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Newsletter
Jul 29, 2008 1 comments

Shooting For Profit

by Ron Leach

If you are one of the many subscribers to the Shutterbug Storefront program,
you've learned that photography doesn't have to be a career to be
profitable. If you are unfamiliar with this program, a quick visit to www.shu...

Newsletter
Skye Hohmann Oct 18, 2012 0 comments
On a clear, moonless night, far away from the glow of city lights, the universe opens up above me. Pinpricked with ancient points of light, the night is breathtaking. Lying on the ground and looking up at the sky on clear nights, it’s obvious that the universe is three dimensional. I’ve had moments of vertigo. I’ve had moments of awe. Our galaxy sweeps away in the bright clear arc of the Milky Way, so beautiful and complicated and ancient and unlikely that it makes my heart race. The sky is unforgettable.
Newsletter
Sep 25, 2007 0 comments

Shutter Lag



Or, Why We Don't Review Digicams

by George Schaub

We have gotten some letters from readers asking why we don't normally
review integral lens digital cameras, or what we call digicams. One reason is
that they come and go so quickly. It's not unusual for a digicam to be
on them...

Newsletter
Ron Leach Jun 27, 2006 0 comments

Shutterbug Unveils Gold Member Program



By Ron Leach, Publisher

Those of you who are regular readers of Shutterbug and visitors to shutterbug.com
know that our magazine and website offer more than comprehensive product reviews
and in-depth instructional tutorials for advanced amateur and professional photographers.
While our primary...

Newsletter
Mar 25, 2008 0 comments

Sigma 4.5mm f/2.8 EX DC HSM (Motor-in) Lenses

The fisheye look is anacquired...

Newsletter
Aug 26, 2008 0 comments
Sigma
150-500mm lens

The Sigma APO 150-50mm lens is amo...

Newsletter
Nov 27, 2007 0 comments

17-70mm
Newsletter
May 29, 2008 0 comments

The compact Sigma DP1 has a single focal length lens, sports a "large"
(for compacts) sensor from Foveon and has many controls...
Newsletter
Aug 28, 2007 0 comments

The lens is what we are currently calling a "dual-platform" optic,
offering full coverage for 35mm cameras and full-frame D-SLRs, and of course
whatever multiplication factor your sensor imposes on the focal length in your
D-SLR. Included is an HSM (motor) which in all cases was silent and swift throughout...

Newsletter
Oct 27, 2009 0 comments

Slide Shows That Shine

Digital Makes It A Whole New Ball Game

by Jon Canfield

Creating slide shows used to be a time consuming task—getting the slides in the right order, making sure nothing was backwards or upside down in the slide tray (and not dropping the tray!), and setting up the screen and projector. And,let&...

Newsletter
Chuck Gloman Jun 15, 2012 0 comments
Sometimes the lighting in your environment is too strong, whether daylight or artificial, and you need to soften it slightly—that’s where diffusion comes into play. In the following examples, we’ll look at how diffusion can soften “direct” light.

Diffusion Disc
Ashleen is using a collapsible diffuser (26” Flexfill) to block the sunlight from falling on Anne Marie (#1). The semi-translucent fabric prevents the sun from falling on the subject, which can be seen by the shadow cast on Anne Marie. If we look at a medium close-up of Anne Marie we can see that the sunlight is filtered on her face casting an even, pleasant illumination (#2). Using this method is great if you want a one to one lighting ratio outdoors by just shading the sunlight falling on your subject. This method usually requires a helpful assistant to hold the diffuser, although some folks use a light stand and a C clamp to good advantage.
Nikon D700, Nikkor 24–120mm lens, f/9, 1/250th, ISO 250, daylight balanced 5600K.

Newsletter
Chuck Gloman Apr 26, 2011 0 comments

Lighting portrait subjects with different hair and skin color can be a challenge, especially when you are using a dark background. With a little time spent adjusting the color temperature and placement of your lights, you won’t have to rely on color correcting the images later. No lighting challenge is too extreme if you break it down into a few simple steps. Do you want hair lighter or darker; do you want to complement or contrast the skin tone; and what is the overall “look” you desire—warm or cold? By answering these questions, you will be able to determine which color temperature of light you need to create the mood for the image. Again, don’t just set the camera on auto white balance. Set your daylight or tungsten balance lights accordingly and manually adjust the camera’s color temperature—you’ll be glad you did.

Newsletter
Jim Zuckerman Nov 16, 2011 0 comments
One of the ways to draw attention to a subject is to find—or set up—brightly colored objects in an environment of a muted or earth-toned background. The eye is immediately drawn to color, and this is a poignant way to make a powerful and dynamic visual statement.
Newsletter
May 26, 2009 0 comments

Commentary

Spring Cleaning: Some News Flashes from the Past

by George Schaub

The rush of events in the past few years has left us all fairly breathless, what with the pace of change wrought by digital. As product trumps product, and new operating systems and formats rush to grab our attention, older systems and gearquick...

Newsletter
Howard Millard May 31, 2011 8 comments

In this article I’ll show you how to add dramatic movement to your images, as well as rich color and strong graphic design to create a striking impression. This is a trick you can do in Photoshop CS2, CS3, CS4 and CS5.