Andrea Dievernich is a technical draughtswoman, has worked as a bus driver for 11 years, she is an enthusiast amateur photographer with a focus on architecture, landscape, bulb exposures photography


Camera Equipment:
Canon 70D, Canon 5D Mark III
Canon 16-35 f4,0 ; Canon 24-70 f2,8 II ; Canon 70-200 f28 II, Sigma 10-20 f4 – 5,6
square filters by Rollei, IRND 64 and 1000, square graduated filters soft 8; 16 and reverse 16 soft


Datacolor’s photo competition in fall 2018, featuring the topic ‘Blue’ received many excellent photos that were handed in by awesome enthusiast photographers. Our jury had a hard time selecting the five winning images, as so many photos would have deserved to be awarded. In order to savor these wonderful images, we will present some of these pictures in our blog from time to time, introduce you to the photographer and tell the story behind the image.


When did you start your photography?

I got into photography as a teenager and purchased my first analog SLR. I did sports photography, landscapes and later on, I took photos of my children. Due to time restrictions, I quit photography for a while and only purchased my first digital SLR in 2013, which happened to be a Canon 70 D. I studied new techniques and learned about photo editing. Today, I sell calendars and created a little book with poems, which is currently being printed.


Is photography your hobby or your profession?

Photography is my hobby, but I make a bit of money selling my calendars.


How and where was the image taken which you entered to the competition? Is there a story about it?

I have a passion for staircases and walk many kilometers to find them in bank branches, hospitals, medical centers, law offices etc. I took the photo of the blue staircase with my Canon 70C and a 10-20mm f4-5,6 Sigma lens.


Who and/or what inspires you most?

Mainly shapes, staircases, modern architecture, but also other photographers who are capable of making the most of minimalistic objects.


What’s your photographic focus?

Bulb exposures, filter photography, minimalistic photography, landscapes


What’s your next photo project, your next challenge?

1. a little paperback with piers and poems – work in progress,
2. Venice in January, minimalistic objects and bulb exposures,
3. Artworks such as light painting


Do you include color management in your photographic workflow?

That depends a lot on the object. I leave landscapes the way they are unless daylight was too dull, in which case I try my luck with color gradients.


When it comes to staircases, I may end up changing their color when contrast is poor and possibly even give a black and white version a shot.


What do you do with your photos? Do you print them, post them on your social media accounts or your website or do they simply stay on your hard drive?

I run a website, showing my best photos and artworks, create calendars and sell them on my website.


What’s your photographic goal? What do you dream of?

Of course, I want to develop myself and continue to learn. I would love to work for travel catalogues or for natural scientists.



Facebook: Andrea Dievernich / Andrea Dievernich´s Fotoseite
Instagram: @andrea_dievernich

David Köster is a Germany based landscape photographer, photo trainer and book author. In his images he stages wild, epic nature scenes. By means of dramatic perspectives, atmospheric imagery and the systematic use of natural light, Köster creates works which often appear to be paintings rather than photographs. For his artistic pictures David has been awarded with several international awards. His works are mainly used by agencies, publishers and tourism institutions. As a photojournalist, David regularly publishes his stories, articles and photos in print and online media worldwide. Since 2015, David also guides landscape photography workshops. In January 2019 his brand-new book about the art of landscape photography is being published by German Humboldt Verlag.


Photography Type: Landscape Photography



Interview with landscape photographer David Köster


November 3, 2018


How did you get your start in photography?


My passion for nature and travelling was the reason for taking up photography. When I was a child, I loved gazing through travel magazines, such as GEO or National Geographic, and I also loved watching nature documentaries. Since I am quite a creative person, it didn’t take long for my desire to develop, wanting to capture my impressions of travelling and nature and to process them visually. The initial spark would have been the time I spent in the USA during my university studies. During that time, I seriously started to look into photography.


What type of photography are you shooting and what motivated you to focus on that genre?


My area of expertise is landscape photography. Throughout the years it became clear to me that landscapes are what fascinates me the most on this planet. The wilder and the more solitary they are, the better. To me, landscapes are the epitome of nature and its creative power, the everlasting dynamic of its elements. I also like landscape photography for its exciting mix of outdoor experience, modern adventure, creativity and technical challenges.


What has been your biggest achievement or obstacle along the way?


My biggest challenge in my photographic work has been finding my individual style, my signature and developing it further. I had many moments of success, but my most beautiful and memorable success certainly were the moments I was awarded with “Glanzlichter der Naturfotografie”, Asferico, Oasis, ipa International Photography Awards and a few more.


A current milestone of success was the moment I finished my first book about landscape photography. I spent months of work, had countless sleepless nights and put a lot of effort into this book. Hence, I am happy to see my first book ever (“Getting started in landscape photography: The secret to breathtaking images” published on January 7, 2019, available in German at Humboldt Publishing House. Further information (in German) here.


Who and/or what inspires you most?


Nature itself inspires me most. Over and over again, I am fascinated by light and colors, forms and structures of planet earth. Romanticism and the paintings from this era have always been a major influence on my approach to photography. From my early childhood days I was fascinated by the paintings of Caspar David Friedrich, Carl Gustav Carus, William Turner and other artists.


What is your approach? Is there anything in particular you try to achieve during a shoot (for example triggering certain feelings, etc.) or are there any specific techniques you use?


My main objective is to create emotional images. On the one hand, I want my photos to convey what I saw and felt when I took the photo. On the other hand, I want to spark emotions with the beholder, ideally a yearning and desire to travel to the place I captured.


My photographic style is characterized by epic landscapes, atmospheric lighting scenes and dramatic perspectives. Before I even start taking photos I spend a lot of time on location scouting and planning the light. Once I am on location, I take my time to find exciting perspectives and compositions.


Why is accurate color important within your workflow?


Since I market my photos professionally (agencies, publishers, enterprises etc.) I have to ensure that the colors in my images are precise and meet industrial standards. I use color management to make sure that the images my customers receive look exactly the way they did on my screen. I also sell fine art prints and art prints. I therefore rely on a calibrated working environment, as my printed works are supposed to express exactly what I, as the artist, wanted them to convey.


Any tips or advice for photographers just beginning their career?


I’m happy to give some advice. First of all: don’t make the mistake to overestimate technical aspects. Don’t follow each and every technology hype and don’t pay too much attention to test reviews and discussions in forums. Make yourself aware of the fact that it’s not the camera taking the photo, it’s the human behind the camera, using his skill set. For starters, focus on just a bit of technical knowledge, but learn these bits by heart. Practice makes perfect, I therefore recommend you go outside and try to photograph more consciously. Study the most important parameters and settings in photography and try to understand how they influence the photo you’re taking. Have a think about image composition, working with available light, play with the depth of field and look into photo editing. Invite honest feedback from other photographers, preferably from those who are more experienced than you are. Attend photographic workshops (I offer workshops on landscape photography myself). All of the above will certainly get you yet another step closer to creating breathtaking images.



Instagram: @davidkoesterphoto

by John Walrath


In a color managed workflow, printer output is defined and corrected through paper profiles. A paper profile is a set of instructions that a printer will use for printing. It instructs the printer how color should be applied to a certain paper.


Paper profiles are used for Soft Proofing and in the print dialog when an image is sent to the printer. This paper profile defines and corrects the output of a printer. Just like an accurately calibrated display is important for an accurate view into your digital world, an accurate paper profile is important for the best quality prints.



The aim of working with ICC profiles is to get the same color results on different output devices. In most cases, the colors displayed should represent the smallest color space in the workflow.


If you are printing at home, paper profiles come in two varieties: generic paper profiles and custom paper profiles. Generic paper profiles are available for download from the paper manufacturers website. They are designed for a specific paper and printer model. These generic paper profiles can provide good results but they are made for only a specific printer model. One of the foundational principles of color management is every device renders color a little bit differently. Since a generic paper profile is not made for the specific printer you are using to print your photography, it cannot specifically account for the nuances of the way your printer prints.



The Canon Pixma-Pro-1 is a 12-color fine art inkjet printer. It is representative of this device class. Inkjet printers with 12 inks can print colors far be yond the traditional CMYK offset printing gamut, so are excellent for fine art printing.



Cyan/magenta/yellow (CMY) are subtractive colors. They are the complementary colors to the additive colors of red/green/blue. All three colors combined together filter out all wavelengths of the visible spectrum, resulting in black (K). The principle of subtractive colors is all around us. A red cherry reflects mostly red wavelengths, and so appears red. Many colors in the visible spectrum can be emulated by mixing the three subtractive base colors. Using more saturated base colors, allows a wider range of target colors to be emulated. CMYK are the standard colors in offset printing.



By referring to this Canon print driver, one gets an idea of the plethora of papers available to choose from. The naming doesn’t follow a standard. It may be necessary to do several test runs with different media type settings in order to decide on the optimal setting for the selected paper.


A custom paper profile is one that is made for a specific printer. SpyderPRINT is Datacolor’s tool that allows the printmaker to precisely account for the nuances in their printer’s output. Custom paper profiles are made by printing out a series of test pages and the SpyderPRINT sensor is used to measure each color patch. By comparing the measurement of each patch against the correct measurements, SpyderPRINT makes the custom ICC profile for the specific paper and specific printer.



The calibration tool for inks in action: SpyderPRINT compares the printed colors with the reference colors, calculates color differences, and compensates for them.


Creating a custom paper profile for a specific printer will provide the highest quality results since it account for a specific printer. The difference is perhaps more noticeable on matte papers and monotone images. We are often asked how much of a difference a custom paper profile can provide.


In my photography, I always try to do everything I can so that I am the only possible variable. I make sure I have the best equipment that I can afford, use proper technique and best practices. By using a generic paper profile, it opens up the possibility of a weak point in my workflow.


Free Color Management eBook


The eBook explores the basics of color management, calibrated photography, and the steps needed to reproduce accurate colors on the monitor, when printing at home and through print service providers.


Dublin-born Photographer and Friends with Vision Holly McGlynn’s is a leading UK fashion photographer. Based in London, Holly’s work has been featured in magazines such as Cosmopolitan, Grazia, and Glamour. She has also worked on pro-jects for leading brands such as Faberge, Chanel, Playboy and Levi’s. Color plays a huge role in how she represents femininity and challenges perceptions of how women can be represented in the fashion industry. In this blog, she talks about her journey into fashion photography and issues of representation in the industry.


Why is representation in the photography industry is so important?


Representation behind and in front of the lens is so important. If there is only one type of person taking the photos then we are only ever going to see the same images and stories repeated over and over again.


For so long in my industry especially, fashion photography, a ‘mono-culture’ behind and in front of the lens has dominated and has created such a blinkered view of what beauty is supposed to look like. Not only is this bad story-telling but constant exposure to these images infiltrates the public psyche and creates unconscious bias. Everyone has a right to be represented in the mainstream media and if your gender/race/age/size/sexual orientation/ability level isn’t represented then you feel like you don’t matter. Repetition breeds normalisation, if we see something repeatedly, we accept it and this is why it’s so important to see more diversity on both sides of the lens. The fashion industry has a social responsibility to be part of this change but not only that, there is a clear business case for embracing diversity. Studies show that when an audience makes a connection with the model wearing the clothes, desire to buy that item increases by 300%.


What do you think the main challenges are for women wanting to get into the profession?


It’s hard to be what you can’t see. Only 2% of the photographers on agency books are female and only 5% of the photos published in magazines are taken by women. Fashion photography and photography as a whole, are overwhelmingly male dominated. Even though more women study photography, there is a drop off somewhere along the way and with reference to the previous question, I have no doubt that unconscious bias plays a part in this, alongside a whole host of other reasons. I’ve been in photography pits and they are aggressive spaces. There is a lot of elbowing, pushing, shouting, jostling and almost no women. I’ve spoken to other female photographers who have even said they’ve been overlooked for assisting jobs because being a woman it was assumed they weren’t able to carry the equipment required for shoots.


Are there any challenges that are particular to the fashion industry?


As well as the singular beauty standard we have seen up until recently, there is the imbalance that most fashion photographs are of young women and girls but taken by older men. Systemic abuse has also been uncovered as part of fashion’s own #MeToo movement. More diversity across the board can help in starting to solve these problems.


How did you get into photography? What inspired you? Did you face any of these challenges?


I got into photography while living abroad after my degree and as soon as I found it, knew I wanted to make this my life’s work. Initially, I encountered the rhetoric all people pursuing creative careers hear at one point or another, that it’s so competitive and difficult to make a career from. I doggedly pursued my ambition though and earned my stripes through studying photography, relentlessly taking photos and putting in the hours building my skills, confidence, and network. It took years and I still work on these things to break through to the next level. When I started out and would show up to a shoot, people wouldn’t believe I was the photographer, they always expected a man. I would often get comments like ‘I’ve never seen a photographer that looks like you before’. Really?! I’ve already overcome the challenges of being in the industry and getting booked for the shoot and finally I arrive on set and doubt is cast as to whether or not I should be there. It shouldn’t be that difficult for women to claim their space.



In particular, fashion photography is criticised for the prevalence of the ‘male gaze’. What do you think is being done to combat that?


This is precisely why we need more female photographers. Only hiring more women to tell their stories through photography will combat that.


What do you do in your work to present women in new, better ways?


I always share the mood board for the shoot with everyone on set, including the model, and explain the concept so that they bring their own interpretation to the story and give their own ideas on how things should be presented. I always endeavour to create an environment where someone can speak up if they’re uncomfortable with an element of the shoot, so I hope that empowers the model to speak up if they are uneasy with how they are being presented.


Where I have a choice of the model, I always book, or push to book, a model that is underrepresented in the fashion industry.


What changes do you think there need to be in the industry? Are you seeing any changes now? Who is leading change?


Since Edward Enninful was appointed editor-in-chief of British Vogue there has been more diversity on the front cover and within its pages than the magazine, over 100 years old, has known before. I really believe his appointment has been key to a slow filtration of diversity within the magazine industry as a whole. Over in the U.S.A. The Model Alliance is doing incredible work. The Talent Protection Act, which requires a talent agency to provide educational materials on sexual harassment prevention, retaliation, and reporting resources to their clients, was recently signed into law in California after their hard campaigning. Their RESPECT programme offers an enforceable Code of Conduct for the fashion industry, with mandatory consequences for brands, modelling agencies, photographers, and others who violate the terms of this Code.


What role does color play in representing the feminine? Do you ever play with this, or push boundaries of what is typical or expected?


Colour is a hugely important part of my work. It’s fun, bold, playful and makes an impact, just like the women I photograph!


What women photographers inspire you? Who should we follow on social media?


I’m obsessed with Jamie Nelson (@jamienelson6), she’s an incredible photographer. Ellen von Unwerth (ellenvonunwerth) is a massive inspiration to me as well and has been throughout my career for her use of colour and flash.


Twitter: @hollymcglynn
Instagram: @hollymcglynnphotographer
Facebook: Holly McGlynn | Photographer

Jochen Kohl is a Dusseldorf-based photographer who learned product and advertising/commercial photography from scratch. Besides photography, which has been part of his life for over 25 years, Jochen is a sports enthusiast who enjoys long-distance running and martial arts.
Whenever he is not busy with a shooting or another photographic job, he loves to explore the world. Jochen is fond of traveling, which is one of many reasons for his workshops in various European cities. He knows Lisbon, Amsterdam, Paris and Venice like the back of his hand, and from 2019, he is going to include the Philippines as a new workshop destination. His workshops usually cover architecture, landscape and people photography.
Jochen is a proven expert in color management and photographic workflow. For a photographer, it is especially important for commercial customers to have the color from capturing to print under control. He exclusively owns webinars for Nix software and DxO worldwide, and also collaborates with Illford to hold workshops on print and shoot. Jochen also played a significant role in the Datacolor ebook “Color Management Can Be Easy”.



How did you get your start in photography?
When I started back in the 1990s, I was lucky enough to work for well-known customers like BMW Motorcycles, Manufactum or Philipp Holzmann. From the very start, I had to play the sink or swim game of advertising and commercial photography and could test all different aspects of this type of photography – back then, I shot analogue in large format and 6×9. Nowadays, it’s the digital workflow that dominates my day-to-day routine.


What type of photography are you shooting and what motivated you to focus on that genre?
I cater for quite a wide spectrum these days – product photography, catalogue production for a tool manufacturer, image videos… I find my motivation over and over again in the challenge I face in a commercial production, making sure that the product is presented in perfect light conditions. What intrigues me the most is to be able to let my creativity reign free when shooting advertising campaigns. The atmosphere on location when working as a team is always special to me – agency employees, make-up artists, models and the photographer all do their very best to achieve a common goal. I also enjoy meeting new and interesting people through my work.


What has been your biggest achievement or obstacle along the way?
Working creatively under pressure and dealing with the stress, while maintaining your level of creativity without losing interest in the job, is a challenge in itself. At the same time, I find that I strive after these moments and I surpass myself. When your images end up elsewhere and are used beyond their original purpose, such as on an international book cover or in a sport campaign, I see that as a massive achievement. Nevertheless, I believe one should constantly give it all. That way, tomorrow’s image is going to be one’s biggest achievement.



Who and/or what inspires you most?
I try to find my inspiration in whatever I visualize in front of my inner eye. This is probably something I am still used to from the good old analogue times. Back then, I simply didn’t have the opportunity to browse the internet for moods to inspire me and I still rarely make use of this source of inspiration.


What is your approach? Is there anything in particular you try to achieve during a shoot (for example triggering certain feelings, etc.) or are there any specific techniques you use?
Every shooting comes with a different objective, which makes it hard to give a straight answer to your question. In my eyes, photography should first and foremost live through emotion and effect. That doesn’t mean that the technical aspects play a minor role. A solid technical knowledge is the most important tool you need to master, in order to be able to put your creative image concepts into practice in exactly the way you envisioned them.


Why is accurate color important within your workflow?
A customer who put a lot of thought and financial investment into a product concept and the choice of color or into the colors of their company logo or possibly into fashion design wants a professional photographer to be able to reflect colors correctly – rightfully so! If the photographer is incapable of meeting these expectations, he simply doesn’t make use of the technical opportunities one has on hand nowadays.
But also with free works I want my images that I have been editing for quite some time in order to create a certain color look to look exactly the way I intended them to – on my screen and other media as well, be it digital or print.



Any tips or advice for photographers just beginning their career?
Stay true to yourself! Once your hobby turns into profession, the fine line between fun and work seems to vanish. When you can’t stand up for the work you deliver, you won’t be successful in the long run and, to make it even worse, you will have lose the passion for a hobby you once used to love.



Front projectors are physically limited in some disciplines, like color gamut and contrast. To get neutral grays and best possible details in shadows and highlights, you need to profile your front projector as good as you did with your monitor. But there is something special calibrating a front projector.


Some general points need to be mentioned first:



  • Perform the front projector calibration in an entirely dark room.
    Keep in mind that black on your projector’s screen is only as dark as the walls beside or around your screen.
  • A tripod to mount the Spyder5ELITE is required.
    The Spyder5 sensor has a tripod mount included in its housing. It is the same size your camera has on its bottom, so any camera tripod will work.



Now you can start with the calibration:



  • Launch the Spyder5ELITE or even the Spyder5ELITE+ software and select “Projector” via the “Display Type” menu.
  • In the Calibration Settings window select Gamma 2.2, native White Point (Do Not Adjust – Recommended) and for the Brightness also “Do Not Adjust – Recommended”.
    Alternatively you can also select a White Point of 6500 Kelvin, but be aware that this will reduce your front projector’s brightness, because one or two color channels will be clipped after the white point correction.
  • In the “Advanced Settings” select the Gray Balance Calibration “Off – Recommended”, which is required for front projectors that uses the DLP technology. On front projectors that using a different technology you can also select the option “Faster”.
  • Mount your Spyder5ELITE at your tripod and place the sensor at a distance of 30 cm / 12 inches in front of the screen. The senor’s honeycomb filter has to face towards the screen. The Spyder5ELITE software compensates the shadow the Spyder5ELITE create now on the screen.
  • Keep your room pitch dark during the calibration process to get the best results.


Joanie Simon in her home studio kitchen.Joanie Simon is a commercial food photographer and educator based in Phoenix, Arizona. She shoots for a variety of restaurants and creates crave-able images for food brands including their products in seasonally focused recipes. Self-taught, Joanie started in food photography as a food blogger. After sharing her images on social media and making connections with local restauranteurs and food-focused PR agencies, she booked her first paid jobs, leading eventually to a full time business. In 2017 she launched The Bite Shot on YouTube as an educational resource for those looking to start in food photography and to bring a niche community closer together.



Facebook: @joaniesimonmedia
Instagram: thebiteshot



Datacolor Ebook: Fundamentals of Color

You’d never know by looking at the racks of a retail store how difficult it was to get the garment to that stage. Unless you were part of the team responsible for getting it there, of course.


During this year’s Datacolor Textile Summit, one attendee shared that their company is transitioning from a 40-week to a 26-week product lifecycle. Another was facing the pressure of a 32-week development cycle.


These companies are hardly outliers. Retail brands are under constant pressure to condense their product lifecycle and respond to trends at record speed.


Which begs the question: Why does it take so long to bring a garment from a designer’s vision to shelves? It turns out, there are a lot of reasons. Here’s a sampling of the challenges our Textile Summit attendees are facing:


  1. Only 25-35 percent of colors from design actually turn into production orders.
  1. Chasing trends so quickly that there are often three completely different color palettes for one season.
  2. Time pressure leads to less accurate decisions that need to be fixed farther into the production process—leading to more time pressure.
  3. Throughout the production cycle, communication happens in the form of spreadsheet comments, calls, emails, or a combination of the three. As a result, a lot of things get lost.
  4. Excel data gets corrupted once every two or three years.
  5. The calendar is shortening so much that suppliers only have time for one round of lab samples.
  6. Pre-dipping could be useful for getting ahead of orders. But designers put in pre-dip requests for everything and there isn’t enough time for production.
  7. Requests to formulate new colors when there is already a close match in the brand’s library. Often, the final color is only different from the original by a couple of percentage points.
  8. Waiting for submits to come in from oversees, which adds 1-2 weeks to the calendar.
  9. Flying overseas each season to do on-site approvals and re-strikes.


Over time, digital color communication can help minimize many of these roadblocks and the pressure they cause. It can also help the production process move faster and likely cut costs as a result. To learn more about digital color communication, we’d recommend reading the following posts:



What are the biggest color development roadblocks your team is experiencing? If you’ve successfully overcome some of these roadblocks, how did you do it?


Send us a note at marketingdontlike@spamdatacolorcom.spam and let us know.


Datacolor Ebook: Fundamentals of Color

For more than 20 years, Kai Schwabe has specialized in the genre of food photography. He claims that with his photography, he plays with the senses and creates delicious photographs for well-known companies in the food industry. In fact, if you look at his pictures, the imagination plays a joke on you and you can almost smell the pizza or the coffee. You inevitably get an appetite.


His works include recipe taking and recipe development, food stills, beverage photography, food films, packaging and other advertising materials. Just take a look in your own fridge or freezer to find out that Kai Schwabe is not missing in any kitchen.



In order to play in this league he has assembled over time a well-versed team of food stylists and other professionals to meet his demands for sophisticated craftsmanship with artistic aesthetics and current trends. A 470 m² daylight studio provides him with the necessary space and his photographic equipment is state-of-the-art. For example, he can take pictures of up to 100 megapixels and use the comprehensive artificial light and film light equipment to put every delicacy into the right light, including razor-sharp effects and pleasurable slow motions. Of course, color management is mandatory and he uses the Spyder5 from Datacolor. We are not just talking about color here, but in the final consequences about feelings that you want to arouse. There are no compromises.


What particularly impresses and underlines his professional claim is the equipment “around it”. So is a show kitchen in the studio as well as a frozen food logistics and of course everything that you need to props for food shootings. According to own data far more than 50,000 props.



Food photography is an exciting genre that is subject to the constant change of time. In the past everything was photographed cleanly, today the usual look is more natural and lived, where crumbs and small “mistakes” do not disturb, but rather deliberately be used as stylistic devices.


The only question is, if a food photographer can go to a good restaurant, without complaining to the arrangement of the meal he gets served. This is most likely the flipside of the medal.



Connect with Kai Schwabe
Facebook: Kai Schwabe Photography

Bio: Dave has lived in New England and has been doing environmental landscape photography for the last ten years. From the mountains of New Hampshire and Vermont to the seacoast locations in Maine and Massachusetts, he looks for iconic locations during the best seasons with incredible light. He also strives to have each image communicate not only what is seen, but also how the location feels.


Dave is a member of the Boston Camera Club where he organizes and leads field trips for members. He has won numerous awards including:

  • 2016 Appalachian Mountain Club’s Image of the Year
  • 2017 1st Place in the New England Camera Club Council’s Fall Competition
  • 2017 Boston Camera Club Projected Image of the Year
  • 2017 Boston Camera Club Runner-up Print Image of the Year
  • 2017 St. Augustine Alligator Farm Image of the Year
  • 2018 Boston Camera Club Print Image of the Year
  • 2018 Boston Camera Club Photographer of the Year



Images have been featured in:

  • 2018 Boston Voyager
  • 2018 Discoverer e Travel Guide
  • 2018 Guide to Boston – February & April
  • 2018 St. Augustine Social Website
  • 2018 Visit Central Mass Guide
  • 2018 Cape Cod Magazine 20th Anniversary Edition


Dave lives in Shrewsbury, MA and speaks at camera clubs throughout New England on landscape photography and has recently published seven e-books (available on BlueHour Photo Venture’s website) for self-guided tours of New England and St. Augustine locations.


Photography Type: Landscape








By Eric Kruszewski


Bio: Eric Kruszewski is a photographer and videographer with National Geographic Creative who has traveled the world creating compelling editorial-style visual content for top organizations and media outlets. He is based in Washington, D.C. and has been recognized with awards from Travel Photographer of the Year and National Geographic.


On a random weekend several years ago, I wandered along The National Mall in Washington, D.C. to photograph its picturesque monuments. As I approached the World War II Memorial, I encountered and captured images of a dozen people dressed in period costume. They were WWII re-enactors and volunteers helping Honor Flight – an organization created to honor America’s veterans for their sacrifices and bring the veterans to D.C. to experience the memorials.


Years passed and one day I was going through my archive and saw those WWII images. Curious about the people’s stories, I reached out to the Honor Flight chairman and proposed partnering with a local magazine to do a photographic essay on the volunteers who make the veterans’ visit such a special experience. Excited to bring more awareness to the veterans and their service, the chairman invited me to be part of their activities. I captured the following images (link).



Tip: Meeting people and being able to tell their stories through photography are amazing opportunities. Always remain curious and open to new encounters. Don’t be afraid to ask questions. People’s answers might offer wonderful experiences. The worst they can say is “No.”


Veterans Day is an official United States public holiday that annually falls on November 11. This day is the anniversary of the signing of the armistice, which ended World War I. On Veterans day we honor military veterans; that is, persons who served in the United States Armed Forces and thank them for their services.


Connect with Eric Kruszewski
Instagram: @erickruszewski
Facebook: eric.kruszewski

Bio: I’m Savannah! I’m originally a SoCal girl that found herself living in and LOVING Vermont! How did that happen, you ask? Long story short, Stowe, Vermont is pretty much the cutest, quaintest, picturesque, straight-out-of-a-Hallmark-movie town, and it’s pretty tough not to love!


As much as I love Stowe, I also love to travel! I make it “home” to San Diego a few times a year but there is nothing better than getting out and seeing the world! That’s why destination photo shoots and weddings are totally my jam. When I’m not hiding behind my camera, you can find me out looking for adventures wherever I can find them. I’ve seen a volcano erupt in Ecuador and I’ve dove 140 feet down into the Blue Hole in Belize. But not all my adventures are so grandiose… I also completely dig local canoe camping with my mini tribe (my husband, son, and best dog ever Roxie Little) or going for a lazy drive on a road I’ve never been down.



I’m totally a go-with-the-flow type of gal, so I appreciate when I get to work with like-minded individuals. I believe the best images come from authentic moments, true emotions, and honest reactions. In every session I do I work with my clients to make those moments happen!


What lights me up? Getting to capture special times in people’s lives. I get to witness more love and excitement than I know what to do with, and it’s pretty amazing!



Photography Type: Portrait, wedding, commercial






By Eric Kruszewski


Bio: Eric Kruszewski is a photographer and videographer with National Geographic Creative who has traveled the world creating compelling editorial-style visual content for top organizations and media outlets. He is based in Washington, D.C. and has been recognized with awards from Travel Photographer of the Year and National Geographic.


I had never been to the Blue Ridge Mountains near Asheville, North Carolina, so when a photo editor asked me to document a rare weather phenomenon there – thermal inversion leading to a sea of clouds in mountain valleys – I had mixed emotions. I was excited to travel, explore the area and document the event, but I was also nervous that my lack of local knowledge would lead to not succeeding with the assignment. Fortunately, I had several weeks to research the area and prepare for the journey.


Knowing I would only have three days to capture the story, I gathered as much information about the area as I could before going. I discussed my needs with a local communications expert at Explore Asheville’s Tourism Office who was eager to share loads of advice. She also introduced me to two other local individuals – a photographer who intimately knew the mountains, and a scientist who studied the weather patterns. They were extremely helpful in determining the best time to arrive and selecting locations to see the weather phenomenon. Because of their assistance, I was able to capture these visuals.



Tip: When photographing a new destination, allocate extra time to scout locations. Ask the locals – most are excited to share information about the place they call home. Utilize Google Maps to see street-level or 3-D views. Download an application that shows the sun’s path – a good one is Sun Seeker – to help setup landscape images.


Connect with Eric Kruszewski






It’s pretty safe to say I’m not your typical professional photographer. While most photographers in this industry are known for specializing in one thing, I on the other hand have specialties in a several fields!


With a career spanning multiple industries from legal to information technology in both Canada and the United states, it took the loss of a great friend and a push from another to make the career change into photography. I had grown up a musician with a love for film and art, so photography was a natural progression. A few years after taking my first “real” photos, I’m now proudly residing in Las Vegas, Nevada & Los Angeles, California shooting freelance, creating educational content for Manfrotto and Macphun, as well as writing for Photofocus, Fstoppers, SLR Lounge, and Resource magazine.


In the past few years, I’ve served as Chapter Vice President of both the American Society of Media Photographers and the Professional Photographers of America, was a featured artist for RAW; Natural Born Artists, received two diplomas in film making, was published in over a dozen magazines, was the business development manager for Phlearn, and have won multiple awards for photography including the American Photographic Artists People Choice & the Victor Award for Outstanding Image of the Year from the PPA. My Film Noir series of images even inspired an episode of Warehouse 13 on the SyFy network!!!!



Photography Type: Commercial Portraiture / Advertising / Editorial
Facebook: @DavidJCrewePhotography
Instagram: davidjcrewe
Twitter: @davidjcrewe



Datacolor Ebook: Fundamentals of Color

In the textile and apparel industry, color can be the enemy of a short production cycle. Designers, merchandisers, suppliers and your color office all have a stake (and a say) in getting color right.


But we all know that color is only one part of the equation that takes a garment from inspiration to final product—albeit an important one. That’s why we posed the following prompt to attendees at this year’s Datacolor Textile Summit:


Fill in the blank: “My company sees color as…”


Here are some of their answers:


1. It’s an afterthought.


2. It’s often the last piece of the puzzle. Company decision makers don’t realize the amount of work that goes into making a change once colors for the season have been decided.


3. My company always starts with color. When designers bring concepts to the color team, we work together to find colors from our library that are a good representation of the design team’s vision.


4. It’s unpredictable.


5. The emotional, objective stage of deciding on a color palette causes bottlenecks.


6. It’s engaging. Our CEO knows that when a customer walks into a store, they see color first, then style, then fit.

The takeaway? If your team is struggling to show the importance of prioritizing color, you’re not alone. And it is possible to change how your company views this step of the production cycle.


But if we learned anything from this year’s Textile Summit, it’s that we need to work together to solve common color development roadblocks and communicate the importance of achieving the right colors as efficiently as possible. So we want to know…


  1. How does your company see color? Does leadership already make it a priority, or is there a lot of educating left to do?
  2. If you’ve successfully communicated the importance of color to company stakeholders, what worked for you?
  3. What can we do to help you communicate the importance of color to company stakeholders?


Send us a note at marketingdontlike@spamdatacolorcom.spam and let us know.


Want more? We recommend reading these posts next:



Datacolor Ebook: Fundamentals of Color

How do you reduce manufacturing costs amidst rising dye and chemical prices? Purchasing more efficient dyes might seem like the answer at first—until you go through several dye formulation rounds to get an approval. That process alone can cancel out any potential savings.


That’s because lab dips are expensive and can take up valuable time and resources when approached subjectively. But what if the textile industry overcame its skepticism toward digital color measurement and management? The cost savings—not to mention the time savings and quality improvements—could be dramatic.


In an article for Just-Style, Datacolor’s Todd Lee weighs in on the untapped potential of digital color management and why its adoption could be the key to alleviating the pressure from rising raw material and dye costs.


Learn more about our textile industry solutions here.


digital color management for the textile industry - datacolor

Landscape Photography – a comprehensive workflow


Finally, someone did it! EIZO Germany came up with this brilliant idea of shooting a series of YouTube videos that illustrate a comprehensive workflow in landscape photography. They travelled to Lofoten in Norway at the best time of the year to show and tell what a perfect workflow is all about – on location, that means in a setting that leaves you absolutely speechless. Photographic training has never been more pleasant and entertaining than this.



Datacolor is proud to be one of many partners who took part in this project to support Christian Ohlig, photographer, Product Marketing Manager at EIZO and former teacher at the Technical University in Cologne, and Serdar Ugurlu, a photo trainer and tour operator, who knows Norway, and especially Lofoten, like the back of his hand.


These two professionals have it all covered: from choice of equipment, location planning, and the right exposure, to how to use filters and how to compose an image, how to calibrate a camera and a display, and how to profile a printer. They’re also experts on printing theory, fine art papers, as well as soft-proofing and how to use ICC profiles.



But have a look yourself: enjoy the beautiful Norwegian landscape and get interesting insights, lots of tips and tricks on the photographic workflow and the best is, it’s all available for free!


With over 500,000 views for the German only versions of these videos in no time, EIZO decided to launch more language versions with voice-overs, including English.


Here is what the 6 episodes are about:


Episode 1: Choosing the right equipment and arrival

Episode 2: Location planning using different apps

Episode 3: Histogram and usage of graduated and ND filters


Episode 4: Analyzing a location – how to turn an impressive landscape into a stunning image

Episode 5: Camera calibration, display technology, and display calibration

Episode 6: Printer profiling, ICC profiles, paper and printer settings, and final print


Each episode lasts between 7 and 15 minutes. Check them out:

by John Walrath


When using a flatbed scanner to digitize photographs, the results are often not true to the original. This can result in need to make adjustments to each image. The SpyderCHECKR can be used with a flatbed scanner to create a more accurate scan. There are dedicated scanning equipment and software on the market but one of the goals in using SpyderCHECKR with one of the supported applications is to use the tools that a photographer has already.



Creating a preset adjustment for your scanner will reduce the need for manually adjusting each scanned image and provide you with the perfect starting point to work on an image once it is digitized.


Note – both the SpyderCHECKR and the SpyderCHECKR 24 can be used with a scanner. I will use the SpyderCHECKR 24 for demonstration.


First, place the SpyderCHECKR 24 on the flatbed scanner. It is best to make sure that the surface of the scanner is clean to minimize possible artifact removal in post-production. Close the scanner and open your scanner’s software. Scanner software will vary in their operation but for the settings you want to use a bit depth of 16 bits and TIFF format. For resolution, choose the dpi that you typically use and scan the SpyderCHECKR 24.


Open the SpyderCHECKR 24 image into Lightroom, Adobe Camera Raw or Hasselblad Phocus. The workflow for correcting the image and making a SpyderCHECKR preset is the same as the standard workflow for SpyderCHECKR. First, straighten and crop the image so the SpyderCHECKR 24 completely fills the frame. Next, click on the second gray patch (E2) with the White Balance eyedropper, adjust the Exposure slider so the white patch (E1) is 90% or an average RGB value of 230 and adjust the black patch (E6) to 5% or an average RGB value of 10 with the Black slider. Then, import or open the adjusted SpyderCHECKR 24 image in the SpyderCHECKR software and save the preset for the Raw editor you are using.



When you are done, restart the Raw editor.


Once the Raw editor is relaunched, it is time to create a preset for your scanner. This is an adjustment that encompasses exposure, white point, black point, contrast and color which you will apply to each scanned image. It will provide the best starting point for further image editing. For demonstration purposes I am going to use Adobe Camera Raw.


To create the preset for the scanner, open the adjusted file you used for use in the SpyderCHECKR software: this file contains the adjustments White Balance, White and Black points. Find the SpyderCHECKR preset you just created then apply it to this file. With the color correction applied, you now have the base corrections for the preset adjustment for your scanner. Save these adjustments as a custom preset.



With this custom preset, you can apply it to any scanned image to give you the perfect starting point for accurate image scanning.

A tale weaved in vibrant colors and pictures remain with the human mind – it being visual by design. After a brief stint as an R&D engineer at a reputed Product Development Company, towards the end of 2012, Neeta decided she had to make this vision a reality. Thus, Neeta Shankar Photography was born, a candid wedding photography and portfolio venture. Built on the tenets of uncompromising quality and commitment that Neeta honed in herself as an IT professional for 5 years, it has established itself as the one stop solution for Wedding Photography and Cinematography. Today, her IT education augments her photography but it is photography that gives her creative expression; enabling her to weave timeless memories out of real moments.


Apart from being a talented photographer, an Entrepreneur, Creative Director, and a Mentor and Inspiration for aspiring photographers, Neeta is also a Social Media Influencer with a staggering following of more than half a million people across her social networks.


Neeta is an avid traveller, loves reading and enjoys long drives. She also loves teaching and conducts workshops and Photo-tours across India.


1. How did you get started in photography?


It is a classic tale of curiosity leading to genuine interest and a cherished profession. When I picked up the camera in 2010 to document some of my travel, I never thought I would take up photography full time. Photography intrigued me right from the beginning and in a couple of years, I decided to take this up as a profession.


During my initial days as a landscape photographer, I realized shooting portrait of people and moments appealed to me more and that is when I decided to move into wedding photography.


2. What type of photography are you shooting and what motivated you to focus on that genre?


I shoot Weddings and Lifestyle. Indian Weddings are rich, colorful and abundant in emotions and moments and as a photographer, I cannot ask for more. I strive to create timeless memories for my clients which are candid, emotional, offbeat and fun.



3. Who and / or what inspire you most?


As photographers, we are creating heirlooms for our clients. Something they will look through for generations to come. The power to capture authentic emotions and create memories for someone is wonderful and is something that keeps us inspired and going.


The rush people get when they do what they love is the same rush we get while documenting a wedding day. Connections that we get to capture and the connections we make during the shoots also keeping us inspired.


4. What are the important factors to produce consistent professional quality work for your clients?


  • Careful Planning
  • Continued focus on improving skills
  • Following pre-defined process for post-production workflow
  • Constant re-evaluation of the work.



5. How did you come across color management and how it has helped you to produce high quality work?


I came across color management around 5 years ago when I started printing out photo books for clients. I realized how important it was to maintain consistent colors across screens and different media to get the best print quality. My style of photography is vibrant and colorful and color management has helped me represent it accurately on print.

6. What are the benefits of accurate color reproduction and how are you using Datacolor products within your workflow?


Accurate color reproduction has ensured consistency in our work and it has ensured that our style is preserved perfectly in prints. We have multiple screens in our office and we have been using Sypder-4 and now Spyder-5 to calibrate all the screens regularly.


We as a team sometimes work on a single project across different machines and screens and getting the colors right and consistent is one of the most important aspects in such scenario. Color management or ensuring all the screens are calibrated perfectly helps us take care of this.


7. Any tips or advice for photographers just beginning their career?


  • Explore different genres and find the ones that you love early on. It helps you concentrate and deep dive into them.
  • Photography is lot of hard work. Like any other field, you put in the time to reap the benefits later. There is no overnight success and it takes dedication, skill and hard work together to achieve success.
  • Focus on learning and improving your skills every day. Never stop learning.
  • Invest smart and in the right tools of trade to make your workflow easy.


Facebook: @NeetaShankarPhotography
Instagram: neetashankar
Twitter: @neetashankar