DPP Home Past Issues July-August 2005
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July/August 2005


  • 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.

  • Security

    For security and convenience, take a copy of your photo library with you

    Think “insurance policy.” Your digital files are your most important asset as a working photographer. No matter how secure your studio or how frequent your backups, if you lose your images, you lose income.


  • Kevin Foley - It's In The Light

    Kevin Foley wasn't just an early adopter to digital, he went all in—and it's paid off in spades

    We've spoken with plenty of photographers who are undertaking a switch to digital. The usual story is that the transition involves a certain amount of shooting both film and digital on the way to establishing a more overall digital workflow. If that's the usual pattern, Kevin Foley is charting his own course by going all digital all the time…and that's a chart he set several years ago.

  • Nels Israelson - Lights, Camera, Action

    Nels Israelson does more than put the public face on Hollywood's biggest blockbusters. He sculpts light and creates a distinct mood that makes his photographs stand out.

    L.A. photographer Nels Israelson's biggest clients are the Hollywood studios who call on him to photograph the eye-catching ad campaigns that promote their movies. Many of these images, like the shots he did for last year's summer blockbuster Spider-Man 2, are so painterly that many viewers may not recognize them as photographs. Israelson shoots these assignments knowing that there will be extensive postproduction processing of each image, and it dictates every move he makes in the studio—from the lights he uses to the lenses he selects. Every decision is made to provide the precise elements he thinks he'll need for compositing in the computer, yet also allow enough room for creative experimentation down the line.

  • Tyler Hicks - Into The Combat Zone

    While New York Times photographer Tyler Hicks takes pictures of some of the most hellish events on the planet, he manages to capture moments that reaffirm life in the midst of violence and death

    Ground Zero. Kabul. Baghdad. Banda Aceh. In locations such as these, Tyler Hicks thrives as a photographer. He's working at the forefront of the digital-imaging revolution, quickly adapting the latest digital cameras, storage solutions and networking technologies to his needs—then pushing them beyond their limits. As a New York Times photographer, Hicks has traveled alongside the Northern Alliance in Afghanistan and worked as an embedded press photographer with U.S. soldiers in Iraq, documenting with digital precision the new conflicts of the 21st century.


  • Digital Asset Management

    Keeping track of the images that pay the bills requires a foolproof system

    Film required a simple filing system. Mine consisted of slide sheets grouped by subject and stored in a file cabinet. I maintained simple notes on the slide mounts for dates, subject and location, plus a basic database. This worked well for me—until I went digital.

  • Proper Printer Resolution

    Myth: Pixels equate to ink droplets

    You may have been told that you have to use a high image resolution (most commonly given as 360 ppi or pixels per inch) in order to get the best inkjet prints. Or perhaps someone has instructed you to use something much lower, maybe even 200 or 180 ppi. Who's right? Is anyone absolutely right?


  • Build A Book To Blow Away The Buyers

    Promote your photography with a short-run publication

    There's much more to a successful photography business than taking a pretty picture. It's a business where there's no shortage of shooters who produce consistently excellent work. In this competitive environment, you need to step from behind the camera and market yourself to create an awareness of you and your work. For some, this takes the form of a promotional card that's sent out to thousands of current and hopefully future clients. For others, it involves the production of short-run bound books designed to serve as an introduction or a refresher of a photographer's work to a client.


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