Use new controls in Lightroom 4 and Adobe Camera Raw 7 to fine-tune the yin and yang of highlights and shadows
By George Jardine
Just when you’re becoming comfortable with image controls in your editor of choice, an update comes along and changes everything, so I sympathize that it sometimes feels like you’re aiming at a moving target. But no matter what image processor you’re using, I always try to urge photographers to think of “image correction”...
How to keep organized and sane when you’re working and reworking your RAW files.
Text And Photography By George Jardine
Adobe Photoshop has been around for 21 years now. Given that, I think it’s safe to say that we’re finally dealing with an adult. For the better part of that 21 years, Photoshop was the place where you went to work on, to crop, to color-correct or to manipulate, more or less, one image at a time. In the process, Photoshop became synonymous...
A quick guide to the interfaces for video and audio that you’ll encounter as you get into working with motion
By Mel Lambert
Connecting a DSLR to a peripheral used to be simple. You had a USB cable, a card reader—maybe USB or FireWire—and you were done. Images could move from camera to computer fast and easy. Times have changed, and now DSLRs can connect to TVs, projectors, computers and other devices. You’re shooting stills and HD video, and you may be recording sound...
As you get into multimedia, the alphabet soup of file formats can be confusing. Here’s a quick reference guide to common file types.
By Mel Lambert
The following is an annotated list of the data file types you may encounter while working with audio/video recorders and editing systems.
Uncompressed Audio Files
WAV: Flexible PCM file based on the Resource Interchange File Format (RIFF) and capable of storing virtually any combination of bit rates and sample frequencies; ideal format for data interchange...
How to understand the role of color contrast in black-and-white
By George Jardine
Back in the days of film photography, creating strong black-and-white photographs was an entirely different process than it is today. One important difference is that when shooting film, each of your decisions was virtually chiseled in stone as you went along. First, you had film choice. If you wanted black-and-white as your final image, it generally...
With the right software, you can increase resolution and maintain top image quality
By Mike Stensvold
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 4×6-foot print at 300 dpi from a 6-megapixel original image, or a 6×9-foot print at 300 dpi from a 12-megapixel original—or...
From capture to final output, there are many pieces to the puzzle for producing the ultimate black-and-white images
Dave Willis And Mike Stensvold
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...
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.
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...