Old 10-06-2012, 03:13 PM   #26
Dennis A. Livesey
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Jim

Here is the Trains submission page.

http://fileupload.kalmbach.com/Submi...ntribute/Step1

I shot a Kodak grey card with my main camera, WB set to what ever light I was using. (I believe it was sun at the time) This gives them the color space the camera is creating.
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Old 10-06-2012, 09:25 PM   #27
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That's true (Kalmbach likes the grey card submission)--but I've never done it. That's not an absolute requirement, but I'll agree with Dennis--it's helpful.

Actually, most everything I send to Trains is part of an article (or something they've asked me to upload for something else), rather than general submission of images for possible use.
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Old 10-07-2012, 12:00 AM   #28
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Jim

Here is the Trains submission page.

http://fileupload.kalmbach.com/Submi...ntribute/Step1

I shot a Kodak grey card with my main camera, WB set to what ever light I was using. (I believe it was sun at the time) This gives them the color space the camera is creating.
I guess I'm still confused. Could you elaborate a little more on that? Also, the link that explains why contains a file that I'm not able to read on my computer.

I mean, I understand the concept of using a gray card to adjust your white balance for, say, shooting indoors and whatnot, but what does that have to do with sending a sunny wedgie shot of a train to a magazine?
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Old 10-07-2012, 12:28 AM   #29
Dennis A. Livesey
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I mean, I understand the concept of using a gray card to adjust your white balance for, say, shooting indoors and whatnot, but what does that have to do with sending a sunny wedgie shot of a train to a magazine?

Jim
I unfortunately cannot speak for Kalmbach. I would imagine it helps them know more about the color/exposure properties of your camera and your images no matter what light you use. It is not a requirement; just something to help them in preparing it for use.
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Old 10-07-2012, 02:12 AM   #30
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I also can't speak for Kalmbach, but I think it is simply knowing what the color balance should be. There are two possibilities, the photographer's preference in interpretation (for example, use of a warming filter or processing equivalent), or the color balance in the actual scene.

If Trains receives an image without a gray card, they do not know what the photographer is seeing, because they do not know if the photographer's monitor is calibrated the same as the Trainsmag monitor. They are left a big guessing. If they have the gray card image, they at least know the ambient color balance, and they can go with that, or make a more informed appraisal of the photographer's preferred color balance choice.

In principle RP could work the same way; as of right now we are essentially guessing or estimating what the screener's monitor will actually display, and RP is guessing as to what we saw in the field. But we don't want to gum up the RP screening process even more than it is ...
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Old 10-07-2012, 03:15 PM   #31
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I also can't speak for Kalmbach, but I think it is simply knowing what the color balance should be. There are two possibilities, the photographer's preference in interpretation (for example, use of a warming filter or processing equivalent), or the color balance in the actual scene.

If Trains receives an image without a gray card, they do not know what the photographer is seeing, because they do not know if the photographer's monitor is calibrated the same as the Trainsmag monitor. They are left a big guessing. If they have the gray card image, they at least know the ambient color balance, and they can go with that, or make a more informed appraisal of the photographer's preferred color balance choice.
Hmm...Railfan & Railroad, Amtrak and Parade Magazine never had any mention of that.

I guess this is just a new thing for me. Plus, I've never submitted an image to Trains before so I wasn't aware of it.
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Old 10-07-2012, 03:49 PM   #32
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Hmm...Railfan & Railroad, Amtrak and Parade Magazine never had any mention of that.

I guess this is just a new thing for me. Plus, I've never submitted an image to Trains before so I wasn't aware of it.
Obviously it isn't a need, as you have learned.
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Old 10-07-2012, 05:22 PM   #33
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Obviously it isn't a need, as you have learned.
Perhaps. But maybe it's time I investigated and learned more about it.
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Old 10-10-2012, 01:32 PM   #34
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Obviously it isn't a need, as you have learned.
I'd be mildly curious how many grey cards they actually get with submitted images. While I could see doing the whole grey card & white balance thing for a set piece challenging lighting shot where you have time to mess with all that, I can't even begin to imagine spending the time messing around trying to get a grey card while really out chasing a train or trains. Besides, in the end I bet they basically would adjust it to whatever "looks right" to them for use in the magazine regardless of what the grey card might include (if there is one). And as has been pointed out, the big K is the only publisher in our hobby that I know of that even requests grey cards.
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Old 10-10-2012, 10:56 PM   #35
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I can't even begin to imagine spending the time messing around trying to get a grey card while really out chasing a train or trains.
I have not shot a card on location and submitted that. That would be the most value. However, instead, just to fill the request I send in a grey card I shot long ago as my basic lighting and color card.

All it can do is show my workflow to some degree. If it helps, great.
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Old 10-12-2012, 12:40 AM   #36
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I've never provided a grey card with anything of mine they've published...
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