Modern large-format printers are cost-effective and give you the opportunity to make exhibition-quality prints right in your studio
by Jon Canfield
Many photographers are looking to control the entire process, from capture to output, these days for a number of reasons, including quality, price and turnaround for clients. While most studios have at least a 13x19 printer in-house, larger work is often sent out to a lab or service. Large-format printers have had the reputation of being expensive and demanding to operate, and it’s just one more thing to pull you away from the camera.
Wireless flash systems give more freedom when it comes to creative lighting
There are two main categories of wireless flash control: standard optical slave triggering and the more modern and more versatile radio transmitter/receiver triggering. Both provide us with a variety of control over flash setups, whether it’s firing multiple compact flash units or the more powerful strobes and power packs.
In the lead-up to the huge Photokina 2008 trade show, there were a number of big new camera announcements—more megapixels and better image quality, and in the spirit of convergence, HD video makes the leap to still cameras!
This was a Photokina year, and Photokina 2008 included a number of exciting new camera introductions (even if they actually appeared a bit ahead of the actual show). On these pages, you’ll meet new low-cost, 20-megapixel-plus, full-frame D-SLRs from Canon and Sony, versatile new mid-range D-SLRs from Canon and Nikon, new D-SLRs with movie capability (and HD, no less) from Canon and Nikon, and 50-, 56- and 60.5-megapixel, medium-format entries from Hasselblad, Leaf and Phase One.
Adobe alpha tester and all-around digital master Jeff Schewe takes us on a tour of the improvements to the new version of the Adobe Creative Suite, CS4
Text And Photography By Jeff Schewe
Yes, it’s that time again, another update to Photoshop, called by its full name, Adobe® Photoshop® CS4 (and, yes, there are regular and Extended versions again, with the Extended version designed for specialized image types and 3-D and multimedia). This represents the 13th time Photoshop has been updated (there were two .5 versions, so this is considered version 11).
For more than two decades, using bright, vivid imagery, commercial photographer Peter Langone has forged a multitalented, multi-avenue career built on an unrestrained tenacity to follow his own dreams
David Willis, Photography By Peter Langone
Absolutely adaptable to any situation, photographer Peter Langone’s single expertise is that he can do it all. His keen understanding of the business side of the market has taken him from humble New York beginnings to a thriving enterprise in the Floridian paradise of Miami.
Tyler Stableford adds polished perfection to gritty realism for a signature look
By William Sawalich, Photography By Tyler Stableford
Hanging off the side of a mountain is no place to learn lighting, but that’s exactly what Tyler Stableford did. As a climbing magazine editor and outdoor enthusiast, Stableford loved photographing his adventures. He knew he wanted to pursue photography full time eventually, but until that time came he just shot and shot and shot. When Stableford finally quit his day job, he had the free time to learn about photography. That was four years ago. Now he’s known as one of the world’s greatest adventure photographers.
How to evaluate and quickly set up your images for web usage
by Jim Goldstein
First impressions can make or break a photographer. Prospective clients and photo buyers alike who surf the web for interesting photographic work can and will pass judgment on you, for good or bad, in a matter of seconds. While many photographers become absorbed by web design, others look past the essential skill of optimizing images for web-based viewing. Central to any website or online portfolio is having sharp, lightweight and high-impact photographs.
There seem to be two paths to becoming a rich and famous photographer: 1) Go to photo school; and 2) Assist for a great photographer. I chose the former route, and apparently I should have chosen the latter because I’m neither rich nor famous. But I’m a working photographer, and I did learn a lot of great things in school—not the least of which was how to create any color with strobes and gels.
An attorney and intellectual property specialist delves into handling instances of copyright infringement
by Samuel Lewis
I was contemplating a new project when a colleague entered my office. “Did you see this recent article regarding a copyright infringement action where the photographer seems to have been awarded everything she was seeking and more?”
The difference between a technically solid photograph and a real winner that makes clients stop for a closer look is a matter of style
Text And Photography By Richard Lopinto
What makes winning images win? Apart from the opportunities and advantages that are afforded by huge leaps in digital technology, one point stands out, as always—style! Today’s light-meter technology helps ensure technically correct exposure, but it’s personal insight and style that bring the exposure to a higher level—being aesthetically correct! The same can be said for the aesthetics of composition, color treatment, focus, contrast, balance and every other aspect of an image that strikes your eyes and grabs your mind. Aesthetics and style help make an image stand out.
A silk printing process made it possible to create a special cross-cultural exhibition
by Baldev Duggal
Photography has the ability to powerfully communicate ideas and hopes, and can teach important messages to its viewers. Tom K. Loughlin, an inspired photographer from Crested Butte, Colo., wanted to do just this. Tom explained to me that he wanted to create a show that demanded an unconventional approach to displaying images. This immediately intrigued me to work with him and combine his ideas with the new technologies we have been researching at Duggal.
by John Paul Caponigro
HDR imaging represents a radical departure from traditional forms of photography. HDR (high dynamic range) images hold more luminosity than conventional cameras can record and potentially more than the human eye can see (at any one given time).
November 2008by Christopher Robinson
A press release recently came across my desk about an exhibition at the Yale University Art Gallery. It wasn’t the Ivy League headline that caught my attention, it was the title of the show, “First Doubt: Optical Confusion in Modern Photography.” Here’s an excerpt of the show’s description: “By employing unexpected juxtapositions, novel vantage points, and unusual patterns of light, shadow, and texture, the photographs on view destabilize the viewer’s eye, causing it to question what it is seeing.”