Digital Imaging Tech
When it comes to digital imaging and photography there are a lot of variables. Trust our articles on digital photography technology to make sense of pixel counts, file formats and everything in-between.
Misinformation: Printing TechMassive prints don’t always need massive megapixels  One of the arguments from manufacturers in the great megapixel wars is that to get a larger-than-life print, you need a ton of sensor resolution. While it’s true that the pixel count of the sensor largely will determine the acceptable image and print size, it’s not true that the more pixels you have, the bigger and better prints you’ll get. Read More...
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Misinformation: Camera Tech  It’s as close to a law in photography as anything that photographers interested in producing the best possible black-and-white images should capture in color. Thanks to digital, shooting in color maintains image information that’s basically thrown away when you capture directly in monochrome or hue modes. Saving this information gives you a lot of flexibility during the conversion process, including such perks as enhanced tonality and the ability to return to a color image if so desired or needed. Read More...
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Hi-Tech Studio: Workstation To GoApple’s new MacBook Pro and LED Cinema Display are a sleeker, faster and greener solution for the fluid studio  In a 24-hour world, work doesn’t wait quietly at the studio. For agile photographers who need consistent software and display performance wherever they are, Apple’s recently introduced MacBook Pro and companion 24-inch LED display make an intriguing combination as a possible do-it-all combination and desktop workstation replacement. Read More...
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Misinformation: Archival TechDigital archaeologists may someday need a Rosetta Stone to decipher image files  Backup strategies are a well-covered topic, and for good reason. From floods to fires to file corruption, there are innumerable ways that a digital file can be destroyed. Thanks to the ease of duplicating dig-ital images, however, circumventing these problems is often as easy as pushing a button. So your images are safe, as long as you use a variety of methods for backing them up, right? Read More...
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Stylize Your Images Using Digital FiltersThe difference between a technically solid photograph and a real winner that makes clients stop for a closer look is a matter of style  What makes winning images win? Apart from the opportunities and advantages that are afforded by huge leaps in digital technology, one point stands out, as always—style! Today’s light-meter technology helps ensure technically correct exposure, but it’s personal insight and style that bring the exposure to a higher level—being aesthetically correct! The same can be said for the aesthetics of composition, color treatment, focus, contrast, balance and every other aspect of an image that strikes your eyes and grabs your mind. Aesthetics and style help make an image stand out. Read More...
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Hi-Tech Studio: Triggering The LightWireless flash systems give more freedom when it comes to creative lighting  There are two main categories of wireless flash control: standard optical slave triggering and the more modern and more versatile radio transmitter/receiver triggering. Both provide us with a variety of control over flash setups, whether it’s firing multiple compact flash units or the more powerful strobes and power packs. Read More...
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Go Large With High-Tech PrintersModern large-format printers are cost-effective and give you the opportunity to make exhibition-quality prints right in your studio  Many photographers are looking to control the entire process, from capture to output, these days for a number of reasons, including quality, price and turnaround for clients. While most studios have at least a 13x19 printer in-house, larger work is often sent out to a lab or service. Large-format printers have had the reputation of being expensive and demanding to operate, and it’s just one more thing to pull you away from the camera. Read More...
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The Fall And Rise Of Medium FormatNew technology, a commitment to developing the very best image quality possible and a thriving rental market all have contributed to a renaissance in the digital medium-format category  It's no secret that the medium-format industry has experienced dramatic changes since the advent of digital. Open camera systems (think Hasselblad's H2 series) became closed, leaving players such as Phase One and Leaf no access to Hasselblad's systems. Additionally, the disappearance of beloved medium-format models signified harsh times in the sector as Contax, Bronica and Pentax fell by the wayside.
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DPP Solutions: A Look At DNGThe DNG format was supposed to be the future, an open standard for RAW files that every manufacturer could use. Here's a look at how the revolution has panned out.  On September 27, 2004, Adobe announced the Digital Negative Specification (DNG), a file format that was supposed to unify the cluttered atmosphere of proprietary RAW file formats by offering a non-proprietary template that would act as a universal raw file. The DNG format was released, free from any legal restrictions or royalties as an open-source file for hardware and software designers to generate, process, manage and archive RAW images for any program, from any camera, and easily accessible as an archive at any time in the future. Almost four years later, DNG hasn't found the ubiquitous acceptance the industry had called for, but there's growing hope for the future.
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