Pro Techniques
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Pro Techniques
Peter K. Burian Sep 01, 2000 0 comments

A large percentage of the population has always had a love affair with the automobile. We own more cars per capita than any other culture and we have a genuine fascination with older models. When "classic" vehicles reach a certain age, some will spend small...

David FitzSimmons May 22, 2012 Published: Apr 01, 2012 1 comments
In June 2009, Sigma Pro director Dave Metz contacted me, requesting some wildlife images for full-page Sigma advertisements. He knew that I had been working on my first book, Animals of Ohio’s Ponds and Vernal Pools (Kent State University Press, July 2011), so he figured I could send him images fairly easily. He then made an interesting—and at the time slightly disconcerting—request: would I please photograph the animals not within their natural settings but against white backgrounds?
Accessories, Pro Techniques
Russell R. Caron Sep 06, 2013 Published: Aug 01, 2013 1 comments
One of the challenges to home or professional photographersthese days is trying to keep every portrait set from looking the same. In a world where “freshness” counts a lot, being able to mix things up from one session to another, from season to season, all without jumping through too many hoops to change the set, is an advantage for many. A current trend is the ability to not only change backdrops but flooring as well, and with that in mind we recently had the opportunity to work with products from a division of the pro lab White House Custom Colour called “Backdrops by WHCC.” They have a wide range of interesting offerings in both fabric backdrops and rugged “rubberized” studio flooring.
Pro Techniques
Joe Farace Jul 01, 2008 0 comments

If your camera doesn’t offer Live View you can add it as an accessory.

Andrea Keister Mar 01, 2008 2 comments

When our resident digital guru's Digital Darkroom Resource CD appeared in 2003 it debuted to much fanfare. The first volume included 11 chapters; shortly thereafter, Brooks released a second volume containing 16 chapters. He's now outdone himself with a new, third volume that contains 26 chapters, totaling 318 pages in PDF format plus a folder of images for print test...

Pro Techniques
Jay McCabe Nov 01, 2006 0 comments

"Photographers may believe in certain pictures, but they have to have the educated eye of the picture editor."

"We're actually looking at film," David Doubilet says. He's at the offices of National Geographic magazine, going over the take from a recent two-month assignment in the South Pacific. The job was shot with both film and...

Pro Techniques
Jeff Wignall Jan 24, 2014 Published: Dec 01, 2013 0 comments
One of the primary differences between a photograph and the real world is that reality has three dimensions: height, width, and depth. Your photos, of course, only have two—height and width. Any depth that exists in a photograph is purely an optical illusion. Even if you were able to create a print that was the exact same size as the scene (and wouldn’t that be fun) it would still pale beside the real thing because of the lack of that third dimension.
Steve Bedell Mar 01, 2000 0 comments

I have to admit something to you. About five years ago, when it was becoming very evident that digital technology would become increasingly important for the imaging professional, I tried to look the other way. I figured it would be a niche market. If they...

Pro Techniques
Jim Zuckerman &... Sep 01, 2009 0 comments

Editor’s Note: This is an excerpt from “Digital Photographer’s New Guide to Photoshop Plug-Ins,” a new book by Jim Zuckerman and Scott Stulberg. Zuckerman and Stulberg have created a comprehensive look, along with easy to follow step-by-step instructions, that illustrates the power of modern plug-ins for your work. In this excerpt they share the fun of working with Flaming...

Steve Sint Jul 05, 2013 Published: Jun 01, 2013 2 comments
Having worked with Steve in the past, and knowing him for many years, we are always pleased to feature his photography and writing. Recently a new book of his came across our desk (ISBN: 978-1-4547-0327-3, published by Pixiq, www.pixiq.com, 272 pages, $29.95) and we are happy to offer an excerpt of just a few pages of the tip and technique filled volume here. This is one book where Steve’s personality, experience, and expertise certainly comes through in each and every well-illustrated page.—Editor
Pro Techniques
Joe Farace Jul 01, 1999 0 comments

A tree is a tree is a tree
--Max Sennett

That silent film pioneer may have been talking about why shooting movies on location in Hollywood was a good idea for the fledging film...

Josh Miller Apr 15, 2014 Published: Mar 01, 2014 0 comments
As primarily a landscape photographer Iam often in a situation where I am struggling to give a feeling of scale to big dramatic views. I will look for something to place close to the camera, such as a dramatic flower or rock, to capture the viewer’s attention and draw them deeper into the photo. In some cases, though, I find including a person rather than a natural element within the scene does a better job of it. Not only does the figure add scale, but it also makes viewers feel like they are standing within the scene rather than looking at a print on the wall, a kind of visual empathy.
Pro Techniques
Jon Sienkiewicz Apr 01, 2009 0 comments

SBA means “Shake Begins At”—the level at which camera movement makes your images lose the sharpness battle.

Pro Techniques
Jack Neubart Sep 01, 2009 0 comments

Don Dixon (www.dixonfilm.com) has always impressed me as the consummate professional. A contributor to two of my books, Studio Lighting Solutions and Location Lighting Solutions (Amphoto), he continues to produce a body of work that stands head and shoulders above many when it comes to originality. His digital composites never cease to amaze...

Pro Techniques
Jack Neubart Jan 22, 2013 Published: Dec 01, 2012 29 comments
“Many of my portraits come out of the sense that it is a conversation with the person being photographed,” Donald Graham observes. “It’s important to look deeply into a person’s eyes and, in so doing, to understand better who that person is.”

Graham, who works around the world but primarily in Los Angeles and New York, did not arrive at this viewpoint overnight. A pro shooter since 1983, he focuses on fashion, movies, music, and advertising. “My specialty is clearly people.”