Editor's Notes

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George Schaub Posted: Feb 01, 2007 0 comments

While I am very proud of the job we do here at Shutterbug magazine, there's another aspect of our work that I'd like to call to your attention--our website at www.shutterbug.com. I was reminded of what we offer when I recently met a Shutterbug reader at a photo show. After we talked for a bit about the state...

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George Schaub Posted: May 13, 2014 Published: Apr 01, 2014 0 comments
To say that photography is technologically driven these days is an understatement. While the miracle of being able to capture an image in and of itself is still a source of amazement to me, photography has changed so radically as of late that you need a scorecard to keep up with the game. That’s the intent of this issue, to bring you up to speed on the many developments that sit under the hood in capture, storage, and image delivery.
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George Schaub Posted: Jun 29, 2014 Published: Jun 01, 2014 0 comments
This issue contains a mix of articles, including an interesting photo project, a show review of images by Garry Winogrand, and a look at the trends and opportunities of lifestyle photography, but we’ve also included numerous tests on cameras and gear that show the way toward where image capture and lighting is headed. I feel that kind of mix is a blend of the technical and the aesthetic that helps define where we are in terms of technical advancement and what Shutterbug as a magazine offers and represents. Of course, I realize that equipment is not what a great photo makes, but taking advantage of and understanding the tools at our disposal allows us to explore new avenues of our creativity.
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George Schaub Posted: Oct 01, 2006 0 comments

Photography by definition is "drawing with light." It is creating a frame around a play of light that translates to a continuous tonal image. That definition helps identify one of the most important aspects of the craft, which is first seeing and then understanding how the play of light influences the image; how it expresses the photographer's vision and creates...

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George Schaub Posted: Jan 26, 2012 Published: Dec 01, 2011 2 comments
There comes a point in your photographic life when you might consider making money with your camera. It might be a life’s goal from the start, and you put the time into assisting, attending workshops, and even taking formal lessons or enrolling in a school dedicated to the craft. But more often than not it’s something that occurs to you along the way, something that sticks in the back of your mind as you lay awake at night. You consider it because of your love and dedication to making photographs, and your feeling that making a living with something you love to do would be a good way to go through life. But the question remains—just how do you get started, how do you make the transition or the first step?
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George Schaub Posted: May 21, 2013 Published: Apr 01, 2013 0 comments
I must admit to mixed feelings about the ongoing “connectedness” craze. On the one hand you have to admire technology that allows you to link the images in your camera with various mobile devices, convenient I am sure for some, and that now even lets you shoot and share at one touch of a button. On the other hand I am uncertain how this has anything to do with seeing and making quality images that speak to your instincts and feelings about the world around you. I note that some companies make this connected ability the headline of their new products, while others take it more in stride and list it as just another feature.
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George Schaub Posted: Aug 01, 2005 0 comments

Judging from the letters we receive and the action on our Forums (at www.shutterbug.com) the debate between digital and film photographers is ongoing, and shows no signs of abating. Some photographers have manned the silver-halide barricades and defy all comers by waving the silver-halide flag, while others scoff at the film fans by terming them reactionaries and...

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George Schaub Posted: Mar 01, 2009 0 comments

I recently got back a roll of processed color negative film from a lab touting itself as “professional” and it reminded me why it’s difficult for me to go back to shooting film. It’s not that I don’t like the look of film, or that I don’t enjoy actually working with it; it’s that the prints were well below my expectations. I checked the negatives and they...

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George Schaub Posted: Jan 01, 2008 0 comments

As someone who has paid the rent with photography since high school I often find myself uncomfortable when the words "photography" and "art" are linked in a sentence, especially when art is spelled with a capital "A." I see photography as a craft, one that takes rigor, training, and sacrifice to get right. But I also see photography as an art;...

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George Schaub Posted: Apr 01, 2005 0 comments

The portrait is one of the most demanding of all photographic tasks. We are asked to capture the character of a person in the brief, fleeting moment it takes to make an exposure. Painters seem to have the advantage, being able to take hours or days to render their impressions. They can block out forms and fill in the light and shadow as they see fit. What do we have to contend...

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George Schaub Posted: Dec 01, 2006 0 comments

In this issue we ask our contributors to pose their thoughts about the future of photography, at least looking forward a year. As is their wont, each has a particular revelation, wish, or projection based upon their sense of optimism (or lack of it) and field of expertise. You'll read echoes of nostalgia for film photography, thoughts on what needs to change to make things...

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George Schaub Posted: Nov 28, 2011 Published: Oct 01, 2011 2 comments
In this issue we feature images from the last roll of Kodachrome film ever processed. Steve McCurry’s work has always been admirable, but here the photographs have a special poignancy because they will be irrevocably tied to the end of an era in photography. These iconic images now reside in the Eastman House in Rochester, a fitting setting for them among the daguerreotypes, albumen prints, kallitypes, and other images created by processes that have become part of history. True, you can emulate the “look” of these processes with software, and even recreate some of the old paper print processes using custom-mix chemicals and old formulae, but I doubt very much that anyone is going to attempt to set up the massive machinery and chemical soups required to allow Kodachrome to be processed ever again.
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George Schaub Posted: Oct 01, 2007 0 comments

This issue is dedicated to lighting with reviews, how-to articles, and roundups of gear, all intended to get you thinking about the best way to illuminate your subject. At the most basic level exposure is about aperture and shutter speed--that's how light is controlled. But it is in shaping light, using modifiers for existing light and various types of bulbs, controlled...

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George Schaub Posted: Feb 01, 2011 0 comments

Every photo you take with a digital camera is RGB but that hasn’t stopped anyone from exploring the rich field of black-and-white imagery. True, a few years back the “conversion” to black and white was not so simple. You had to explore Channels or desaturate the image to create the foundation file, which left you with a fairly good black-and-white rendition, but something that...

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George Schaub Posted: Aug 23, 2011 Published: Jul 01, 2011 1 comments
I remember a story Fred Picker once told about showing his portfolio to a curator at a museum in New England. Fred photographed in the British Isles, near his home in Vermont and places far and wide, and trained his eye and lens on natural forms and man-made totems in nature. His favorite photographer was Paul Strand, though his photo collection ranged as far as his travels. In any case, in goes Fred to this curator, who quickly breezes through the images and dismisses the lot, saying, “We don’t need any more rocks and trees.”

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