In the last blog post I discussed the calibration of my workflow from computer monitor to printing in order to get consistent and predictable colours for my final images. In this post I have looked further at the camera calibration part of this process using a number of commercially available colour checker charts and software profilers.

When I started out in photography I relied upon film laboratories to process negative or slide film to get the appropriate output, either prints or mounted slides. Once the image was taken in the camera the actual processing was beyond my control but in general there was good agreement between my memories of the scene and the actual image. Step forward in time to digital image capture and home printing. Like many people the images coming from my printer weren’t showing the same as the images on my computer screen. They were dark, lacking in vibrancy and quite often disappointing.

Many photographers dream have having the perfect collection of lenses that will enable them to get the perfect shot. When it comes to telephoto lenses, however, you never seem to be able to get in tight enough to your subject and always crave that extra reach. The wealth of internet wisdom currently suggests that post capture cropping provides superior results to using teleconverters. While I can see the logic behind these claims I did wonder whether there was any limit to how much cropping would be acceptable so decided to test it for myself