DPP Home Past Issues July-August 2007
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July/August 2007


  • Comeback - Medium-Format Resurgence

    Medium-format is experiencing a resurgence. The dire predictions of a few years ago are being replaced by guarded optimism amidst higher-resolution products that are more portable and more affordable.

    Thanks to the steady rise in quality and popularity of 35mm-format digital SLRs, medium-format manufacturers have spent much of this decade fighting for their proverbial lives. Add to that the early limitations of high price and low portability in its digital systems, and medium-format seemed poised to disappear.

  • July-August 2007

    New Tools Of The Trade

  • Nikon D3

    Nikons new flagship model offers full-frame sensor, high-speed capture, and advanced metering and auto focus systems.

    Designed with sports photographers and photojournalists in mind, the Nikon D3 introduces an astounding list of brand new features and technologies that make it the most sophisticated and advanced Nikon digital SLR to date. In addition to the new FX-format CMOS sensor, the D3 incorporates Nikon's new EXPEED Image Processing System that is central to the blazing speed and processing power needed for many of the D3's new features.

  • The Future Of Memory

    SDHC and CompactFlash are the dominant formats for today's D-SLRs, but whether or not that will continue indefinitely is an open question for professionals

    Memory cards keep getting smaller in size, higher in capacity, faster in sustained read/write speed and lower in price. What other directions will they take? Which format is most likely to predominate the professional photography market, and what will we see at Photokina 2008?


  • Holger Maass - The Idea Comes First

    German photographer Holger Maass is an artist whose surrealist images are firmly grounded in photographic and digital technique

    One can't merely look at a Holger Maass photograph; one is visually transported into a different place and time, not necessarily of this world, bringing to mind the quote, “I reject your reality and substitute my own.” Maass' photographs are more like snapshots of the deepest fantasies and dreams one has while lost in thought in a magical world only existent in your imagination—or in his imagination.

  • Jean-François Rauzier - The Image Is In The Details

    Jean-François Rauzier's Hyper-photo composites are extraordinary in size, in vision and particularly in detail.

    "On Time,” Jean-François Rauzier's gargantuan 32-by-66-foot panorama composed of several hundred seamless images of clocks, cliffs, buildings and ocean, is emblematic of the hours upon hours Rauzier spends to capture, compose and edit each of his Hyper-photo dreamscapes. In the photo, a man in black stands alone amidst a beach comprised entirely of clocks, thousands and thousands of clocks.

  • Stan Musilek - Mixing It Up

    Taking advantage of the latest digital capture and postproduction tools keeps Stan Musilek's work fresh and evocative

    How would you like to completely master studio lighting, develop your own highly refined and ever-evolving visual style, pick your clients and assignments, work comfortably in exciting locations and in your 10,000-square-foot, two-story converted factory studio in San Francisco, where you spend eight months of the year when you're not living and working in Paris? You wish you were Stan Musilek.


  • Digital Autopilot - How To Use Photoshop Actions

    Use Photoshop Actions to delegate the drudgery

    I'm a digital photographer, not so much because of the digital part, more for the photography. I prefer shooting, but I don't mind the challenges of digital imaging that can take a photograph from good to great. The problem is that shooting and retouching are only part of the equation. So much time is spent managing files—downloading, archiving, proofing, processing—that repeating these tasks on a daily basis is bound to drive any photographer to a realization: automation is essential.

  • Double-Processing White Balance

    Whether your goal is perfect neutrality or creating an effect, you can use this technique to refine the colors in your images

    Not all white lights are the same. Differences in white light are commonly described by their color temperatures (rated in Kelvin). The lower the number, the warmer the light; the higher the number, the cooler the light. Light temperature has a significant effect on exposure, calibration, printing and display.


  • Photoshop Lightroom, Part 2

    Although Photoshop gets all the glory, in Photoshop Lightroom, Adobe has created a tool that will help professionals take control over their image libraries and catalogs of work

    Photoshop Lightroom was one of the most highly anticipated software packages ever for professional photographers. It's not a stretch to say that in an era when organization and efficient workflow are paramount, Lightroom probably captures more attention than even the new release of Photoshop CS3. Lightroom isn't meant to be a replacement for Photoshop. It's meant to exist side by side with the heavy processing power of Photoshop as a tool to help you efficiently handle workflow and many of the routine image-processing tasks.


  • Next-Generation Networking

    For wireless networking in your studio, Apple's new AirPort Extreme offers a major upgrade of performance and features

    For the ultimate wireless networking experience, Apple has completely reinvented the AirPort Extreme. Its flagship router got a major speed boost, plus new functionality that can improve your workflow. If you're already wireless or thinking about making the switch, you can take advantage of the latest wireless networking technology for about $200.

  • Professional Rental Studios

    From the economic advantages to the benefits of good on-site support, DPP recently spoke with a number of veteran studios to get the inside take on renting the right studio space

    A personal studio is a luxury these days, largely impractical and far too expensive for most. With leasing rates and real estate prices beyond ridiculous, revenue going down and a high percentage of shoots being done on location, a growing number of photographers find it's better to rent what they need, where and when they need it.


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