SURVIVE the Future of Imaging
by Gary Regester, edit 2003.02.02
See now the shrinking pro photographic marketplace. It's not even called "photography" anymore. Now, it's "imaging". Technology has simplified the former effort and expertise. The "priesthood" no longer controls the networks, the ad agencies, or publishing. Advertising, "print" photography and television is now in the hands of former "amateurs" - the secretary and the janitor - the "everyman" is the new imageman. Pro "imaging", what remains, is moving towards continuous light (sorry, flash is dead!) and tool of the future is the simple, inexpensive DV or MPEG cameras for motion webcasting. Dare we say: "film is more than dead!! a short 150 years!" and "print advertising is dying". Then there's the new taking and viewing color standard of today's digital imaging work space which is "D65" - say good bye to Kodak's 5500K invention and what is D65? But, cheer up, here's a crash course in survival. You have the "know how", all you lack a little continuous light, some small camera movement and "D65".
a Quick Primer in Continuous Light- O.K., boys and girls, keep
those pencils sharp. What is the first thing that comes to your mind,
when you think the words, "Continuous lighting?" By chance, is it, "Tungsten
Light"? (aka: quartz halogen, incandescent)? Certainly, tungsten light
was the first and last thought in the "minds" of my competitors, Chimera
and Photoflex. But tungsten light matched with digital imaging is the
worse possible continuous light source - the HOT devil incarnate. (You
will be tested!) Why?
|Now compare CCD sensitivity. Go to Kodak's great
resource on this subject- http://www.kodak.com/go/ccd
and print out any of their PDF files that strike your fancy, but especially
the sensitivity curves of Kodak's so called "extra-blue" CCDs. Look at the
sensitivity curves with and without the IR blocking filters. Which
brings us to-
REASON Two: The invisible HEAT of tungsten distorts CCD imaging. The CCD is 10 times more sensitive to Infrared (aka: heat) than visual light. Tungsten visual spectrum is only 7% of the supplied energy, and the balance of the 93% is anti-imaging infrared (aka: heat) that travels out to the subject with the visual spectrum. Take a look at the IR in tungsten output at:
Carefully compare the Kodak CCD PDFs you downloaded
above for CCD sensitivity with and without the IR blocking filters - heat
is a big problem. IR filters help somewhat, if properly designed, but
IR "cut-off" filters also cut out tungsten's already crippled visual spectrum
in the red.
Cool Continuous 5500K: These are the reasons for the creation of cool fluorescent SCANDLES 5500K DAYLIGHT (meaning equal amounts of Red, Green and Blue), no heat, no UV, fluorescent that works and looks like a studio strobe head, designed by Gary Regester, made by Lowel Lighting Brooklyn, USA. Watt for watt, it is arguable that daylight balanced fluorescent is 8 to 10 times more efficient for digital imaging than tungsten. Alternatively, check out our "Trilite" for less money in D65.
The new "Camera Movements": So your client gave you his advertising print work, then his web shots, now he asks if you can shoot a web movie for the website. Enter DV (digital video). Most advertising photographers will not immediately go out and invest in the large DV cameras, but the smallest and cheapest DV or MPEG cameras available. (Remember, the digital camera you bought six years ago for $30,000 that was obsolete one year later.) So for the cheapest $700 DV or even $300 MPEG camera, what can you buy to smooth the motion and add some interest to your webcast- a $1000 Steadicam Junior or the NEW $189 Plume Handi-Cam?? Handi-Cam balances and pivots off its own monopod to create easy pan, tracking and boom shots. Available from 2003 PMA onward.
Environmental lighting- In the last several years, the working environment of imaging (formerly called "photography") has shifted from color judgments made of reflective prints at CIE D50 (5000K) to color judgments made of images viewed on CRT and LCD monitors. Logic follows that the environment (aka: "ambient","base" or "room") lighting standard now shifts from Kodak's somewhat artificial 5500K "Daylight" standard for viewing reflective prints to the new ICC, sRGB (Microsoft, HP), SMPTE-C and NTSC "white point" Daylight Standard of 6500K used by the monitor engineers. Consider Plume's 65K EnviroLight - to illuminate the work space with 6500K light and look good doing it. Switches between 40 watt and 100 Watt level - lumen equivalent to 400 Watts of tungsten. 85 CRI. List price $200.
Reference: from Tony Johnson, ICC's Technical Secretary- ISO 3664 recommends ambient light should be D65 or a lower colour temperature (with the assumption that it will not be below that of D50) and that the monitor white will be set to the chromaticity of D65. It also recommends that the overall level of the ambient light [at the position of the monitor] should not exceed 64 lux. Compare with ISO/DIS 12646 on viewing hard copy under D50.