LATEST STORIES

George Schaub Posted: Oct 01, 2005 0 comments

Long the realm of commercial labs due to their cost and complexity, a new breed of large format printers are being aimed at photographers, both pro and advanced amateurs, who want to take control of their gallery, portrait, and wedding prints. New inks, simplified software, and vastly enhanced workflows make these printers attractive to photographers who make the commitment to...

David B. Brooks Posted: Oct 01, 2005 0 comments

Epson has been a very active company over the last few years, offering an abundance of new printer models that I am sure has been both confusing and a welcome support for photographers doing digital darkroom work. One of the great benefits for many has been the introduction and refinement of pigment inks, which provided much greater print longevity than dye inks. This was...

Filed under
George Schaub Posted: Oct 01, 2005 0 comments

The news that Kodak is opting out of the silver black and white paper business should not have come as much of a shock, given the company's recent emphasis and direction. But it was a bit of a wake-up call. According to a Kodak spokesperson, the company has been seeing declines in sales of their silver product line for years and could no longer justify staying in that...

Filed under
Joe Farace Posted: Oct 01, 2005 0 comments

"The supreme irony of life is that hardly anyone gets out of it alive."
--Robert Heinlein

After 100 years, Eastman Kodak has stopped making black and white photographic paper that the Associated Press called "a niche product for fine art photographers and hobbyists..." I don't think there is any such thing as "fine...

Filed under
David B. Brooks Posted: Oct 01, 2005 0 comments

Digital Help is designed to aid you in getting the most from your digital photography, printing, scanning, and image creation. Each month, David Brooks provides solutions to problems you might encounter with matters such as color calibration and management, digital printer and scanner settings, and working with digital photographic images with many different kinds of cameras and...

Filed under
Darryl C. Nicholas Posted: Oct 01, 2005 0 comments

There are many different ways to make selections, each making life easier depending on the image and areas you want to define. Here's how I make selections that involve a lot of straight lines:

This picture, taken indoors looking out through large windows is a prime example of backlighting causing underexposure (#1). The fix for it is to select the well-lit outdoor...

Barry Tanenbaum Posted: Oct 01, 2005 0 comments

If you've glanced at the photos and you're not laughing, you might think about skipping ahead to the next story. On these pages we're going to spend some time in the bemusement park that's the mind of Chip Simons, and if the weird light he's shining into the darkness didn't bring at least a smile, you're probably not going to enjoy the...

Filed under
Maria Piscopo Posted: Oct 01, 2005 0 comments

Tony Corbell (www.corbellproductions.com) was one of the first photographers I worked alongside when I started speaking on the photo lecture circuit. When I saw the "lighting" theme for this issue, I knew he would be the one to talk to about business today. Corbell's October appearance at the...

Rosalind Smith Posted: Oct 01, 2005 0 comments

Fifteen years ago Ann Johansson left Gothenburg, Sweden, and came to America. She was looking for "sunshine" but she may just have found the end of the rainbow. For seven years her real-life job was waitressing in Los Angeles. Her hobby was taking pictures.

"It took me a while to realize you could actually make a living here having a...

Filed under
Howard Millard Posted: Sep 27, 2005 0 comments


To
achieve the eerie, glowing effect of infrared black and
white film, I applied several techniques in Adobe Photoshop.

Photos © 2001, Howard Millard, All Rights Reserved

Are you attracted to the
mysterious, otherworldly glow of black and white infrared film? But
you've heard that it's a bit of a hassle to shoot and print.
Well, here's how to emulate that exotic infrared (IR) look digitally
starting with any color original.



Why not shoot IR film to begin with? Kodak High Speed Infrared film
is a challenge. First, to avoid fogging, it should be stored in the
refrigerator and must be loaded and unloaded in the darkroom or a changing
bag. Then, for the best effect, you must shoot with a deep red or opaque
filter over your lens. Once you've focused, you must re-focus
the lens manually to the infrared focus point. Since your camera meter
doesn't measure IR light, it's advisable to bracket exposures
widely. In the field, you must load and reload your camera in a light-tight
changing bag. After the film has been processed, the negatives are extremely
contrasty and often require extensive dodging and burning to get a good
print.



I
started with this original color 35mm slide shot on Fuji Sensia
II and scanned it on a Polaroid Sprintscan 35 Plus scanner
at 2700dpi for a 26MB file.

...

Pages