Apple’s new standard for displaying colors will change photography—again
By David Schloss
The representation and display of color is at the heart of everything a photographer does, yet the devices we use to capture and view that color are inherently flawed. Monitors have a limited range of what they can display and they operate on a different system of color reproduction entirely from photo printers and offset presses.
There have been several...
The heart of any digital capture system is the image sensor. Incredibly fast-paced improvements in resolution and performance have brought us to a point where the next quantum leap is on the horizon.
CMOS And CCD
Digital cameras—smartphone through pro medium-format—use one of two types of image sensors: CMOS (complementary metal-oxide semiconductor) or CCD (charge-coupled device). Early digital cameras used CCD because it produced better image quality and was easier to make using the technology of the time and, basically, was the only type...
Massive prints don’t always need massive megapixels.
By The Editors
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. The...
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.
By David Willis
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...
Apple’s new MacBook Pro and LED Cinema Display are a sleeker, faster and greener solution for the fluid studio
By Wes Pitts
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.
Digital archaeologists may someday need a Rosetta Stone to decipher image files.
By The Staff
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...
The difference between a technically solid photograph and a real winner that makes clients stop for a closer look is a matter of style
Text And Photography By Richard Lopinto
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!...
Wireless flash systems give more freedom when it comes to creative lighting
By The Editors
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. The differences that exist...
New 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
By Simon Wakelin
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...
The 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.
By David Willis
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...