Digital Imaging Tech

June 6, 2017

iMac Pro, New iMacs And MacBook Pro Target Photo And Video Markets
Updates to the existing lineup and a preview of the iMac Pro renew Apple’s commitment to pros
David Schloss
Apple iMac Pro
The history of Apple is tied to that of the creative professional, after all, Apple is the company that ushered in the age of “desktop publishing” with the original Mac computers, and enabled digital photography and digital videography to blossom thanks to affordable, powerful high-end Macs. Apple’s history with professionals, though, has not... Read more
March 27, 2017

The Color Crisis
Why color management is so important, and why you probably aren’t doing it right
By David Schloss
color management
Datacolor Spyder5STUDIO I was standing in the kitchen the other day with my mother and my 6-year-old son, and found myself—as I do so often—providing computer tech support for my mother. Stop me if you’ve heard this before, but my septuagenarian mother was having trouble with a computer concept, and I was getting frustrated trying to explain it... Read more
January 26, 2017

Apple’s Wide Color
Apple’s new standard for displaying colors will change photography—again
By David Schloss
Apple Wide Color
The representation and display of color is at the heart of everything a photographer does, yet the devices we use to capture and view that color are inherently flawed. Monitors have a limited range of what they can display and they operate on a different system of color reproduction entirely from photo printers and offset presses. There have been several... Read more
April 29, 2014

Sensors Un-Sensored

The heart of any digital capture system is the image sensor. Incredibly fast-paced improvements in resolution and performance have brought us to a point where the next quantum leap is on the horizon.

By Staff
CMOS And CCD Digital cameras—smartphone through pro medium-format—use one of two types of image sensors: CMOS (complementary metal-oxide semiconductor) or CCD (charge-coupled device). Early digital cameras used CCD because it produced better image quality and was easier to make using the technology of the time and, basically, was the only type... Read more
June 9, 2009

Misinformation: Printing Tech

Massive prints don’t always need massive megapixels.

By The Editors
One of the arguments from manufacturers in the great megapixel wars is that to get a larger-than-life print, you need a ton of sensor resolution. While it’s true that the pixel count of the sensor largely will determine the acceptable image and print size, it’s not true that the more pixels you have, the bigger and better prints you’ll get. The... Read more
April 23, 2009

Misinformation: Camera Tech

It’s as close to a law in photography as anything that photographers interested in producing the best possible black-and-white images should capture in color.

By David Willis
It’s as close to a law in photography as anything that photographers interested in producing the best possible black-and-white images should capture in color. Thanks to digital, shooting in color maintains image information that’s basically thrown away when you capture directly in monochrome or hue modes. Saving this information gives you a lot... Read more
February 27, 2009

Hi-Tech Studio: Workstation To Go

Apple’s new MacBook Pro and LED Cinema Display are a sleeker, faster and greener solution for the fluid studio

By Wes Pitts
In a 24-hour world, work doesn’t wait quietly at the studio. For agile photographers who need consistent software and display performance wherever they are, Apple’s recently introduced MacBook Pro and companion 24-inch LED display make an intriguing combination as a possible do-it-all combination and desktop workstation replacement. The Satellite... Read more
February 27, 2009

Misinformation: Archival Tech

Digital archaeologists may someday need a Rosetta Stone to decipher image files.

By The Staff
Backup strategies are a well-covered topic, and for good reason. From floods to fires to file corruption, there are innumerable ways that a digital file can be destroyed. Thanks to the ease of duplicating dig-ital images, however, circumventing these problems is often as easy as pushing a button. So your images are safe, as long as you use a variety... Read more
September 25, 2008

Stylize Your Images Using Digital Filters

The difference between a technically solid photograph and a real winner that makes clients stop for a closer look is a matter of style

Text And Photography By Richard Lopinto
What makes winning /images win? Apart from the opportunities and advantages that are afforded by huge leaps in digital technology, one point stands out, as always—style! Today’s light-meter technology helps ensure technically correct exposure, but it’s personal insight and style that bring the exposure to a higher level—being aesthetically correct!... Read more
September 25, 2008

Hi-Tech Studio: Triggering The Light

Wireless flash systems give more freedom when it comes to creative lighting

By The Editors
There are two main categories of wireless flash control: standard optical slave triggering and the more modern and more versatile radio transmitter/receiver triggering. Both provide us with a variety of control over flash setups, whether it’s firing multiple compact flash units or the more powerful strobes and power packs. The differences that exist... Read more
July 1, 2008

The Fall And Rise Of Medium Format

New technology, a commitment to developing the very best image quality possible and a thriving rental market all have contributed to a renaissance in the digital medium-format category

By Simon Wakelin
It’s no secret that the medium-format industry has experienced dramatic changes since the advent of digital. Open camera systems (think Hasselblad’s H2 series) became closed, leaving players such as Phase One and Leaf no access to Hasselblad’s systems. Additionally, the disappearance of beloved medium-format models signified harsh... Read more
May 1, 2008

DPP Solutions: A Look At DNG

The DNG format was supposed to be the future, an open standard for RAW files that every manufacturer could use. Here’s a look at how the revolution has panned out.

By David Willis
On September 27, 2004, Adobe announced the Digital Negative Specification (DNG), a file format that was supposed to unify the cluttered atmosphere of proprietary RAW file formats by offering a non-proprietary template that would act as a universal raw file. The DNG format was released, free from any legal restrictions or royalties as an open-source... Read more
Subscribe to Digital Photo Pro
Subscribe & Save!
International residents, click here.
Menu