Photography Software Techniques

Move beyond the basics with advanced photography software techniques from our experts. Covering much more than how to use photo software, topics include color choice, file formats and hundreds of other subjects.

Tuesday, December 15, 2009 Reduce Noise With Photoshop Filters Despeckle, Dust & Scratches, Median and Reduce Noise are all tools that are built into Photoshop, and they may be the only tools you need Despeckle, Dust & Scratches, Median and Reduce Noise.  Read More...

Tuesday, November 10, 2009 Proofing To make consistent prints, a proofing regimen is a good idea Proofing: Evaluating an image printed on a particular substrate, making adjustments, reprinting, reevaluating the image, and repeating until optimum results are achieved.  Read More...

Tuesday, October 27, 2009 Hi-Tech Studio: Using Sound In Multimedia As photographers gear up to make more HD video and multimedia productions, there are quick and simple ways to add sound to your work to make it more polished and professional Photographers who make a move into creating multimedia presentations or shoot HD video with one of the impressive HD video D-SLRs will embark on a whole new art form, and very quickly you’ll find that it goes beyond the moving image.  Read More...

Tuesday, October 13, 2009 Noise: Lose It, Part II Reducing chrominance and luminance noise at capture Knowing the type and kind of noise produced will help guide you to solutions to reduce it.  Read More...

Tuesday, July 28, 2009 Noise: Lose It, Part I Eliminate noise at the source Noise happens. There’s always some degree of noise present in any electronic device that receives or transmits a signal.  Read More...

Tuesday, May 26, 2009 Layering Noise Part 2 in a series on You can further customize any noise pattern in Photoshop using layers. When adding noise to digital files, keep noise separate from the image so you can control both independently of one another.  Read More...

Tuesday, April 28, 2009 DPP Solutions: When You Need A Big File With the right software, you can increase resolution and maintain top image quality You can’t beat megapixels when you need big prints. Genuine Fractals 6 Professional Edition from onOne Software gives you more pixels—incredibly good pixels—from a digital image. That’s enough pixels to make a 4x6-foot print at 300 dpi from a 6-megapixel original image, or a 6x9-foot print at 300 dpi from a 12-megapixel original—or a 19x28-foot event sign at 100 dpi from a 12-megapixel image.  Read More...

Friday, April 10, 2009 Noise—Use It The first in a series of columns about controlling noise Noise. It happens. What is it? Texture not native to the subject photographed, but introduced by the capture medium, editing process or output media. There are many reasons why it happens. There are things you can do to avoid it and things you can do to reduce it. (All are subjects for the future.) But once it’s there, noise often can be hard to separate from the detail of the subject; it may obscure it. Bottom line: It’s better not to have noise. If you need noise, you can always add it later. Need noise? Yes. There are many uses for noise. Today, we have more control over noise than at any other time in the medium.  Read More...

Friday, April 10, 2009 Black & White From capture to final output, there are many pieces to the puzzle for producing the ultimate black-and-white images Getting a great black-and-white print is easier than ever. Deciding the best way to get there is the hard part. The more you understand about the black-and-white process, the better the prints you’ll produce. While a single perfect method won’t work for every image, there are plenty of routes for optimizing the unique properties of individual black-and-white images. With that in mind, we take a look at black-and-white printing, from capture to final output.  Read More...

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All "The Face" Articles




• Contender: Nicholas Mele It can happen in an instant

• Contender: Cindy McDaniel Going underwater for an unpredictable look

• Contender: Martin Christopher “Angel Face” was photographed for a local hair salon’s ad campaign

• Contender: Bruce Roscoe Meticulous attention to the lighting creates strong chiaroscuro and a dramatic effect

• Contender: Kevin Ziechmann Reality and photography collide in this self-portrait

• Contender: David Miller Rendering a split look in a “Frankenstein” photo

• Contender: Jeff Nadler Black and white film and natural light gave this image its distinctive look

• Contender: Jessica Christie Capturing emotions and creating a retro look

• Contender: Laura Bello A little bling and vibrant color demand a viewer’s attention

• Contender: Dhrumil S. Desai Style and substance came into play in making this warm-toned black and white portrait