast (in the example in question, light reflected from the walls) is eliminated thereby, giving accurate colours—or, at least, a place to start. HTH, kl
Here is another Panasonic 20/1.7 shot from a few days ago, a Portrait of The Artist as [not] a Young Man. My friend was unfamiliar with the camera so shot at 1/200 f5.6 ISO400 ó would have been better f2-ish.
Grey balance was pulled from the *grey* hair on the side of the head!
Location: Austral Hotel, Rundle Street, ADELAIDE (nice burgers and Vale Ale)
White, in the digital sense, means 255/255/255. If the balance is in error, you might have 255/255/250 or some other combination. While it's possible to observe that an error exists, it's not possible to assess the magnitude of the error because you don't know the true value(s) of the saturated channel(s).
If you reduce the channel saturation down to 200/200/200 or any other value(s) below saturation, then an accurate assessment can be made. But the color being evaluated is no longer white, it's gray. This is true even if the original subject is pure white, but under-exposed.
I wish you all af happy newyear.
Panasonic GF-1 and 20 mm.
GF-1 + 20mm
>the painted meters are especially cute!
Yes, and they show they are "Smart Meters" :-)
Wow!!! . . . I have spent an enthralling hour looking through your Pani-20mm shots. We to love this lens in England, but I have to say you do make a superb job of taking pictures with the 20mm lens. Many so simple, almost an air of 'snapshot' . . . but they draw the viewer in to look deeper, bringing a smile to the face The essence to me; "I have that picture in my back yard, I can do that" . . .
I have a G1/14-45mm . . . love it to bits, but there is obviously more, on the hunt for a 20mm, thank you for the inspiration.
CJS . . . UK
Here is a couple of pics I grabbed whilst on a shopping trip last Holiday Monday (we get an extra days national holiday for New Years day is it falls on a weekend). A grey, cloudy day turned into a super late afternoon as the sun went down:
This is the newest and 'tallest' building in the town of Ipswich, Suffolk, England, where I live:
Here are couple of recent ones from an assignment.
GF1 + Lumix 20mm f/1.7.
Nice one Louis.
Damn I miss London sometimes ...
"Motorcycle". G1 + Lumix 20mm f/1.7.
GH2 + Lumix 20mm f/1.7