Lume Cube has been producing some interesting and creative lighting solutions for both photographers and videographers over the last few years that add an impressive amount of versatility to their users toolkits including the Tube Light Mini. That being said, the question remains that given the number of competing RGB lights on the market, are they good enough, and are they worth it?
Lume Cube has announced a pair of tube LEDs that are designed to be the ultimate lighting tools for content creators and videographers on the move: a 12-inch, $170 Tube Light Mini and 48-inch, $400 Tube Light XL.
Zhiyun's FiveRay F100 LED light sticks have a solid level of power, are easy to maneuver, are affordable, and can perform a wide variety of lighting tasks. They're great lights, marred mainly by frustrating controls.
Aputure has announced the $199 MT Pro Pixel RGBWW Mini Tube light, what it calls the first-ever one-foot-long full-color mini LED tube.
Lexar has announced a new SL660 BLAZE Gaming Portable SSD that features RGB lighting. The compact drive promises up to 2000MB/s read and 1900MB/s write and answers the question: "What if storage was also for gamers?"
Aputure has announced the LS 600c Pro which aims to push the film industry cheaper without sacrificing quality by comparing it to current RGB industry standards.
Rotolight, an award-winning LED lighting company based in the UK, has recently released the $1,399 AEOS 2, a circular LED that can be used as a constant video light as well as a strobe for still work and has zero recycle time. As an added bonus, the light features a series of built-in filters and gels that allow users to create nearly any look and mood imaginable and a mobile app for controlling and changing settings when the lights are in awkward and precarious positions.
If you're new to photo printing, the most recent video from Sid at StyleMyPic should be required watching. In it, he covers what it means for a color in Photoshop to be "out of gamut," and how to use Photoshop's Proof Colors and Gamut Warning views to get your prints looking just right.
RGB LEDs are a relatively new piece of technology, and a wonderful addition that photographers should be taking advantage of. Before this technology existed, we were forced to resort to adding gels to our strobes in order to add a pop of color into our images. This worked well (and still does) but having the ability to change the hue and saturation of your lights with the flip of a switch or turn of a dial is incredibly useful.
Every mind-blowing deep space photograph captured by the Hubble space telescope that you've ever seen started out black-and-white. So how do we get those amazing technicolor images of the Pillars of Creation or the Bubble Nebula? This short video explains how scientists manage this feat.
The LAB color space is particularly useful for boosting colors and definition in images due to the way it handles colors when compared to RGB and CMYK. Rather than describing how colors should appear on a screen or in print, LAB is designed to approximate human vision. Colin Smith of photoshopCAFE shows in this video how this color space can be utilized in Photoshop to easily improve your images.
Did you know that some colors in the world are too intense for an average consumer computer screen to display? In this 3-minute video by Tom Scott, see how one really intense pink is just too pink for your screen.
I recently rediscovered an old photography technique that allows you to add surreal color to photos that show movement in the frame. The technique seems to be new in the digital domain, but the technique itself has been known since the early era of digital photography.
CMYK—which stands for Cyan, Magenta, Yellow, and Key (or Black)—is the color model used in most printing. It's called a subtractive color model, and if you don't understand what that means or how it works, this brilliant little demo should help.
My name is Marius Hanzak, and I'm an experimental photography student currently studying at the Cleveland College of Art and Design in the UK. For one of my recent projects, titled RGB Church Street, I experimented with making color photos using black and white film.
Do you know your colors? Like REALLY know your colors? Because the "The Great RGB Guessing Challenge" wants to put your color competency to the test!
If you’ve seen the RGB and CMYK color models referenced all over the place but aren’t exactly sure how …
When photographing the world around us, the property of color is likely something most people tend to take for granted. We expect our cameras to portray the visible light spectrum accurately. However, in a world so engrossed with color, we sometimes forget how long it took to get to this point in time and how many photographers and scientists viewed the concept of color photography as a pipe dream.
For some photographers, no term strikes more fear into one’s heart than "Color Spaces." The idea that different devices, along with our eyes, perceive light differently can seem confusing. Anyone that has gone to print one of their photographs probably knows that it can take some know-how to ensure your images are correctly represented on paper.
If you're new to the world of color theory, photographer Forrest Tanaka wants to help: in the 13-minute video above, he explains color spaces in an easy-to-understand way.
For you and me, RGB color spaces may just be an obscure but important mechanism towards achieving properly color-balanced photos. For a certain group of image nerds, however, it's the whole enchilada.
David Hobby over at Strobist uncovered an intriguing new type of parabolic umbrella by B2Pro Lighting last week that has some people intrigued, even as many others are calling BS. The umbrella sports a patent pending pattern of RGB photo sites that, according to B2Pro, will "bring lighting for digital photography and motion picture into the 21st century."
Looking for a photo project to play around with this weekend? Try exploring a technique known as the Harris Shutter. Invented in the days of film photography by Robert Harris of Kodak, it involves capturing three sequential exposures of a scene through red, green, and blue filters, and then stacking the images into a single frame. This causes all the static elements within the scene to appear as they ordinarily would in a color photo, while all the moving elements in the shot show up in one of the three RGB colors.
After a long night of working in CMYK, you’re ready for a change, so what do you do? Bust …