Photo pros rely on our magazine to cover the most advanced digital photography techniques in-depth. From color calibration to file formats and everything in between, you can count on the technique advice from our digital photo experts.
Among the tools at your disposal, the LCH Editor gives you a powerful weapon for finessing the color relationships in your images
In a previous article, I explained “Color Choice Isn't By Chance” (Digital Photo Pro, July/August 2007). The premise is that today's digital photography hardware and software provide a plethora of features and performance that interact to enable more control and creative options than ever before. When you understand how each tool operates, and how combinations of tools can interact, you have the opportunity to enhance original images as never before.
Extending the dynamic range in your images is possible with sound technique and a little software magic
Reproducing the full range of tones or brightness values seen by the human eye is one of the most fundamental challenges in photography. Capture, display and print technologies are all limited when compared to the ability of the human eye to see a wide dynamic range. They're all advancing. As they advance, our methods for addressing this fundamental challenge advance with them. Read More...
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.
Digital technology and equipment give you more control and the ability to make the finest black-and-white images ever, but there's an art to coaxing the best print from your image files
Black-and-white used to be the core of the photographer's darkroom. Now, ironically, as companies concentrate heavily on moving the darkroom onto the desktop, black-and-white photography has been slowly relegated to the sidelines of fine art and portraiture. New advances in technology, however, have given black-and-white printing a little more, pardon the pun, exposure. Read More...
Color correcting by numbers is a combination of art and science
The digital darkroom offers more control over the imaging process than ever before with the promise of higher quality and quicker, easier results. The price is a steep learning curve and a plethora of creative choices that often leave us scratching our heads wondering where to begin. Mostly, we need to begin, after the image capture, with color correction.
There are special considerations to take into account if you're shooting RAW and you want to be sure that you're getting a proper exposure
You wouldn't think changing image capture from film to digital photography would require a new way to think about exposure, but it may, depending on how you use your digital camera. This is because a digital camera sensor behaves quite differently from how film and our human visual system respond to light intensity.
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.
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.
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.