Whether you're looking for the insight on the latest imaging software or a program to manage your digital assets, our photography software reviews have it covered. Explore the latest trends in digital darkroom software and techniques here.
Monday, April 28, 2008
DPP Solutions: A Look At DNG
The DNG format was supposed to be the future, an open standard for RAW files that every manufacturer could use. Here's a look at how the revolution has panned out.On September 27, 2004, Adobe announced the Digital Negative Specification (DNG), a file format that was supposed to unify the cluttered atmosphere of proprietary RAW file formats by offering a non-proprietary template that would act as a universal raw file. The DNG format was released, free from any legal restrictions or royalties as an open-source file for hardware and software designers to generate, process, manage and archive RAW images for any program, from any camera, and easily accessible as an archive at any time in the future. Almost four years later, DNG hasn't found the ubiquitous acceptance the industry had called for, but there's growing hope for the future.
Monday, March 3, 2008
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?Read More...
Monday, January 7, 2008
DPP Solutions: Get Into Multimedia
Giving new life to still photos with Apple Final Cut Pro 6
Today's technology makes it relatively easy to turn a series of photos into multimedia presentations with audio for even more impact. You can add audio to your still images to tell a story even better, and equally important, provide additional marketing opportunities—there are more places to sell multimedia presentations than there are to sell still images alone, including broadcast media. Multimedia presentations also are a great way to present what you do photographically to potential clients. They provide a new creative challenge, too.
Monday, January 7, 2008
Unlimited Sharpness With Helicon Focus
Helicon Focus gives you the ability to cheat depth-of-field limitations
Since you're reading this magazine, you already know that photography in the digital age is breaking all the old rules and pushing the limits of film. Across these pages, digital capture, versatile software and artistry combine to fulfill creative vision that might have been imaginable 10 years ago, but not achievable. Now another barrier—the physical limits of depth of field—is overcome by software called Helicon Focus.
Thursday, August 16, 2007
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.Read More...
Tuesday, June 26, 2007
Photoshop Lightroom, Part 2
Although Photoshop gets all the glory, in Photoshop Lightroom, Adobe has created a tool that will help professionals take control over their image libraries and catalogs of work
Photoshop Lightroom was one of the most highly anticipated software packages ever for professional photographers. It's not a stretch to say that in an era when organization and efficient workflow are paramount, Lightroom probably captures more attention than even the new release of Photoshop CS3. Lightroom isn't meant to be a replacement for Photoshop. It's meant to exist side by side with the heavy processing power of Photoshop as a tool to help you efficiently handle workflow and many of the routine image-processing tasks.Read More...
Tuesday, June 26, 2007
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.Read More...
Tuesday, June 19, 2007
Processing The RAW
Photographers in the digital age are inundated with software so Digital Photo Pro talked to the experts to get the ins and outs on two of the most popular RAW processing packages on the market
We discuss RAW workflow a lot in the pages of Digital Photo Pro. Having the ability to work smoothly and quickly with RAW files is key to getting the most out of them. It's a simple fact—if you can't make RAW files work efficiently, you'll end up wasting a lot of time or just switch back to JPEG. If we assume you want the power of the RAW file, then JPEGs simply aren't acceptable.
Monday, June 18, 2007
Working Within Color Spaces
Myth: Color space has the most important effect on color
Do you use Adobe RGB? Is sRGB a pro format? Should pros really start using ColorMatch RGB? Or is there some other new color space permutation that will give even better results? The problem with this discussion on color space is that it assumes the digital camera has captured the correct colors in the first place and that all you need is the right color space to get the most from those colors. Digital cameras don't quite work that way, unfortunately.