DPP Home Past Issues July-August 2008
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July/August 2008




Gear

  • DPP Solutions: Setting Up Redundant Storage

    A look at the extensive possibilities of external hard drives as a digital photo archive

    The ideal goal of any image management is simple: keeping finished images at arm's length without them being in the way. The solution is a little more complex, however. There are a variety of ways to achieve this goal, but at the core, methods for image archival should offer a strategy that you're comfortable with, doesn't consume a lot of time or processing power, and makes you confident that the images you've saved will remain safely stored and accessible from start to finish.

  • Hi-Tech Studio: A Camcorder Primer For Photojournalists

    As camcorders continue to evolve, so does the opportunity for photojournalists to create high-definition video essays alongside their D-SLR work

    Photojournalism is in a period of transition. While many photographers continue to image solely with still cameras, others are finding video to be a necessary supplement to their work. Video is being used to deliver news stories for blogs and websites, as well as for traditional broadcasts. Motion capture also is taking the form of individual video stills published in print and online. Here, we cover some of the new high-definition video cameras a photojournalist might find useful for getting into videography.

  • July-August 2008

    New Tools Of The Trade

  • The Fall And Rise Of Medium Format

    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

    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 times in the sector as Contax, Bronica and Pentax fell by the wayside.
     

Profiles

  • Caesar Lima - Focusing On The Future

    Modernist in every aspect of the word, Caesar Lima pushes the boundaries of what it takes to be a professional photographer in a digital world

    Caesar Lima is no stranger to the pages of Digital Photo Pro. His award-winning image of Colombian pop star Anasol became the cover shot for the May/June 2006 issue in which Lima was previously featured, and when a photographer like Lima continually lives at the forefront of image making, he merits a second look just to see what he has been up to in the last few years.

  • Eli Reed - Powerful Simplicity

    Magnum photographer Eli Reed reveals his technique for capturing the elusive moment, and why he'll always shoot film, at least in black-and-white

    "I'm inspired by life. My work is, in essence, a meditation on being a human being.”
    So says photographer Eli Reed, whose work on assignment for national and international publications has covered the gamut since joining Magnum in 1982. But the invitation to be a part of an organization that has captured iconic historical events since World War II came as quite a shock to Reed.

  • First Takes: July/August 2008

    Jim Richardson, Caesar Lima, August Bradley and George Fulton

  • George Fulton - No Time For Haters

    George Fulton is all about peace, love and making funky photographs

    Some people always seem to be in a good mood: Jay Leno, George W. Bush, Richard Simmons. Based on the portfolio of photographer George Fulton, it's easy to make the same assumption. After all, the first thing you're greeted with upon visiting his website is his new motto: “Love Hurts. Photos Tickle.” More than just a marketing gimmick, it reflects Fulton's fun-loving way of life.

Technique

  • Pro Tips: Going Gray

    A good/better/best look at converting color photos to great black-and-white images

    Remember when “black-and-white or color?” was a choice made before you took a picture? The awesome ability to convert a color image to black-and-white after shooting is only part of the story; the real trick is to do it well and to create black-and-white photographs that look every bit as beautiful as the old darkroom methods.

  • The Battle Between Noise & Sharpness

    Shooting at high ISOs and tweaking sharpness in an image can introduce excessive noise. Balancing these two aesthetic elements is an art.

    In the beginning of photography, most people were unaware or oblivious to noise, but with higher-ISO films, image grain became an issue; I look upon grain as a form of image noise. Grain occurs from film's granular structure and appears throughout an image, but most notably within the darker and higher-contrast areas. Understanding is important for the next stage of photography—digital!

  • Vision To Visuals: Back To School

    Helping a learning institution define itself

    Dr. Ben M. Corpus, Vice President for Student Development and Enrollment Management and Dean of Students of Baruch College, approached Duggal Visual Solutions recently with a fundamental request. The goal was to “communicate the standards of academic excellence and professionalism” that define Baruch College in a public forum. 

  • XDR, Part III

    Double exposure gives you two times the image information to use in a final image

    This is the third in a series of “R/Evolution” columns on Extended Dynamic Range (XDR). Extending dynamic range has become increasingly mainstream for professional photographers as software has become more powerful and new techniques have been unveiled.

Software

  • Use Adobe Raw For B&W

    Using the tools in ACR, you can work more efficiently and take advantage of RAW controls to make your black-and-white conversions

    Adobe Camera Raw offers a number of powerful controls for converting a color image to a black-and-white or split-tone image. Working from Bruce Fraser's original, Real World Adobe Camera Raw With Photoshop CS2, Jeff Schewe has updated the book, and a new version will be available this summer. In this article, we walk you through some examples of how you can take advantage of Adobe Camera Raw's black-and-white conversion tools. We look at the HSL/Grayscale Panel and Split-Tone Panel, as well as show the steps we went through to take an image from color to black-and-white.

Business

  • Naked In The Courtroom - The Web And Copyright

    The Internet has opened a can of worms for photographers struggling to keep control over images while also seeking to get their work seen by the public and image buyers

    Have you ever had one of those dreams where you're standing in the middle of a courtroom defending the copyright of one of your images when you look down and realize that you're naked? You will. There's an unprecedented number of copyright challenges facing photographers occurring on the Internet. Images are getting lifted from services like Flickr and photographers' websites at an alarming rate. The hijack-ers are using the images to illustrate blog entries and YouTube videos. The harsh reality for us shooters is that it may be perfectly legal.

  • Your eCommerce Solution

    Partner with an online service that handles your orders, collects the money, ships the prints and leaves you with higher revenue

    A variety of sites have surfaced offering photographers online eCommerce solutions combined with the resources of a physical lab. The advantage to these sites, besides the nominal costs and time savings, is that they're providing quality products without your customer base ever knowing that they're dealing with outside entities.

Editor's Note

  • July/August 2008

    If you want to see a photographer cringe, just look at one of their images and mention the word “noise.” For most of us, noise in an image is like having rust on a restored vintage automobile. It obscures the image and distracts the viewer such that the visual content of the photograph becomes the background, and the noise is what viewers notice first. Naturally, I'm talking about excessive noise that permeates the whole photograph here.

 

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