DPP Home Past Issues November-December 2005
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November/December 2005


  • Do You Need A Full-Frame D-SLR?

    There are significant advantages to D-SLRs that are designed around sub-full-frame image sensors. Before you decide that only full-frame will do, consider all the angles.

    For the better part of the last three years, one of the biggest buzz topics for pro photographers going digital was the full-frame camera—an SLR with an image sensor that's physically the same size as a frame of 35mm film. Along with the implication of higher resolution, these cameras have the added benefit of not requiring users to apply a magnification factor to their lenses in order to determine the apparent focal length. In the past few months, however, several advancements call into question the superiority of the full-frame sensor.

  • Don't Panic! - Memory Disasters

    When the unthinkable happens and your memory card becomes corrupt, it's important that you keep calm and apply the right tool

    At some point in all of our careers, it's going to happen. A disaster will strike and, for the briefest of moments, we'll consider sending the assistant to find Dr. Kevorkian's contact information. What kind of disaster could create such an extreme reaction? For a photographer, only a loss of images could make you want to have Suicide Hotline on your cell phone's speed dial.


  • Chris Rainier - A Journey In Ink

    Chris Rainier completes a seven-year project culminating in a unique photo book

    Opening Chris Rainier's latest book, Ancient Marks, you find yourself absorbed by the black-and-white photographs that reveal an array of body modifications, including tattoos, ritual scarring and body piercings. As you turn each page, you're enthralled by the myriad of ways people around the world modify their own skin, not only for beauty, but also to create a sense of connection, of community.

  • Gerd Ludwig - At The Heart Of The Matter

    Prominent photo ­­­journalist Gerd Ludwig embarks on a digital journey—and takes us with him

    As I climbed the 64 steep steps to the front door of the large concrete house that looks more like a factory out of a Tim Burton movie, I noticed that nothing much had changed. I stopped for a second, breathing in the thin air, grumbled to myself about the stairs that crept up the side of the Hollywood Hills and kept climbing. Reaching the top, I opened the door, let myself in and took a look around. Same pictures on the wall, same furniture. I walked farther into the house, through the doorway to the studio, and that's when I noticed the difference: there's no film.

  • Lori Adamski-Peek - Motion Sickness

    Lori Adamski-Peek has learned to trust her digital equipment in even the stickiest situations

    Converting to an all-digital system brings with it many unique challenges. The photographer has to not only become familiarized with new equipment, but also master a new workflow and, in many cases, new shooting techniques. For Lori Adamski-Peek, these challenges were only the tip of the iceberg.

  • TOGASHI - Simple Perfection

    TOGASHI makes his photography speak for itself

    When you see TOGASHI's photographs, with their pure white highlights, rich black shadows and perfectly placed details, his visual sense of style is immediately recognizable. TOGASHI's photographs have been instilled with his style for three decades irrespective of the tools or the medium he uses. The longtime studio perfectionist finds that, now more than ever, photographers are in a squeeze as they struggle to keep up with rapidly evolving technology and a rapidly evolving business climate.


  • Dealing With Viewing Distance

    Creating accurate viewing conditions is critical when evaluating your images, and it's something no one seems to be talking about—until now

    There's a fundamental flaw in digital imaging today. You simply cannot view a pixel-based image on a computer display that gives a true interpretation of what it will look like printed on paper.

  • Mysteries Of (Color) Space

    We've covered it before and we'll cover it again because the ins and outs of color management begin with a firm grasp of how devices handle color space

    Technical terms are frequently tossed around like a Frisbee in a park on Sunday. In digital imaging, three such terms are color space, color gamut and profiles. “Use this color space—you'll get better results.” “Is this color within the color gamut?” “What profile are you using?” All are valid questions, but what do they actually mean?

  • The Ultimate Black & White

    New technology and techniques are giving rise to the ability to create the best black-and-white images ever

    There's something magical about watching an image develop on a piece of photo paper in the developer tray…to see it go from just a blank white piece of paper to becoming a photograph is what many photographers think of when they think of black-and-white photography. That process of watching the image develop is what got me hooked on photography over 30 years ago, and black-and-white is where my heart really lives, even though I've done more color work professionally.

  • Underexposure & Digital Images

    Myth: Images must be underexposed to prevent highlights from being blown out, and if one is shooting RAW, this underexposure is easily corrected later

    On the surface, keeping highlights from being blown out is a good idea. Once their brightness passes the threshold of a sensor, detail is lost. No amount of Photoshop work will bring back the detail in those highlights, though there are some fixes that can fill in washed-out highlights. For an efficient workflow, you never want to needlessly increase your work in Photoshop.


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