DPP Home Past Issues January-February 2006
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January-February 2006

January/February 2006


  • Building A Pro Workstation

    What to consider when upgrading your Macintosh or Windows hardware

    Whether you prefer Macintosh or Windows, keeping your hardware up to date is essential to take full advantage of the latest software and peripherals. Photography is a competitive business, and current equipment helps ensure that you can meet your client's demanding deadlines and deliver impeccable images without a hiccup.

  • January-February 2006

    New Tools Of The Trade

  • Securable Memory Cards

    LockTight technology has some interesting possibilities and ramifications for professional photographers

    Because photography is used as evidence in courtrooms and relied upon for strict documentation in fields like insurance and medicine, there has always been a need to apply a measure of security to the images in these fields. With the rise of digital photography and the early suspicions about rampant image manipulation, keeping these images secure has taken on a renewed urgency.


  • Brian Kuhlmann - Life Of The Party

    With a studio at the gateway to the Old West and the American Frontier, Brian Kuhlmann's St. Louis operation lands big clients who are drawn to his high-energy style

    A commercial photographer faces a host of challenges in running a profitable business, and those obstacles actually can be compounded as the photographer achieves more success. Whether it's pressure from demanding clients, the technical challenges of mastering a large-scale digital workflow or simply fighting to keep the jobs from going stock, success can bring its own set of headaches. For St. Louis-based photographer Brian Kuhlmann, those challenges include the task of courting clients who are used to taking their jobs to New York or Los Angeles.

  • Jeffrey Green - Viva Las Vegas

    Jeffrey Green relies on a minimalist collection of lighting gear and the latest digital cameras to photograph efficiently and to get the shot the first time

    There's much to be said for being a big fish in a small bowl. The explosive growth in Las Vegas in recent years has created opportunities for the relatively small group of top-tier pros who live and work there. Jeffrey Green is a multifaceted photographer who has garnered a reputation for getting the shot efficiently and getting it the first time.

  • Michael Thompson - An Eclectic View

    Like the very best fashion photography, Michael Thompson's vision is defined by looks and styles, which are in a constant state of flux

    While there's no shortage of aspiring fashion photographers today, few have garnered the praise of art directors, fashion editors and fellow fashion photographers as much as Michael Thompson. His work is original and captivating, and in his book, Images, every page shows a visual sensibility of an artist at the top of his creative game.


  • Local Correction

    Strategies for selectively lightening and darkening an image

    This is the first iteration of a new Digital Photo Pro column from John Paul Caponigro, a master photographer and artist who teaches workshops, writes books and lectures on Photoshop technique. In each installment of (R)evolution, we'll examine a technique for improving your photographs. By focusing on a single problem in each column, we hope to show you the depth and power of some of the tools at your disposal in Photoshop.


  • A Look Through Aperture

    Developed quietly and unveiled dramatically, the new image workflow software from Apple is a professional application that handles RAW files in a novel way to put some speed in your digital work

    In October 2005, amid the backdrop of the PhotoPlus trade show in New York, Apple unleashed a new software package for professional photographers: Aperture. Developed secretly and introduced with the usual flair for the dramatic that's now synonymous with an Apple product announcement, the new application has generated more excitement than just about any other software product in quite some time.


  • It's About Sexy, Not Sex

    If you want to have the respect of your models, give them the respect they deserve—and leave the rose at home

    “Are you gay?” The question came from an 18-year-old model wrapped in a partially see-through blouse. “No. Why do you ask?” I responded. She explained that in spite of my being very young, backstage at a fashion show and surrounded by stunning half-naked women, I was acting surprisingly professional. I was 19 and on the first fashion assignment of my career.

  • Offsite Asset Management

    New services do much more than provide safe storage for your image files

    For the past few years, we've been operating under a sort of ad-hoc series of image-delivery options. Falling back on the usual way of doing business, professional photographers have sent digital files to clients on CD or DVD or, more recently, have used the Internet and FTP technology. Image management, storage and delivery will become a more streamlined and standardized process in the future. Some of the leading companies are already moving to act like a hub in a wheel, interfacing between the photographer at one end and the client at the other.

  • On The Set With Douglas Dubler

    Creating a cover image for a major magazine, Douglas Dubler accepts no compromises

    As a beauty photographer for the last three decades, my obsession has been for ultra-high quality in the images I create. When film ruled, my primary tool was a Mamiya RZ67 Pro II fitted with a Mamiya 210mm APO lens and Fujichrome Astia film. That combination gave me the sharpest image with the most neutral skin tones possible.

  • The Keys To Proper Print Display

    There's an art and a science to framing photographs. Steve Gorman is a professional photographer who also runs one of the most respected framing shops anywhere.

    When I was growing up, my parents had a framer. I don't mean we went to a framing store like Aaron Brothers; I mean we had a framer. He was an artist by trade and had opened a small framing shop where he'd contemplate the perfect complement to whatever new piece of artwork came in from his clients. The shop was small and cluttered and, as a kid, I was admonished not to touch anything—an impossible request of a boy surrounded by such cool props as mat boards, framing rails and specialized tools that he had never seen before.


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