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.
There seem to be two paths to becoming a rich and famous photographer: 1) Go to photo school; and 2) Assist for a great photographer. I chose the former route, and apparently I should have chosen the latter because I’m neither rich nor famous. But I’m a working photographer, and I did learn a lot of great things in school—not the least of which was how to create any color with strobes and gels. Read More...
Without color calibration, you might as well be working in the dark
I’m a photographer with a deep, dark secret: I’m color-blind. For those of you without this particular affliction, allow me to clarify something. It doesn’t mean that I see the world in black-and-white; it just means that I see things a little bit differently. I see colors, and as far as I know, I see all the colors that anybody else does. Read More...
HDR imaging will change the way you make exposures. HDR imaging will change the way you process your exposures. HDR imaging is the future of photography—to a large extent, it’s here now, but it will advance rapidly. At a minimum, you need to know what HDR imaging is and get ready to practice it in the near future. You may want to start practicing it now. Read More...
Dr. Ben M. Corpus, Vice President for Student Development and Enrollment Management and Dean of Students of Baruch College, approached Duggal Visual Solutions recently with a fundamental request. The goal was to “communicate the standards of academic excellence and professionalism” that define Baruch College in a public forum.
Double exposure gives you two times the image information to use in a final image
This is the third in a series of “R/Evolution” columns on Extended Dynamic Range (XDR). Extending dynamic range has become increasingly mainstream for professional photographers as software has become more powerful and new techniques have been unveiled. Read More...
A good/better/best look at converting color photos to great black-and-white images
Remember when “black-and-white or color?” was a choice made before you took a picture? The awesome ability to convert a color image to black-and-white after shooting is only part of the story; the real trick is to do it well and to create black-and-white photographs that look every bit as beautiful as the old darkroom methods.
A look at the extensive possibilities of external hard drives as a digital photo archive
The ideal goal of any image management is simple: keeping finished images at arm's length without them being in the way. The solution is a little more complex, however. There are a variety of ways to achieve this goal, but at the core, methods for image archival should offer a strategy that you're comfortable with, doesn't consume a lot of time or processing power, and makes you confident that the images you've saved will remain safely stored and accessible from start to finish.
Using the tools in ACR, you can work more efficiently and take advantage of RAW controls to make your black-and-white conversions
Adobe Camera Raw offers a number of powerful controls for converting a color image to a black-and-white or split-tone image. Working from Bruce Fraser's original, Real World Adobe Camera Raw With Photoshop CS2, Jeff Schewe has updated the book, and a new version will be available this summer. In this article, we walk you through some examples of how you can take advantage of Adobe Camera Raw's black-and-white conversion tools. We look at the HSL/Grayscale Panel and Split-Tone Panel, as well as show the steps we went through to take an image from color to black-and-white.
Shooting at high ISOs and tweaking sharpness in an image can introduce excessive noise. Balancing these two aesthetic elements is an art.
In the beginning of photography, most people were unaware or oblivious to noise, but with higher-ISO films, image grain became an issue; I look upon grain as a form of image noise. Grain occurs from film's granular structure and appears throughout an image, but most notably within the darker and higher-contrast areas. Understanding is important for the next stage of photography—digital!