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.
Monday, June 18, 2007
The Futility Of CMYK
Myth: A big color space with 16-bit color guarantees visibly better results on a printed page
I wish that were true. The printed page can be a frustrating place for a photographer. Sometimes images look better there, sometimes worse. Like many photographers, I once thought a publication simply took an image, “translated it” into printing plates of some sort, then worked to match the photo to the page. With that line of thinking, it's easy to then believe that a photo should perfectly match its printed version; if it doesn't, someone screwed up.
Monday, June 18, 2007
The Digital Negative Format
Adobe's proposed standard RAW file format could be the key for the long-term protection and viability of image files
Adobe Systems, Inc., has announced a standard RAW file format initiative called Digital Negative (DNG). Since Photokina and Photo Plus Expo last fall, there has been much discussion regarding DNG with a certain degree of skepticism exhibited by photographers, camera companies and the photography industry in general. Why did Adobe, a software company, introduce a standard RAW file format and what are its motives? Are camera companies going to adopt the standard? The most important question to many photographers is, Why should we care one way or another?
Friday, June 1, 2007
What's Next For Professional D-SLRs?
In the top echelon of digital cameras, we're seeing a change in priorities from the major manufacturers
In March, the photo industry made its annual pilgrimage to the Las Vegas Convention Center for the Photo Marketing Association trade show, PMA. This year at PMA, the story for professional photographers was particularly interesting. In recent years, the rumor mill prior to PMA had been working hard, as cameras, software, printers and accessories were being unveiled in droves. At the high end where professionals make a living, recent years have been particularly fruitful as nontraditional players have leapt into PMA, making big splashes with revolutionary products, and at the same time, the "usual suspects" of the industry have used the show to make their biggest product announcements.
Thursday, May 31, 2007
Is There A Medium-Format Digital In Your Future?
When it comes to ultimate digital image quality, nothing beats medium-format cameras and digital backs. The word 'medium' might be tepid—the image quality is anything but.
Issues of size have always impacted image quality and changed the course of camera design. In the days of film, larger cameras delivered the best image quality, while smaller cameras provided portability and ease of use. Medium-format cameras have long been a popular professional choice because they strike an ideal balance between quality, portability and ease of use.
Wednesday, May 30, 2007
All About Image Sensors
At the heart of every digital camera is an electronic marvel
Millions of photographers are purchasing digital cameras every year, and all of them seem to understand the direct correlation between a camera's sensor and the resulting quality of their photographs. That knowledge is common, but too often cursory.
Wednesday, May 30, 2007
The Bit-Depth Decision
8-bit versus 16-bit workflow is among the least understood aspects of photography for most professionals. This primer will get you up to speed quickly.
Within the field of photography and digital imaging, a number of debates are argued by users and experts: Nikon versus Canon, Mac versus Windows, zoom versus prime lens, RAW versus JPEG—the list goes on and on. Add to that 8-bit versus 16-bit. What's the difference? Is the controversy useful or viable? After reading our primer, you'll have a better idea about where to stand on the issue.
Tuesday, May 29, 2007
The Road Ahead
With the staggering number of recent changes in the camera industry, professionals are suddenly looking at a shifting group of manufacturers who will be producing the tools of the trade
Shakeouts, sell-offs, curious partnerships and bankruptcies—what in hell has been going on in the photo industry? Over the last five years, beginning in 2002 with the forced liquidation of Polaroid's assets, we've seen some strange realignments, consolidations and collaborations. For example, in January 2003, Konica acquired Minolta Corporation. Three years later, the newly formed company completely withdrew from the camera industry (although it's thriving as a business equipment manufacturer). So what's really going on?
Wednesday, May 23, 2007
Do You Need A Full-Frame D-SLR?
There are significant advantages to D-SLRs that are designed around sub-full-frame image sensors. Before you decide that only full-frame will do, consider all the angles.
For the better part of the last three years, one of the biggest buzz topics for pro photographers going digital was the full-frame camera—an SLR with an image sensor that's physically the same size as a frame of 35mm film. Along with the implication of higher resolution, these cameras have the added benefit of not requiring users to apply a magnification factor to their lenses in order to determine the apparent focal length. In the past few months, however, several advancements call into question the superiority of the full-frame sensor.
Tuesday, May 22, 2007
Next-Generation Medium-Format Cameras And Backs
The reports of the death of medium format in a digital age seem to have been greatly exaggerated
If you're reading this, there's a good chance you own a digital camera. That's a rather safe assumption, as digital cameras have become a regular part of the modern professional photographer's life. It's not equally safe, however, to assume that most pros shoot digitally with a medium-format camera.
Contender: Nicholas Mele
It can happen in an instant
Contender: Cindy McDaniel
Going underwater for an unpredictable look
Contender: Martin Christopher
“Angel Face” was photographed for a local hair salon’s ad campaign
Contender: Bruce Roscoe
Meticulous attention to the lighting creates strong chiaroscuro and a dramatic effect
Contender: Kevin Ziechmann
Reality and photography collide in this self-portrait
Contender: David Miller
Rendering a split look in a “Frankenstein” photo
Contender: Jeff Nadler
Black and white film and natural light gave this image its distinctive look
Contender: Jessica Christie
Capturing emotions and creating a retro look
Contender: Laura Bello
A little bling and vibrant color demand a viewer’s attention
Contender: Dhrumil S. Desai
Style and substance came into play in making this warm-toned black and white portrait