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Advanced Photography Techniques

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.

Tuesday, June 19, 2007

Large-Format Scanning

Discover the alternatives for producing your own scans in-house

Large-Format Scanning

If you shoot or have an extensive archive of large-format negatives or transparencies, the process of converting them into digital files can be costly. When done at a service bureau, each drum scan can run from $30 to $400. Depending on the number of scans you need, this can become prohibitively expensive, which is why many photographers consider the use of scanners to produce digital files in-house.

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Monday, June 18, 2007

Digital Asset Management

Keeping track of the images that pay the bills requires a foolproof system

Digital Asset Management

Film required a simple filing system. Mine consisted of slide sheets grouped by subject and stored in a file cabinet. I maintained simple notes on the slide mounts for dates, subject and location, plus a basic database. This worked well for me—until I went digital.

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Monday, June 18, 2007

Working Within Color Spaces

Myth: Color space has the most important effect on color

Working Within Color Spaces

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.

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Monday, June 18, 2007

Proper Printer Resolution

Myth: Pixels equate to ink droplets

Proper Printer Resolution

You may have been told that you have to use a high image resolution (most commonly given as 360 ppi or pixels per inch) in order to get the best inkjet prints. Or perhaps someone has instructed you to use something much lower, maybe even 200 or 180 ppi. Who's right? Is anyone absolutely right?

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Monday, June 18, 2007

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

Underexposure & Digital Images

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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Thursday, May 31, 2007

Future Perfect - The Lab In The Digital Age

Once thought to be on the verge of a dodo-like extinction, labs have made a strong comeback as they gear up to serve photographers' digital needs

Future Perfect - The Lab In The Digital Age

In the extraordinary transition that has taken place as we evolve from film to digital, the lab, the mainstay of the photo community, is in the midst of a quiet revolution. While many businesses struggle to find their way, the leaders in the industry are interpreting the technology, advancing along with it, and staking out a clear path as they innovate services vital to the photographer in the digital era. It may be a quiet revolution, but that doesn't make it any less momentous.

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Wednesday, May 30, 2007

The Bit-Depth Decision

8-bit versus 16-bit workflow is among the least understood aspects of photography for most professionals. This primer will get you up to speed quickly.

The Bit-Depth Decision

Within the field of photography and digital imaging, a number of debates are argued by users and experts: Nikon versus Canon, Mac versus Windows, zoom versus prime lens, RAW versus JPEG—the list goes on and on. Add to that 8-bit versus 16-bit. What's the difference? Is the controversy useful or viable? After reading our primer, you'll have a better idea about where to stand on the issue.

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Wednesday, May 30, 2007

Printer Shot

When Epson approached Jeff Schewe to photograph their latest professional printer, they wanted something different

Printer Shot

This story started last spring when I received a phone call from Dan (aka Dano, as in “Book 'em, Dano”) Steinhardt from Epson, asking me if I might be interested in doing a shot for Epson. At the time, he was his usual circumspect self, hinting that the “thing” I might be shooting was bigger than a breadbox and would sit on a desk—yeah, like I didn't assume it was a printer—but he steadfastly refused to allow the discussion to progress to further speculation on my part. I said yes.

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Tuesday, May 29, 2007

Synergize

By using the inherent capabilities in your image-processing software, you can work efficiently and exercise greater control over all of your images.

Synergize

H.G. Wells once said, “Adapt or perish, now as ever, is nature's inexorable imperative.” Sounds pretty harsh, but many would say it's reality. To meet this imperative, today's photography adapts with digital innovation and imagination and addresses the restraints of time and knowledge.

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