LATEST ADDITIONS

The Nikon D800E contains a 36MP full-format FX sensor, a resolution normally associated with digital backs. This makes the D800E a competitor with medium format cameras made by Hasselblad or Phase One. The “E” version of this camera is contsructed without a low pass filter, used in many digital cameras to avoid color moiré but that can create a certain softening of image details. To avoid this soft look, many medium format cameras or digital backs do not utilize this filter. In cameras that use the filter, moiré effects are filtered in their raw converter software.

When it comes to lighting, the tools and techniques at the fingertips of a professional photographer are almost unlimited. Developing a sense of what is possible—and how to achieve it—is part of the fun of being a professional photographer and a critical aspect of developing your personal style as an artist.

In this book, Chris Grey takes you beyond the basics of lighting and shows you the tricks professionals use to create more visually complex effects. Some of these “tricks” are complex strategies that rely on a sophisticated understanding of the physics of light, but more are simply inventive solutions (the product of a lot of trial and error readers can bypass using this book!) that make it surprisingly easy to produce a very sophisticated result.

Ilford has relaunched their Galerie brand of inkjet papers, with one segment dubbed their “Prestige” brand. This is a first hands-on test of their Galerie Prestige Smooth High Gloss 215 gsm, based on pre-launch samples I was supplied.

 

In olden times printing papers were classed by weight, support (RC or fiber) grade (or VC, for variable contrast) and surface, and we’re beginning to see those classifications emerge again in the inkjet paper world, albeit in a different way than silver papers but nonetheless by weight and surface and support. If I were to classify this new Ilford Smooth High Gloss I’d call it a single weight, RC, and high gloss (Super F) "material", leaving grade aside of course as the contrast in digital is more determined by processing than paper grade.

Clients buying location photography can include those from the travel, fashion, editorial, corporate, and even architectural fields. You might well ask—why don’t they just use stock? With so many sites and so many agencies and photographers offering images from every imaginable corner of the globe, hasn’t stock killed this market? Stock photography for this market is a topic for another day—this is about companies that need location photography because they need their people or property photographed and they know that stock will simply not fit the bill. As a related sidebar, we’ll also cover how you can rise above the iReporter-type shooter who often degrades the market by offering travel and lifestyle images for a “dime a dozen.”