DPP Home Past Issues January-February 2007
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January/February 2007




Gear

  • 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.

  • Hi-Tech Studio: Digital Photo Gallery

    Go beyond the conventional and display your work with a flat screen or a projector

    Landing an exhibition at a prominent gallery remains among the most coveted achievements for any photographer, but between booking work and keeping up with the day-to-day tasks of running a business, there's not always a lot of time left to shop your work around to gallery owners. Many photographers treat their studios as a de facto gallery space over which they have complete control. These “exhibitions” serve as a way of giving everyone who comes to the studio a look at what you can do.

  • January-February 2007

    New Tools Of The Trade

  • 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.

Profiles

  • Lionel Deluy - Hi Energy!

    Lionel Deluy's signature style comes from a mixture of furious action on the set and creative work in Photoshop

    "I like to go fast! You know? High energy—boom, boom, boom, click, click, click. Fast! Otherwise, you lose momentum and people get tired.” Fast. High energy. These adjectives embody the attitude and shooting style of Lionel Deluy, but not the man. When he puts down the camera, I find a relaxed and extremely down-to-earth guy who you can't help but like.

  • Pete Turner - The Dr. No Of Photography

    Pete Turner remains at the forefront of experimentation with new technology to create his most striking color images yet.

    Pete Turner's home, at the farthest end of Long Island, N.Y., is exactly the way one would imagine it to be: full of brilliant colors. Bold red curtains hang over the windows, bright blue seat-cushions cover the wooden dining room chairs and an oversized rainbow-colored umbrella sits in a bucket in the entryway. In the front hallway, a red sofa shaped like lips is reminiscent of Turner's iconic “Hot Lips” photograph created in 1967 for the cover of an album, Soul Flutes: Trust in Me.

  • Sara Remington - Good Taste

    The art of food photography comes to fruition in Sara Remington's imagery. Simple, dynamic photographs are hallmarks of this young professional's work.

    The soft, pure image of simple, rustic foods is something to which any one of us can relate. It perhaps conjures memories of childhood picnics, of spending hours in the kitchen with relatives working over a piping-hot stove, of a first date with a special someone where you dined over candlelight with exotic-sounding produce and fruit de mere.

Technique

  • Printer Shot

    When Epson approached Jeff Schewe to photograph their latest professional printer, they wanted something different

    This story started last spring when I received a phone call from Dan (aka Dano, as in “Book 'em, Dano”) Steinhardt from Epson, asking me if I might be interested in doing a shot for Epson. At the time, he was his usual circumspect self, hinting that the “thing” I might be shooting was bigger than a breadbox and would sit on a desk—yeah, like I didn't assume it was a printer—but he steadfastly refused to allow the discussion to progress to further speculation on my part. I said yes.

Business

  • How To Work With Models

    As photographers, we should pause and occasionally remind ourselves that the life of a model isn't all manicures and massages. They're among the hardest-working people in our business.

    The symbiotic relationship between photographer and model is the rough equivalent of the relationship between ocean coral and their companion algae—take one away and the other will die. Forget the supermodels, those pampered darlings who end up on reality TV shows and bear little resemblance to the vast majority of models who end up working long hours for modest sums. Like any glamorous business, the reality of the modeling world as a whole is far more interesting than the glimpse most people catch on America's Next Top Model.

 

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