DPP Home Past Issues May-June 2007
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May/June 2007


  • Continuous Lights For Digital Shooters

    For control and certain effects, many professionals find "hot light" to be the ideal lighting gear

    With the prevalence of strobes in the professional marketplace, continuous lights or “hot lights” have fallen out of favor, but they're still excellent tools with some distinct advantages. The term “hot light” actually refers to tungsten, quartz, HMI and halogen lighting equipment as well as newer continuous sources that aren't all that hot to the touch. Although they're all hotter than a strobe setup, technology has made advancements in these lights that has resulted in much cooler units, so that a hot light can be used in some situations where you previously would have shunned them because of the heat.

  • Hi-Tech Studio: Go Wireless

    Break free from the shutter button and get to know your subject

    Getting out from behind the camera can be liberating. Talk to most large-format photographers, and they will tell you how important it is to be able to separate themselves from the obstruction of the camera. Interaction with a person when you're squinting through a small viewfinder or looking down at the ground glass is nigh impossible.

  • May-June 2007

    New Tools Of The Trade

  • What'’s Next For Professional D-SLRs?

    In the top echelon of digital cameras, we're seeing a change in priorities from the major manufacturers

    In March, the photo industry made its annual pilgrimage to the Las Vegas Convention Center for the Photo Marketing Association trade show, PMA. This year at PMA, the story for professional photographers was particularly interesting. In recent years, the rumor mill prior to PMA had been working hard, as cameras, software, printers and accessories were being unveiled in droves. At the high end where professionals make a living, recent years have been particularly fruitful as nontraditional players have leapt into PMA, making big splashes with revolutionary products, and at the same time, the "usual suspects" of the industry have used the show to make their biggest product announcements.


  • Bob O'Connor - Echoes

    A young professional who was raised in the digital age prefers film and available light when he's behind a camera and goes high-tech in post

    The MTV generation is all grown up. The young punks are now doctors and lawyers—and professional photographers with blossoming client lists that grow as fast as their reputations. For these Gen-Xers, television has always been in color, computers have always been personal and technology usually holds an answer for everything. But for Boston-based photographer Bob O'Connor, a 29-year-old who grew up in the heart of the Information Age, the high-tech approach isn't his approach. Instead of complex lighting and expensive digital cameras, O'Connor prefers working with the tools from previous generations—available light and large-format print film. Why?

  • David Mendelsohn - The Complexity Of Simplicity

    David Mendelsohn is modern photography's John Henry, locked in a battle to keep image processing from completely dominating the creative process of taking a picture

    Digital photography and its infinite possibility can make us forget how to do things correctly from the start. The idea that anything is possible, and every mistake fixable, has taken a hold of an industry that used to know better. Not only that, but as much fun as Photoshop can be, it also can be the ultimate black hole. And the more hours spent tweaking in front of your computer, the less time you spend in the field.

  • Joel Meyerowitz - AFTERMATH

    By working connections and being a model of persistence, Joel Meyerowitz secured special access to New York's Ground Zero site.

    On September 5, 2001, Joel Meyerowitz set up his Deardorff camera in the space that had once been his studio for 15 years. As he composed his photograph of Lower Manhattan, he recognized that it wasn't a particularly eventful day for creating a picture. Unlike the other images he had taken over the years from this spot, this photo wouldn't have the benefit of great light or dynamic weather. Instead, this photograph, which contrasted the simple, muted hues of sky against the crowded urban landscape, was just of another average day in New York City.

  • Matthew Jordan Smith - Beauty & Light

    Matthew Jordan Smith takes inspiration from a wide range of visual sources and creates lasting images that define beauty.

    Recognizable by its soft, alluring images, Matthew Jordan Smith's ad work reveals, in part, the man and the talent behind the lens and lights. His uncanny ability to depict the inner romantic and natural charms of his subjects spurs many celebrities to commission him. A long client list that includes Halle Berry, Tyra Banks, Heidi Klum and Sarah Ferguson is ample testimony of Smith's gift for capturing an often whimsical and always imaginative glimpse into the souls of his subjects.


  • Extending Depth Of Field

    Using multiple exposures and sound camera and software technique, you can defy the laws of physics

    The ability to reproduce detail is one of the essential characteristics that defines the photographic medium. While there are many similarities between the camera eye and the human eye, there are also significant differences between the two. One of the most significant differences is that the camera eye can achieve a much greater area of focus than the human eye can at one time. This has never been more true than today.


  • Photoshop CS3

    After Adobe's unique public beta introduction, the latest version of Photoshop has arrived. Pros will find a interface and a number of key new features to enhance images and streamline workflows.

    Every 18 months or so, Adobe blesses the imaging community with a new update to its 17-year-old flagship product. Looking at a new version of Photoshop for the first time and discovering new features that will positively affect my photographic work is always exciting. Photoshop's audience, as well as the focus of the product, has evolved over the years. As Photoshop CS3 hits store shelves, here's a look at the new features that are targeted to the professional photographer end user.

  • Turning On The Brights With DxO Optics Pro

    DxO Optics Pro's Highlight Recovery brings overexposures back to life

    Areas of an image lost to overexposure or excessive brightness can seldom be recovered, and digital sensors tend to be particularly sensitive to excessive burning in whites and brights. This “highlight clipping” occurs when the photosites of the sensor fill with the maximum amount of information they're capable of containing. In other words, the image becomes blown out.


  • Copyright In The Digital Age

    Know your rights and responsibilities when it comes to the usage of your photographs

    You'd never leave thousands of dollars worth of camera gear unattended on a busy public street. It would be foolish to risk the loss of the very thing that ensures your ability to make a living. So while most photographers take great precautions to protect their expensive cameras and lenses, there are a surprising number who fail to copyright the images that they have created with that same equipment.

  • Market Yourself

    A custom photo book gives you a tool to show off a tailored collection of images in a package that makes an impact with a client

    Being a great photographer is no guarantee that you'll be a successful one. Talent is important, there's no doubt about that. But if you don't find effective ways to let your talent be known, you'll flounder. Today, it's promote or perish. You must market yourself.

  • Photojournalism In The Age Of YouTube

    For freelance photojournalists, these are chaotic times. But in chaos there's opportunity if you have the daring to go for it.

    The age of traditional freelance photojournalism is no more. Newspaper and magazine markets are shrinking. Editorial budgets are at an all-time low. Assignments and opportunities have decreased dramatically, even for the top-tier photographers. The glory days of months-long assignments with large advances and a big chunk of magazine space waiting at the end of the job are gone, too. In these changing times, freelance photojournalists can still make a living and fulfill the calling to get the story out by adapting to a new paradigm.


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