On The Cover This month we are touting books as excellent gift items for the photographer(s) in your life. That said, we’ve provided you with the top photo and digital imaging books of 2009 to help with the selection process. We also have a vast array of optical options to expand your photographic view of the world. We...
On The Cover
As per tradition, we’re sharing our picks of the top photo books of 2010. Some of our picks are instructional and some are simply for fun, but all illustrate the unique power these special books hold. Aside from books, we have an in-depth Test Report on the Panasonic Lumix G2, a compact system camera. Finally,b...
On The Cover
Are you thinking of turning pro? You should go for it, but not until you read this issue first. Through our exclusive interview with Chase Jarvis and our Twitter tips for photographers, you’ll see there is a lot more to marketing yourself than in the past. Business aside, we have breaking tech news: a new archival DVD called the M-Disc. We also have tests on the latest pro equipment to help take your photography to new levels. Our cover shot, by Lindsay Adler, shows what you can accomplish with Broncolor’s Senso lighting kit for example.
One of the most important concepts in photography, and one that you have to deal with every time you take a picture, is depth of field. Depth of field refers to how much of the scene is in focus in front of and behind the subject on which you’ve focused. Forexa...
original photo, shot in the studio with Paul C. Buff electronic
flash on Fujichrome Sensia slide film, is sharp throughout.
Model: Heidi McAllister.
Photos 2002, Howard Millard, All Rights Reserved
In ads, book covers and magazines,
you've seen pictures where part of the subject jumps out at you
because it's sharp, but most of the image is way out of focus. The
technique really directs your attention to the part of the subject that's
sharp, and it adds a contemporary flair and sense of style. Traditionally,
this effect was achieved by using extremely shallow depth of field with
a medium format or large view camera. Today, however, you can create it
digitally in a few minutes and apply it to any existing photo made with
any camera, or to any print that you can scan into your computer.
selected the area I want to keep sharp with the Elliptical
Marquee selection tool.
Remember, once you've drawn the selection, you can
reposition it by dragging inside the selected area. Next,
feather the selection.
When digital arrived it hardly seemed a scheme that would be any good for my
black and white photography. I now see it as an essential part of the way I
work. This required some translation and transition from film and chemical photography,
but it also required aredefinitio...
While the usual photographic rules, such as using shutter speed to portray motion
(slow to blur, fast to freeze) and using focal length, aperture and camera-to-subject
distance to create a certain depth of field apply to both film and digital photography,
digital offers some intriguing options for making camera settings. In some cases
these settings relate to film photography settings, or choosing a specific film
for its "personality", but with digital you can alter these settings
on every frame you shoot and not be restricted to the attributes of a particular
film you might have loaded in the camera.
We are including a long response section from David Brooks' Digital Help
column in the newsletter this month as we wanted to get this information to
you as soon as possible. His response is to numerous letters he has recently
received on how to get prints that match the on-screenima...
All the talk in the past was about megapixels, with the horserace of ever-higher
counts grabbing all the headlines. Some folks claim that the latest 6 and 8
MP cameras deliver such good quality at such low price points that themegapixe...
A typical digital camera’s sensor sees a range of light in wavelengths from approximately 350 to 1000 nanometers. A nanometer (nm) is a metric unit of length equal to one billionth of a meter. Your eyes usually see a range of light from approximately 400 to 700 nanometers. Most digital cameras place a low pass filter directly in front of the imaging sensor to allow low frequency light visible to the human eye to pass through to the sensor. It blocks unwanted light from the infrared and ultraviolet spectrums (the high end and the low end wavelengths) from polluting a photograph’s color. As owners of early Leica M8 cameras quickly discovered, this piece of glass is very important for maintaining maximum color fidelity.
When we all shot film and our exposures were not perfect, there was very little we could do about our mistakes. All that has changed, and now we can make meaningful adjustments to the contrast, exposure and the color cast. It is a great time to be a photographer.
Somehow, we accept black and white as quite natural, as a fair and reasonable representation of what we have photographed. But it is hardly that—the world is filled with color in all its hue and shades, from the brilliant azure blue of...