Copyright Scott Bourne 2010 - All Rights Reserved - Westcott had more going on at the show floor than ever before. They set up four cool studios for attendees to use free of charge and staffed them with props and models. They even hired a kick-butt makeup person to prep the models. This was my favorite model-she worked as hard as anyone at the show!

I’m honored and privileged to be a part of this year’s Photoshop World. I went last year and helped out with blogging the keynote and leading a Tweetup. This year I am part of the conference speaking with Rod Harlan on how photographers can use Twitter.

So far, it’s the usual success. The folks at Kelby Media Group are simply first-rate and first-class in every way. The presenters here are the best in the business. It appears that attendance is up slightly this year from last. That’s a big deal considering the down economy.

Copyright Scott Bourne 2010 - All Rights Reserved - Scott Kelby hosted a meet and greet dinner for the speakers at Maggiano's Little Italy. It's an outstanding place to eat and the photography and Photoshop horsepower in that room was amazing.

The programs are well-organized and run. There are tons of volunteers available to make both the attendees and the speakers comfortable. The Mandalay Bay has done a good job accommodating the conference.

But as it is with most of these things, the real value in attending any such conference is the time you get to spend networking and reconnecting with old friends while meeting new ones.

Copyright Scott Bourne 2010 - All Rights Reserved - My pal Clay Blackmore was absolutely on fire in the Westcott both - working with a model and teaching like crazy. It was a special day since Clay's mentor the great Monte Zucker would have been 81 today had he survived his battle with cancer. It was very special to be with Clay today.

I was very excited to see my pal Clay Blackmore teaching in the Westcott booth. He was demonstrating their continuous lighting products. If you get the chance to watch Clay teach – don’t miss it. Really. He’s one of the best in the world. I was also happy to see Nicole, Vanelli, Rich, Colleen, Scott, Victor, Matt, RC and a host of other pals at the show. Seeing old friends is simply my favorite part of the show.

Copyright Scott Bourne 2010 - All Rights Reserved - Scott Kelby's shoes made him literally 10-feet tall!

The keynote was a blast. Kelby and company actually came out on stage dressed as Kiss and played LIVE. It was awesome. Adobe came and discussed CS5. Not much new but they did make it clear that they are going after the DSLR / video hybrid market pretty agressively. They are making it easier to use Adobe Premiere Pro CS5.

Copyright Scott Bourne 2010 - All Rights Reserved - Yes this mall is cool because there is an Apple Store right next to the Tommy Bahama store - gotta love Las Vegas!

There was plenty of free education available on the show floor since many of the booths featured speakers. I also saw Nik Software demonstrating their HDR plugin. Peachpit Press had just about every photography book they’ve ever published at the show. And of course Kelby Media had a free place to view Kelby Training materials online.

The mood was upbeat. The audience and the faculty all seemed very happy to be there. I’ll write one more post after I give my talk on Twitter with Rod Harlan.

NOTE: All these photos were made with my Olympus PEN E-P2 12.3 MP Micro Four Thirds Interchangeable Lens Digital Camera with 17mm f/2.8 Lens and Electronic View Finder.

Rembrandt Self-Portrait Courtesy Wikimedia Commons

I see comments like these in the photo forums – mostly from the younger emerging photographers. “Oh I’ve seen that done to death.” “That’s such a cliche.” “That’s nothing new.”

These comments seem to indicate that a photograph which may contain elements they’ve seen before is valueless. Nothing could be further from the truth.

Let’s take portraiture for instance. The younger you are, the more likely you don’t light or pose a portrait the way that the masters do/did. Why?

a. You think that making a good photograph is about doing something NEW.
b. You haven’t really studied how the masters do/did it BECAUSE it’s not NEW.
c. Because you haven’t studied, you don’t know HOW to light and pose a portrait the way the masters do/did.

Yet, if you look at the traditional “Rembrandt” lighting scenario – this is a portrait approach hat has stood the test of time – hundreds of years to be more concise.

So while it may be cool to do something new in your opinion, in MY opinion, it shows respect, discipline, concern for craft and character to at least learn how the masters do/did it before you decide to break the rules. And lastly, I think it’s a little bit lazy.

Now here’s where the lazy comes in. I have had assistants and interns who told me learning all that “old stuff” like the difference between broad and short lighting, butterfly or split lighting, etc., was “too much work.” Sort of like the excuse I gave in grade school when I complained to my mother “Oh Mom I don’t need to learn how to play all those musical instruments. Why do I have to practice so much?” I chuckle because in college I ended up minoring in musical performance. I now play several musical instruments quite proficiently. But back then, what I was really telling my mother years ago was that I was lazy. I was too lazy to put the work in. I just wanted to be a rock star. I didn’t actually want to learn any chords! My assistants and interns have sometimes been in the same situation. They just want to pick up a camera and be great. Good luck with that. I just want to look in the mirror and be young again, but so far, not happening!

My challenge to you is simple. Don’t be lazy. If you mistakenly think that being new is being cool – go right ahead. If that’s how you feel I probably can’t change your mind. But at least learn the standard (traditional, old call them what you will) ways first. Know (like the back of your hand) what rules you’re breaking before you break them. That shows respect, discipline, concern for craft and character.

And if you’re a regular reader here you probably know what’s coming next.

Being cool isn’t about being new, it’s about being YOU. Learn how the masters approach this and then put your own spin on it – use your own imagination. Develop your own story and your own voice. But know WHY you’re doing what you do and pay homage to the masters who came before you. Now THAT will be cool.

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Sponsored by PMA – It’s not too early to mark your calendar because this is big. For the first time in the USA, the PMA tradeshow and conference will be open to the general public – September 6-11, 2010 in Las Vegas. See you there – http://bit.ly/9yaL2I

Copyright Scott Bourne 2010 - All Rights Reserved

Pro HDR by eyeApps LLC is a cool little iPhone 3/4 app that lets you make HDR photos with your iPhone. With version 2, you can indeed create stunning full-resolution HDR images on your iPhone 4 or 3GS.

I tested the program on an iPhone 4. When you start the app, you are presented with a few simple choices.

1. Make an auto HDR photo

2. Make a manual HDR photo

3. Look at your library of stored HDR photos

You also have a choice to set some preferences via the settings tab or get help. That’s all there is to it. In practice, it’s just as simple.

Copyright Scott Bourne 2010 - All Rights Reserved

Start the app, point your camera at a scene you’d like rendered in HDR and click AUTO or MANUAL HDR. I found the results in AUTO  so good, I haven’t messed with the MANUAL choice much.

Once you select AUTO HDR you just tap the screen once and the program does the rest. After the image is made, you can adjust it further by moving some sliders back and forth that let you control things like saturation, contrast, brightness and warmth.

I made the two images in this post using an iPhone 4 and Pro HDR for iPhone. I liked the results. They took just a minute to refine in Aperture and the photos provide a surprising amount of detail and richness of color given their origin. (If you want to see them a bit bigger they are on Flickr here – http://www.flickr.com/photos/applephoneshow/sets/72157624687460757/)

CONCLUSION

Pro HDR won’t eliminate the need for a DSLR and tripod for serious HDR shooters, but if you just want to have some fun with your iPhone, this app provides a bunch of it for $1.99.

Highly recommended!

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Sponsored by PMA – It’s not too early to mark your calendar because this is big. For the first time in the USA, the PMA tradeshow and conference will be open to the general public – September 6-11, 2010 in Las Vegas. See you there – http://bit.ly/9yaL2I

We all own a lens or two or five. Not everyone knows how modern camera lenses work. So I thought I’d write a short post going over some of the basics. Some newbies might find this interesting. Even though I am no newbie, I still enjoyed preparing this post.

Compared to the best lenses we had 30 years ago, the lenses of today are extremely high quality. The glass and parts are all precision made and extensively tested. Making matters more complicated, today – most lenses includes sophisticated electronics that do everything from aid in autofocus to vibration reduction. 30 years ago, a zoom lens that didn’t crap out on you at the long end was considered a great lens!

The basic parts of a lens are:

1. the mounts
2. the barrel
3. the focusing ring
4. the aperture
5. zoom ring (if applicable)

There are two mounts on most lenses. The front mount accommodates filters and lens caps. The rear mount attaches the lens to the camera.  It often also houses the electrical contacts that allow the camera’s computers to interface with the lens’ electronics.

The barrel acts as a housing for all the various parts that comprise the lens.

The focusing ring (not present on some less expensive or point and shoot cameras) allows the photographer to manually focus the lens. It also may drive the optics or work a servo motors that drives the lens elements.

The aperture moves in one-stop increments to allow more or less light into the lens. More sophisticated cameras offer fractional stops between aperture openings.

The zoom ring is found on zoom lenses and allows the photographer to change the focal length of the lens.

ACCESSORIES

Most lenses come with lens hoods and front and rear caps. In my opinion, you should always use your lens hood and use front and rear caps when the lens is not in use.

More expensive lenses come with carrying bags. If possible, it’s a best practice to leave your lens in the carry bag when not in use. This provides a maximum of protection.

CHARACTERISTICS

After the basics come the important characteristics like focal length – which impacts angle of view, minimum focal distance, minimum and maximum aperture.

The “faster” a lens – the larger the aperture. Meaning a fast lens has a large aperture or a small f-stop number. Another important factor when choosing a lens is its minimum focal distance. Most photographers don’t have a great deal of experience with 600mm (and up) lenses and are surprised to find that these lenses often have minimum close focus distance of 20 feet or more.

The quality (and usually price) of a lens will often impact the lens flaws or lack thereof. And all lenses have flaws. 99.99999 percent of the flaws are untraceable by the human eye. But there are flaws we do see such as chromatic and spherical aberrations, coma and light falloff. The more expensive lenses are corrected for these problems. The less expensive lenses are not. But don’t worry. Even the consumer-level, kit lenses you can buy today are pretty good to great compared to the lenses we bought 30 years ago.

SPECIALTY LENSES

There are special lenses like macro lenses – which allow you to work very closely to your subject, or fish-eye lenses, which allow you to get a super wide field of view that will often be distorted in a circular manner. These specialty lenses offer unique characteristics and qualities which make them a must-have for some photographers, and a not important acquisition for others.

CONCLUSION

This is a very basic, and very quick rundown on camera lenses. Hopefully this post will spur you on to learn as much as you can on your own about lenses and how they impact your photography. In the end, buy the best lens you can afford. But don’t miss sleep over it. 98% of all lenses are better than 99% of all photographers anyway.

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This post sponsored by X-Rite Color and the ColorChecker Passport

Copyright Scott Bourne 2005 - All Rights Reserved

I get lots of Photoshop questions and because I don’t use Photoshop as often as I used to, I’m much less the Photoshop wiz that I once was. That said, I do occasionally get some Photoshop questions I can answer. Here are five.

1. Do you work with more than one monitor when you use Photoshop and if so, what are the advantages of doing so?

Yes I work with two monitors. I work with my MacBookPro 17″ monitor and my Apple 24″ LED Cinema Display. I find the advantage is that I can view the image on the large display while putting all my pallets and other tools on the laptop display. This avoids clutter and makes it easier to study the photography without distraction.

2. How many times can I install Photoshop on my own personal computers?

Adobe allows two Photoshop installations per serial number. If you buy a new computer, it’s important to deactivate your Photoshop program before you sell your old computer. That way, you can reactivate Photoshop on the new computer without a lot of drama. Adobe will help you out if you forget but it’s better to do it the right way. If you need more than two copies running at the same time you’ll need another copy of Photoshop.

3. What is the Targeted Adjustment Tool used for?

The TAT is used to make tonal and color corrections by dragging directly on a photo, rather than by using sliders in the image adjustment tabs. You can correct things like Hue, Saturation, Luminance, or Grayscale Mix. This works better for people who are more visual and doesn’t work as well for numbers people.

4. What advantage is there to running Photoshop in 64 bit mode? Why does everyone think that is so cool?

64-bit mode produces some dramatic speed improvements in cases where you are working on complex image solutions or working with large data sets. In other words, it matters to Photoshop users working with large images or applying lots of layers to an image. To everyone else, not so much.

5. I was looking at my Photoshop preferences and saw a selection related to “Scratch Disks.” What is a Scratch Disk?

A scratch disk is any drive or a partition with free space. Photoshop uses this like a RAM disk to store overflow data. By default, Photoshop uses the hard drive that the operating system is installed on as its scratch disk.

You can change this and furthermore, designate additional scratch disks to be used when the primary disk is full.

Always make sure your main scratch disk is your fastest drive. It should be a different drive than the one that holds your image files. It should have as much unfragmented space as possible.

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This post sponsored by X-Rite Color and the ColorChecker Passport

Copyright Scott Bourne 2009 - All Rights Reserved

It happens to everyone. If you have photographed for a long time you find yourself in the occasional rut. A simple way out of that is to start (and finish) a photo project. Here are five ideas to get you started. If these don’t work for you, try to come up with some of your own.

1. Collect Backdrops

You never know when a cool pattern or background could be used as a texture or a digital backdrop in a composite.

Shoot colors, textures, patterns. Look for old, new, and in between. Use your imagination. Closeup lenses make this easier. Build your collection and whether or not you ever use them in a composite, you’ll at least have benefitted from training your eye to find this level of detail.

2. Shoot Reflective Surfaces

Whether it’s water on natural objects such as rocks or something like sunshine reflecting off glass windows or doors, reflections offer all sorts of visual stimulation and are very attractive to most human brains.

Experiment with reflections in both color and monochrome.

3. Go Prop Shopping

No matter what you shoot, props can liven up your photography. Portrait shooters for instance can change the entire look of a shoot with the right props. Whether it be parasols or feathered caps, you can make a real statement with props and it all starts with prop shopping. Props can help illustrate concepts. Think of some concepts you want to illustrate and then go to thrift stores, antique stores and estate sales and look for cool props to help tell the story.

4. Time of Day

Make the same photo – at the same place at different times of day. Light changes minute-by-minute. So the same photo is not possible if taken one minute before or after the one it seeks to replicate.

Light moves and makes changes. Subjects look different in different light. The color spectrum changes as does the light. This can be inspiring to even the most bored photographer.

5. Juxtaposition

Mix objects that don’t normally go together. Photograph an elderly lady holding a skate board. Photograph a basketball team standing in a swimming pool. Try looking at things in an inside out manner.

When you work with objects in an unexpected manner, you shake up your viewers and your own imagination. It’s a great way to jump start your photographic vision.

These are merely idea starters. Use them to come up with your own ideas. Get busy and get out of the doldrums.

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This post sponsored by WHCC – White House Custom Colour – Get Five Free 8×10 Prints From WHCC

Author: Niall Benvie

Publisher: Photographers’ Institute Press

Review by Conrad J. Obregon

It’s been almost ten years since Niall Benvie released a book. I’ve always thought of him as the thinking person’s outdoor photographer, more concerned with vision than technique. Now, at last, he has written a book for the digital age, Outdoor Photography Masterclass.

The book takes a strange form, as if it were a three-day long workshop. (Occasionally it seemed as if it might have been taken from a transcript of such a workshop.) Each of the chapters is on a different subject, often unrelated, from simple matters, like using the histogram to determine the right exposure, to esoteric subjects, like whether nature photography is art. There is no consistent development of a single theme other than the broad subject of outdoor photography. Many of the chapters, which may have been derived from articles, are more thought provoking about the nature of photography than they are about technique, although some, like the article on what Benvie calls the field studio (a method of shooting in the field with artificial backgrounds and lighting), are about technique in the service of vision.

The skill levels to which these subjects will appeal varies. The chapter on the development module in Lightroom is so elementary that it will at most simply be a refresher for those just getting into the software. The chapter entitled “How shall we critique outdoor photography” may be useful and thought provoking for the more advanced outdoor photographer.

Benvie is a bit of an iconoclast, suggesting, for example, that in the age of fast, low noise ISO’s there is less need for tripods. He also appears to be almost distant from some technical aspects of post processing as when he states that the contact sheet facility once found in Photoshop is no longer available (it’s available for Photoshop CS5 as a downloadable optional plug-in) or when he fails to make the distinction between input and output sharpening, so brilliantly articulated in Lightroom.

Although the book is nicely illustrated, many of the screen shots of Photoshop and Lightroom screens are so small as to be almost useless, and often the accompanying description is too cursory.

Yet despite my criticism’s, for the outdoor photographer who has gone beyond the fundamentals, many of the articles will prove provocative enough to make the reader reexamine the way he or she is working and perhaps even try some changes in their photographic process.
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This post sponsored by WHCC – White House Custom Colour – Get Five Free 8×10 Prints From WHCC

Post by Andrew Darlow – Follow Andrew on Twitter

In Part I of this two-part series, I covered some framing tips related to standardizing frame sizes and/or styles. For this article, I will offer three more tips that can save time and money without sacrificing quality.

1. Purchase or create a shadowbox with spacers instead of mats.

One of my favorite types of framing (especially for prints over 16×20 inches) is the shadowbox. Though usually used for framing items like medals and sports jerseys, I consider a shadowbox to be any frame with a space between the backing board and the glass or acrylic. Spacers are placed along the inside edges of the frame and are generally made from matboard, foam board, or plastic. A print can then be mounted to or just placed up against the backing of the frame to create a very clean and simple presentation. This is also a good option when the artwork is so large that it exceeds the size of commercially available mats.

I really like the look and feel of the particular approach shown in the photo above because of the way in which the print appears to float on the backing board inside the frame. Pre-made shadowboxes are sold in many sizes, and they can also be created from traditional frames, as long as the frame depth is wide enough. One company who sells high-quality and relatively inexpensive spacers is FrameTek Inc.

To investigate this technique further, and to learn some of the ways to properly mount a print like this (including an explanation of a technique called the “pedestal float” in which the art sits on a piece of acid-free foam or other material), search for the term “float mounting” in a search engine.

2. Have custom mats cut for non-standard frame sizes. There are times when you may come across a fantastic frame that is not a standard size. In those cases, I recommend having a mat (or double mat) custom cut so that a standard size print (for example, an 11×14-inch print) will fit inside the mat. Apart from saving money compared with many custom framing choices, you can also have the print offset a bit so that it is not placed dead-center in the mat. That can give the overall print and frame a more “custom” look and feel. The frames at one very popular store, IKEA, often fall into this non-standard size category. Scott Bourne also mentioned this tip (with a Swedish accent!) on a recent Photofocus podcast.

You can order acid-free pre-cut or custom-cut mats from local frame shops or online. Quantity orders will almost always result in significant discounts. My preference for most of my photo and inkjet prints is to use a single 8-ply rag mat (either bright white or natural white, which is slightly more yellow in tone). Having just two mat options also helps to ensure that I have mats in stock, and it allows me to buy in bulk.

3. Use heavier mats and allow space around your prints.

One of the main reasons I use 8-ply mats (about twice the thickness of a typical 4-ply mat) is because they help keep my prints flatter in a frame when placed under a mat. Another tip that can be used in conjunction with heavier mats is to allow a few inches of white space around your prints. The extra white area allows the print to sit more securely behind the mat compared with a print that’s framed with very little extra space around it. For example, you could make a print with a printed area of 11×14 inches, but with an overall size of 13×19 inches. That print can then be taped securely along the print’s top edge and affixed to a 16 x 20-inch (or other size) mat.

4. Use heavy papers to avoid the need for mounting. Printing on heavier papers (over 250 gsm) helps reduce the chances of a print “buckling” over time under a mat or in a frame that has spacers. Buckling looks like waves in a print, and can occur over time in a framed print, especially when hanging in an environment with considerable changes in temperatures and/or humidity. By not having to mount prints, that’s one less cost to incur, and you will avoid the chances of damage to your prints during the mounting process. Also, collectors and art conservators generally prefer to purchase artwork that is “reversible,” or able to be returned to its original unmounted state. If you do choose to have your work mounted, it makes sense to consider a process that’s reversible.

Speaking of conservation, always consider the materials that are used when framing any work because they can have a significant effect on the longevity of your prints. This includes the paper upon which your work is printed, the inks that are used (if applicable), and all framing materials. The most common framing materials are mats, backing boards and acrylic or glass.

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This post sponsored by WHCC – White House Custom Colour – Get Five Free 8×10 Prints From WHCC

You may remember that a while ago I was touting a cool product called Magic Bullet Photo Looks from Red Giant Software. ($199) It’s an amazing program that works with Photoshop, including CS5 and in standalone mode. I wish the program worked with Aperture, but it’s so good that it causes me to use Photoshop more than I normally would.

One of the strengths of Magic Bullet Looks is that it is extensible. The company just released Simon Walker’s Weddings & Events for all the Looks product line. ($69) If you shoot weddings, you’ll want to take a long look at this product.

Everyone works differently. Some people like actions. Some people like filters. Some people like to work from scratch and others from presets. If you like presets, you’ll like this new add-on to the looks catalog. There are 30 presets – which you can customize. They are all well labeled and some of them are fantastic. All are good. It’s the best of both worlds. You get the simplicity of presets with the custom capabilities of filters/actions.

The whole package works in 64-bit mode and can save you a bunch of time if you want to provide clients with highly-stylized images that don’t take a lot of time and Photoshop knowledge.

As an interesting side note – I was in San Francisco shooting along side Simon when he made some of the images used in the promo piece for this product. It was at the 2009 Reframe Conference in San Francisco. We were shooting the same model. I was shooting both video and stills with this model (the beautiful girl in the vintage dress at the beginning of this video) and I can really appreciate what the Magic Bullet product did for his shots. We were working in pretty horrid light at times and looking at the results you’d never know it.

Highly recommended.

NOTE: This was cross – posted at GoingPro2010.com

Do you actually read the Terms of Service Agreements and EULAs that you sign or click “OK” on? I bet you don’t – but you should. Especially if you are a photographer who worries about people taking your images and profiting by them without your permission or without sharing those profits with you.

By posting images to some of the “sharing” sites —– you’re sharing all right —– you’re sharing a free license that allows most of these sites to profit from your work in return for hosting the images. That’s a pretty bad deal in my opinion, considering the fact that you can also build a blog for free that would allow you to avoid giving up control.

Sites like Facebook for instance are particularly tricky. I got quite a response when I posted the following Tweet two days ago…

“You realize you’re granting worldwide, transferable, sub-licensable, royalty-free license to Facebook by posting images there?”

I was merely trying to make people aware of FB’s general approach. I am not saying that they do anything evil with your photos. I am saying they COULD if they want to, and that alone makes me run for the hills. To some people, i.e., those who have zero commercial aspirations and who couldn’t care less if someone else profits from their photos, this is no big deal. To those folks I say great. You need not worry about this. If you’re in the category of photographers who just shoots for fun, doesn’t plan to sell your images, doesn’t care if someone else does, doesn’t care if you get left out of the loop when it comes time to get a check, then you should ignore this post. It’s not relevant to you. There’s no problem posting your images anywhere and everywhere.

But if you hope to go pro some day. . . or you are a pro. . . or if you just feel like it’s not fair that someone else should be able to financially profit from your hard work, pay attention. Start reading the fine print. At least you then know what you’re getting yourself into.

People responded to that tweet with everything from outrage to fanboyism. But the important responses were questions like: “Where should we put our images?”

The safest answer is: Post photos on your own website or blog. Then you set your own Terms of Service. My TOS is simple – I never steal from myself!

If you use your own site, you never have to worry about a third party’s privacy or intellectual property policy changing.

Here is a link to Facebook’s TOS. Paragraph two contains the language above. It also contains the following sentence regarding your photos:

“…you understand that we may use them without any obligation to compensate you for them (just as you have no obligation to offer them).”

I have no problem with this. I simply don’t post anything to Facebook. They are free to engage in any business model they like and as photographers, we are free to post there or not. This post isn’t intended to talk you out of using Facebook. It’s intended to let you know what you are agreeing to in case you are like 99% of the folks who don’t read the fine print.

Some of the responses I saw on Twitter incorrectly assumed that this is simply going to be the case no matter where you post your photos. They assume you’ll have to give up a license for others to profit from your work no matter what. That’s not true. I haven’t read every single TOS out there. But I have read the Pictage TOS, SmugMug TOS and the PhotoShelter TOS and I am very comfortable posting my images on those sites. They don’t have provisions in their TOS (as of the date of this writing) that cause you to license the images in such a potentially aggressive manner.

I am not a licensed attorney and you should certainly consult with one before making any legal decisions. I can’t tell you what every single photo sharing/hosting site’s TOS might say – nor can I tell you which nuances such as linking or posting make a difference. I did consult my attorney before writing this post and came to the conclusion that as a working professional, I shouldn’t post images on Facebook. (I deleted my FB account last month but had never posted any photos there anyway.) My conclusion was that it was okay to post on Pictage, SmugMug and/or PhotoShelter. You have to decide for yourself how you want to handle this. But at least do one thing – read the Terms of Service before you click to accept. Sometimes the thing you’re getting in return for posting is worth it and sometimes it’s not. Only you can make that decision. My goal here is to make sure you are informed. I have no dog in this hunt. Whatever you decide is right for you is fine by me. I just want to make sure that you go into it with your eyes open. Good luck to us all!

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This post sponsored by X-Rite Color and the ColorChecker Passport