LightSource Podcast Interview Series

E038 Expodisc

In this edition of LightSource, Bill and Ed talk with the ExpoImaging team, makers of the Expodisc.

Hosts:

Bill Crawford, publisher of StudioLighting.net (Flickr)
Ed Hidden, exclusive IStockPhoto.com photographer (Flickr)

Special Guests:

Eric Sowder and John Baker from ExpoImaging, makers of the Expodisc

ExpoImaging

Expodisc


LightSource Episode 38 (Interview Series) [51:52 minutes]

 

 

LightSource E038 [23.8 MB]Download this episode


In this episode:

Bill and Ed discuss:

Special Guests, ExpoImaging discuss:

  • Taking your camera off of auto white balance
  • How white balance works in your camera
  • Target cards for white balance
  • Advantages of the Expodisc
  • Using the Expodisc in the studio
  • Color balance from white paper
  • Portrait Expodisc
  • Using Expodisc with filters
  • Color balancing during sunsets
  • ExpoAperture guide
  • Dust mapping your sensor with the Expodisc
  • Turning your camera into an incident light meter
  • Where to buy Expoimaging products
  • Where to get hands on time with Expoimaging

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3 thoughts on “E038 Expodisc

  1. Erik J. Barzeski

    I found this most recent podcast to be one of the most unusual ones I’ve heard from you guys. I’ve yet to see the allure of an ExpoDisc. Instead, I prefer the WhiBal card, a spectrally neutral card that’s a bit lighter than the 18% grey cards.

    When shooting landscapes, you don’t have to put the WhiBal a quarter mile away – it’s daylight. You take a quick shot – doesn’t even need to be in great focus – of the WhiBal in the same light. It’s very easy. What can you do with the ExpoDisc? Point it at the sun? It’s probably called “Expo” for a reason – it’s primarily for indoor lighting.

    After shooting with the WhiBal, and in post-processing (I use Aperture), you set the white balance and then “stamp” the changes to all the other shots. With Lightroom you’d just sync the changes. If you take a WhiBal shot every time your lighting changes (oftentimes that’s only once per day or once in a shoot), you’re set.

    The WhiBal is a little better at handling mixed lighting. You should have the guy that makes the WhiBals on your next show for balance. With all the publishing he does – his free tutorials and whatnot – I can’t imagine he’d pass up the opportunity to be on your show.

    Finally, and perhaps most importantly, isn’t custom white balance rather irrelevant unless you’re shooting JPEG (or making determinations based on the embedded preview JPEGs). If you shoot RAW. I can change the white balance in my Canon XTi and 5D and shoot the same scene. The RAW files all look exactly the same.

    I enjoy the show tremendously, but I found this episode to be lacking.

    P.S. “Subscribe to Comments” functionality would be nice. I’ll submit this then have no idea if anyone replies.

  2. Debbi

    This one was like an hour of advertisements. If you shoot RAW, I just don’t see a need for this product. This is the first episode I was disappointed in. Where is a LADY Photographer? There has to be someone who you can interview.
    Debbi

  3. Jim Worthington

    I have listened to all the episodes and this was one of my favorites – very thought provoking. It inspired me to research both the ExpoDisc and the WhiBal. I hope that you will interview Michael Tapes about the WhiBal in a future episode.


1950's SHINANO PIGEON 35 MM CAMERA 1: 3.5 f= 4.5 cm JAPAN wi Case - Mid Century picture
1950's SHINANO PIGEON 35 MM CAMERA 1: 3.5 f= 4.5 cm JAPAN wi Case - Mid Century
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BRITISH RAF CREW MEMBER HOLDS CARRIER PIGEON - 1942, WWII REPRINT PHOTO
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CIRCA 1918 WORLD WAR ONE PHOTO - BRITISH SOLDIERS FEEDING HOMING PIGEONS 5 by 7
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BRITISH ARMY RELEASES CARRIER PIGEON DURING WWII BATTLE - 5" by 7"
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CIRCA 1914-1918 REPRINT PHOTO - SWISS OR GERMAN TROOPS WITH HOMING PIGEONS