Photography Workflow
An efficient digital photography and imaging workflow is critical to a photographer's success. Learn techniques and equipment for adapting an efficient process.
Tuesday, June 19, 2007Large-Format ScanningDiscover the alternatives for producing your own scans in-house 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. |
Monday, June 18, 2007Digital Asset ManagementKeeping track of the images that pay the bills requires a foolproof system 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. |
Monday, June 18, 2007Proper Printer ResolutionMyth: Pixels equate to ink droplets 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? |
Thursday, May 31, 2007Future Perfect - The Lab In The Digital AgeOnce 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 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. |
Friday, May 25, 2007An Argument For Color ManagementIt's not sexy or exciting, but calibrating your full image workflow is just about guaranteed to get you better results If you've set up your digital workflow to be completely color-managed, congratulations! You understand exactly why it's important. If you haven't calibrated your gear because you don't think you need to do it, that's because you haven't calibrated. Confused? It'll all become clear—but only after you calibrate. |
Friday, May 25, 2007B&W Comes Of AgeThere has been a paradigm shift in what photographers can do with black-and-white imagery. Digital tools and capabilities have opened the medium to new possibilities. One of the major paradigm shifts presented by digital imaging is that you can start and finish with any media, analog or digital. When it comes to input, you have two choices: analog film or digital capture. Within each of these choices you have two more choices: black-and-white or color. Read More... |
Wednesday, May 23, 2007The Keys To Proper Print DisplayThere's an art and a science to framing photographs. Steve Gorman is a professional photographer who also runs one of the most respected framing shops anywhere. When I was growing up, my parents had a framer. I don't mean we went to a framing store like Aaron Brothers; I mean we had a framer. He was an artist by trade and had opened a small framing shop where he'd contemplate the perfect complement to whatever new piece of artwork came in from his clients. The shop was small and cluttered and, as a kid, I was admonished not to touch anything—an impossible request of a boy surrounded by such cool props as mat boards, framing rails and specialized tools that he had never seen before. |
Wednesday, May 23, 2007Don't Panic! - Memory DisastersWhen the unthinkable happens and your memory card becomes corrupt, it's important that you keep calm and apply the right tool At some point in all of our careers, it's going to happen. A disaster will strike and, for the briefest of moments, we'll consider sending the assistant to find Dr. Kevorkian's contact information. What kind of disaster could create such an extreme reaction? For a photographer, only a loss of images could make you want to have Suicide Hotline on your cell phone's speed dial. |
Wednesday, May 23, 2007Dealing With Viewing DistanceCreating accurate viewing conditions is critical when evaluating your images, and it's something no one seems to be talking about—until now There's a fundamental flaw in digital imaging today. You simply cannot view a pixel-based image on a computer display that gives a true interpretation of what it will look like printed on paper. |
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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
