DPP Home Past Issues September-October 2007
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September/October 2007




Gear

  • DPP Solutions: Color Calibration

    If you're using a professional-caliber LCD monitor, professional-caliber color calibration is a requirement

    What color is blue? Why is the blue that I see in the sky not the same as the blue that appears on my expensive LCD monitor, and not even close to the blue that rolls out of my inkjet printer? What do I have to do to print the colors that I see?

  • Misinformation: Camera Objectivity

    Myth: A camera sees the world objectively

    The phrase “the camera never lies” has been around a very long time; but the idea that a camera lies also has been around a long time. Back in the '60s, Pete Turner did an essay about how color lies, and even before that, the Life photographer Andreas Feininger wrote on how the camera lied.

  • September-October 2007

    New Tools of the Trade

  • The Upgrade Game

    Keeping your gear up to date is part of the business of being a professional in the digital age. The decision on when and how to upgrade comes down to determining how to make the most of what you have.

    You've probably found yourself thinking at times about how much easier life would be if you had an unlimited supply of money (and if you already do have an unlimited supply of money, drop me a line). For professional photographers, it seems that life before digital was simpler and less expensive. You bought a camera and a collection of lenses, and they served you well for many years.

Profiles

  • Bruce Smith - Beyond The Girl

    Bruce Smith's 30-year career of bringing vitality and life to fashion springs from an inner energy that erupts in his on-set enthusiasm and animation

    For Bruce Smith, making a photograph is more than setting up a camera in front of a model and releasing the shutter. It's about the moment, the energy and the spontaneous, intimate connection that happens between people. He shouts out his encouragement as he moves around his model, responding to the subtle changes in shapes and expressions that appear before him. He erupts into joyful laughter as he revels in the exciting juxtaposition of shape, color and gesture. These are the moments he lives for.

  • Ed Kashi - In The Thick Of It All

    Amidst a revolution in the fundamental nature of photojournalism, Ed Kashi stands as the quintessential next-generation storyteller

    Photographer Ed Kashi defines the phrase “next-generation photojournalist.” Rather than reject the use of or struggle with adopting digital imaging tools and technologies, he has readily welcomed them. He acknowledges that the days of working strictly as a print photographer, in the spirit of Cartier-Bresson or Kertész, are long gone. As a photojournalist, creating static images no longer suffices as an effective means of storytelling.

Technique

  • A Time For A Change

    Web-designed content may be the destiny of commercial advertising. Rolex's new photography campaign offers a panorama of what the future holds.

    While Web-based sales get bigger and bigger, companies are focusing on advertisement solely for an Internet-based constituency. New ad techniques are being birthed directly for the Web, and the possibilities of computer and mechanical technologies are being put to the test with every fresh idea. A new campaign by Rolex, its Extraordinary Watches series, is designed to showcase nine distinctive Oyster Perpetual models. Each set incorporates an omnidirectional display, encompassing the “world” of each watch by presenting video, animation and still-photography interpretations of its lifestyle and particular advantages.

  • Color Choice Isn't By Chance

    Getting color right isn't just about the scientific quantities of the Kelvin scale and wavelengths of light; it's also about emotion and creativity.

    Personal creativity comes from the “sweat” of making great pictures. Get the balance with powerfully effective imaging tools; it's choice, not chance! Let's examine the balance of color. Deeply involved with digital, I draw upon film experience and knowledge about color rendering. Balance has always been a key factor. Film photographers choose a film for its color rendering, but digital photographers make the same decisions through observation and their camera's and software's digital tool control; digital provides a broader range of personal control.

  • Going Black-And-White

    In this first in a series of columns about digital black-and-white, we explore some of the fundamentals

    Prior to the 21st century, black-and-white photographers developed a heightened sensitivity to the direction and intensity of light, a given relationship between highlights and shadows, largely discounting the appearance of hue and saturation unless able and willing to use color filtration during exposure. These perceptual skills are all very important for 21st century digital black-and-white photographers. But, today, because you can make any hue light or dark, globally or locally, and you can make more dramatic changes to more saturated hues, hue and saturation need to be factored in rather than factored out.

  • Refine Your Imaging Workflow

    Wedding photojournalism is a day-in and day-out, high-pressure shooting environment but if you can master this workflow, you can do anything

    I was drawn to wedding photojournalism because, for me, it's the perfect combination of documentary street photography and imagery that infuses moments of humor and levity; it simply makes people feel good. On a regular basis, I'm invited into the lives of strangers, armed with the task of finding the elements that make their worlds unique. A stage has been set with characters and lush backdrops. At times, I become a director; at other times, I'm a stylist or even a therapist. In most cases, I'm a silent voyeur recording the events as they unfold.

Business

  • Cash Flow 101

    Inside every successful photographer there's a successful businessperson. One of the most important aspects of making a living in this field is managing your resources to keep your cash coming in.

    I don't subscribe to the notion that artists should be starving—unless, of course, that's your look. But beyond that, the market concepts that shape the most successful businesses in the world also can shape the business that we build as photographers. Understanding primary concepts like cash flow can go a very long way to adding some bucks to the bank account.

  • Military Style - Order On The Set

    Keeping order on the set takes a certain level of discipline for you and your army of talent and helpers

    He sat behind a large 35mm movie camera with his eye glued to the eyepiece and a cloud of cigar smoke floating above his worn red baseball cap. There were dozens of other people on the set—extras, crew members, cops—all milling about a respectful distance from the man with the cigar who kept popping his head up from behind the camera to look at the cordoned-off street of downtown Los Angeles in front of him.

  • Red On The Set

    When Epson wanted to photograph one of the world's rarest automobiles to test a new printer, they went to Stage 3 Productions in Detroit, where the staff knows how to generate maximum resolution

    The next best thing to driving a $1.3-million Enzo Ferrari is photographing one. Epson America challenged us to photograph the legendary car in our studio at Stage 3 Productions and create the most detailed digital files possible. Dan Steinhardt at Epson specifically asked for a final file that was unflattened, 16-bit, Pro Photo RGB-captured to the highest resolution possible. Using a Sinarback 54HR, P2, the final size after retouching would be in the gigabytes.

Editor's Note

  • September/October 2007 When was the last time you went out to make photographs just for you? When was the last time you actually experimented with something new and different? As professional photographers, our work-a-day lives are consumed with photography and the business of taking pictures. We can become so consumed that it's easy to lose track of the love of photography that brought us to this profession in the first place.
 

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