DPP Home Past Issues March-April 2008
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March/April 2008


  • DPP Solutions: Tripod Tech

    Modern tripods represent extensive research and development in materials and stability technology

    There are several types of locking mechanisms for tripod legs. Twist-lock collars offer quick operation and won't snag on things as you carry the tripod. Locking knobs are straightforward. Quick levers are easy to use and generally easy to adjust for tension. Try different locking mechanisms at your camera store and see which work best for you.

  • Hi-Tech Studio: High-End Rental Studios

    When you don't own your own studio, a high-end rental studio is your solution

    The cost of owning your own studio, especially with the current real-estate woes, makes taking your job to a high-end studio one of the easiest choices to make when compared to the costs of owning and maintaining your own space. From big jobs to small jobs to elaborate setups, shooting at a high-end rental studio justifies the cost of renting when you incorporate all the benefits and money you'll save in the end.

  • March-April 2008

    New Tools Of The Trade

  • Turbo'd Image Sensors

    At the heart of it all, the tiniest technology makes every picture possible

    Though image-sensor technology has been well used for years now—after all, the digital revolution is old news—it hasn't been well understood. Today's image sensors are more sophisticated and powerful than any that have come before. The current generation of turbocharged sensors is at the heart of the modern, sophisticated D-SLR. As with any photographic process, though, a complete understanding of how the tools work can lead to better results, both when purchasing a camera and when using one.


  • Bo Egestroem - Danish Modern

    Bo Egestroem's undeniable drama and intensity recall the work of Peter Lindbergh and Herb Ritts. How does he master the elusive fashion moment?

    To be influential and innovative in fashion photography takes dedication and talent. Danish photographer Bo Egestroem has tireless amounts of both, but ask him about his work method, and he'll tell you straight: It's the images that should do all the talking.

  • Matthew Rolston - Simply Glamorous

    Matthew Rolston's photography has graced the world's most renowned fashion magazine covers. In a rare interview, he shares his thoughts on photography, gear and lighting.

    Los Angeles-based photographer and director Matthew Rolston has created some of the most iconic imagery of the inhabitants of the celebrity world. He sculptures the who's who of Hollywood and beyond with lighting techniques that are both classic and cutting edge.

  • Roderick Angle - Punk Fashion, Vintage Style

    Fashion shooter Roderick Angle is unafraid to break the rules. When the assignment calls for it, he can go from the latest digital gear to work with prehistoric Polaroid.

    When he was a kid growing up in Kansas, Roderick Angle didn't dream about becoming a big-time fashion photographer in New York City, but it happened anyway. As the drummer in a punk band, he probably dreamed of being a rock star—the only job perhaps cooler than fashion photographer. Either way, he now brings a punk sensibility to editorial and advertising assignments, bucking trends and blazing his own trail. He works without an agent or a rep, he doesn't always feel the need to light, and he just might use an antiquated proofing camera for a big-budget job.


  • Color Choice: Luminance, Chrominance And Hue

    Among the tools at your disposal, the LCH Editor gives you a powerful weapon for finessing the color relationships in your images

    In a previous article, I explained “Color Choice Isn't By Chance” (Digital Photo Pro, July/August 2007). The premise is that today's digital photography hardware and software provide a plethora of features and performance that interact to enable more control and creative options than ever before. When you understand how each tool operates, and how combinations of tools can interact, you have the opportunity to enhance original images as never before.

  • Introduction To XDR

    Extending the dynamic range in your images is possible with sound technique and a little software magic

    Reproducing the full range of tones or brightness values seen by the human eye is one of the most fundamental challenges in photography. Capture, display and print technologies are all limited when compared to the ability of the human eye to see a wide dynamic range. They're all advancing. As they advance, our methods for addressing this fundamental challenge advance with them.


  • Special Delivery - The Best Ways To Transmit Images

    Getting images to your clients fast is a hallmark of the Internet era, but too many pros get sloppy in their haste to get things there "right now." Here are a few tips on how to deliver work fast.

    Image file delivery is one of the most integral parts of a professional photographer's job. The assessment of your work begins before your images are ever opened. In the days before digital transfers were so ubiquitous, you'd send your best prints in an appropriate package so that your client would be impressed from the moment the box landed on his or her desk. How many pros have been dismissed for sending a stack of 8x10s in a Ziploc® bag with the words “Please Handle Carefully” scrawled in Sharpie® across the plastic?


  • Professional Photo Resources
  • Your Studio And The New Economy

    Pursuing a solid licensing strategy for now and the future will enable you to weather the storms of today's photo business reality

    The landscape of the photography industry is changing rapidly. With fees for our services and other business issues, our work is becoming more akin to a commodities market. Effectively making money in a world that's offering more and more different venues for photography requires a new way to look at our business. The effective management of usage rights is paramount to making a great living as technology growth and innovation spur radical changes in the uses of our images.

Editor's Note

  • March/April 2008

    I was at a cocktail party recently, and I found myself speaking with a few people about the current state of photography education. It's ironic that in an era of the most sophisticated tools in the history of photography, far too many instructors seem to cling blindly to the past. At the party, we talked about a program at a major university where the head of the program refused to allow digital tools to be used.


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