Trust our professional tips for using a digital camera to take your images to the next level. Our advanced digital camera techniques cover a wide range of topics to help you get the most out of your setup.
A master of technique walks us through a series of situations and explains how to craft illumination
To craft a photograph is to craft the light. While it’s often relegated to a subordinate role to composition, lighting is at least as critical to the photograph and should be thought of as an integral part of the process. Read More...
It was a fairly innocuous start. A hastily assembled, last-minute project conceived and shot in 14 straight hours, edited together in three hours (no time for color correction) and a quick posting to a blog with the link to the completed five-minute short. This was as close as you could get to a straight line from the camera to the web. 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.
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.
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.