I still use graphics CRT's for their very close display to print match, but I only have one left and they are becoming increasingly difficult to find new.

I am also always looking to make tweaks to my my systems.  I think that all those little things that don't make much of a difference alone, will make a cumulative difference when they add up.  So, my newest addition was the SyncMaster, recommended to us by B&H but I am unfamiliar with LCD's.

I have an Eye1 Display2, and a ColorMunki.  I have used the advanced set-up and our IT consultant also comes up with the same set-up, but it seems like the Samsung is still too bright.

Unfortunately, I have not found Samsung to be able to provide a solution in the way of support, but maybe I have not found the right place to look.  Does anyone else have any experience with this, and any suggestions on setting up this monitor?

Thanks,
Eljae 

Sorry to hear that, I would hate to see an expensive piece of equipment like that go to waste.  Maybe Epson support could help you find a solution to the problem.  Even if you have decided to use another brand, at least you might be able to recoup' some of the cost if you could sell it as a working R1800.

And then there is my other task, printing high quality 4x6 and 5x7 proofs.  I am very interested in optimizing my RAW exposures to use the Qimage printing from the NEF feature.  I have only read the Guide authored by T J Mann, I haven't tried it yet, but that is for another topic.  The relation however is getting that optimal exposure for the RAW file with only a jpeg histogram to guide you.

I'm stating optimal exposure because currently I only use the histogram as a guide.  Sort of like, do I have nice thick parts that are rich in information in the areas I need it; like the mid ranges where the skin tones are, or exposed a little to the right in a low light situation.

As you all know by now, I am not technically advanced on why something does what it does, but I'm ok with the practical applications and getting the final image look that I need.  I have been reading some crazy advanced stuff lately, I do not fully understand it, but what I got out of it was interesting if I interpreted it correctly.

It appeared to suggest that by using the RGB histogram display and manipulating the camera program so the LCD would have the green channel the hottest, the RAW file would contain the most dynamic amount of information and represent a more true RAW histogram.  

Anyway, I know there are many of you that are technically advanced, so I would like to post this link and see what you all think of it.
http://www.malch.com/nikon/UniWB.html

I know, and the changing conditions I work in make it difficult to predict what the optimal RAW exposure is.  My other issue is low light and no flash under mixed lighting, it is always a struggle.

I am, but I am unsure if I could extract it for my use, as well as what post processing settings the camera applies.  I use the jpeg small format because it loads fast and has been post processed to my specifications by my in camera settings. I use them to create a high quality slide show for my clients in a very limited amount of time, like maybe within 15 minutes at most.  Do you think SE can do this?

No, I am a new SE user, but I would like very much to.  Do you have any hints for me on getting started in that direction?

Thanks Terry,

Eljae

This one is an older Digital Outback Photo article (that also talks about Qimage).

http://www.outbackphoto.com/workshop/NEF_conversion/nefconversion.html

I am hoping that there are some Nikon users here that wouldn't mind talking about the RAW performance of their camera.

An issue I have: I shoot RAW+Jpeg small.  I have several options for the camera LCD histogram display, but using Capture NX2 to import my CF cards reveals that the histogram appears to match the jpeg image but not the RAW file.  This can be misleading, and will lead into more post processing time. I only use the jpegs for a quick display, and then I toss them. Has anyone else noticed this?

My time consuming work around is to import the NEFs with Lightroom>crop>adjust white balance>adjust exposure>add contrast.  Then import the adjusted files into NX2 and apply a "Picture Control" and then save as TIFFs.

Over the next few weeks I'll shoot about 10,000 frames.  Any suggestions on how to speed this up?

Hi jbhaber,

May I ask you about your printer?  I am curious about your R1800 because I've owned two of them for a couple of years now without any issues.  Do you use them regularly and do you use epson inks?

Thanks,

Eljae

No problem, thanks Seth.

I have also made an inquiry with Verbatim, I'll post their answer too as soon as I get a response.

UPDATE:

Verbatim actually called me and we had a short converstaion, I took notes...and here is their response:  Taiyo Yuden does not manufacture the Verbatim brand, they are manufactured using their own high quality process.

They use the highest standards for all of their products, but some of their products cost more because they are used for mass production and require a more expensive process.  These are designed to meet the needs of software developers and producers, and are used to make master discs that will be used to produce a high volume of duplicates.  It is not necessary to use these products for photography archiving.

All of their products have a 100 year Archiving Life.

well, basically, that is all I could get from them.

UPDATE #2
After a little browsing around, I found this...but it contradicts what the Verbatim Rep told me: (from http://en.wikipedia.org/wiki/Verbatim_Corporation)


Those products are partly produced in Verbatim/Mitsubishi's own plants in Singapore and Japan, and partly under license by Taiwanese and Indian manufacturers.

Verbatim also resells relabeled products from Japanese, Taiwanese, Mainland Chinese, Malaysian and Indian factories (Pearl White DVD series in Europe, some CD-R not labeled Super Azo), including but not limited to products by Taiyo Yuden, Ritek Corporation, CMC Magnetics, Prodisc, Moser Baer, Daxon/BenQ.

I made an inquiry directly to Taiyo Yuden regarding their media because this is such an important issue to me.  Here is their reply:

"Thank you for contacting us.

Currently our discs are all made in Japan though they are sometimes packaged in China. If you see ‘made in Taiwan’, they are not our media. We have a different grade for Valueline brand and other area.

Best regards,
JVC Advanced Media U.S.A. Inc.
TAIYO YUDEN (U.S.A.) INC.
Chicago (Sales Headquarters & Midwest Regional Sales) Office"

If you want a look, here is a link to this particular "different grade" (low end ) product they mentioned:
http://www.ioproducts.com/tayuvalidvme.html

Thanks for the great article Mike!


...and this is why I ordered Qimage this afternoon, as well as the great group on your forum.

Lj

Yes, Terry, thank you for pointing that out...it is just a contrast adjustment.  But the gaussian blurr is different, it appears to actually blur the image, and by masking the subject and applying a gradient blurr from the top towards the bottom of the picture it can mimic bokeh.  But still it is not as nice as the real thing, and overdoing it looks more like a soft filter.  Still, I find it useful when needed to increase the bokeh that is already present, and smooth out skin too.

You are most welcome Terry, and thank you Fred, Jeff, and Seth for your posts.

Sorry Terry, I can see that you are very advanced in the technical side, so I won't even try to explain the relationship of the anti-aliasing filter to the image.  I am not as technical as I wish I were.

I am not sure of those technical aspects as to how selective sharpening works in Photoshop, it just does.  When these Photoshop techniques are applied the photos appear significantly sharper in the areas areas we want them to be, and smoother in the areas that we choose.  Maybe the eye is just tricked, but the final print is better, and a more pleasing appearence of the photo is our objective.

There is no doubt that I can learn much from everyone here, thank you all for your posts.

Wish I could be more helpful.  

They are designed for this use.  That said, you do need to use care with it, like don't jam the nozzle into your gear. The velocity is not as high as most canned air, but its fast, compact and convenient. 

Again, I only use it on outside surfaces, but I suppose its not for everyone.  It runs out quick too.

Yup, PhotoRecovery is pretty good software suggestion Seth.  Not all recovery software is the same, as I'm told by our IT guy.

Just a thought, and maybe I'm too cautious, but different situations could place different limitations on recovery. Sometimes all the files won't come back perfect making it tough to take never fails to the bank.  Its always up to the user, but maybe an ounce of prevention isn't too bad way to go.

I am not sure if I am a good guy or a bad guy...global warming, manufacturer production process...

I use this:  btw, I have no commercial interest in this site and only post it for reference, and I don't clean my sensors, only the glass and around the camera body before changing lenses.  

http://www.bhphotovideo.com/c/product/534197-REG/American_Recorder_CO_51100_CO_2_Dust_and_Particle.html

Good sense of humor Fred, p.s. I do carry 3 cameras on the job (2 on me and 1 as my backup), but I rarely change lenses on the job, except when I am in my oil field  .