Software & Computers

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Jack Neubart Posted: Sep 10, 2013 Published: Aug 01, 2013 5 comments
Capture One Pro stands as the Raw converter and digital asset manager of choice among many pro photographers, notably those using Phase One backs. But this software also supports many, many other cameras, with profiles for over 250 models plus a wide range of lenses. Version 7 (V7) has some new features of note, so I checked it out to see if an upgrade from 6 is advisable, and if it might tempt users of Adobe Lightroom/ACR. For this test I ran Capture One Pro 7 on a 27” iMac under OS X 10.8 Mountain Lion, with 8GB of RAM.
David B. Brooks Posted: Jun 11, 2013 Published: May 01, 2013 2 comments
I always enjoy trying out the best new high-end products. It’s fun, but more important it tells me how good the best performance can be. But when reviewing color management tools I realize that photographers are not color scientists or computer programming experts, so I thought I’d start this review with a bit of a tech briefing on why they are important to all photographers who want to get the most from their work.
Steve Bedell Posted: Jun 18, 2013 Published: May 01, 2013 3 comments
As more photos are made on more types of devices, there’s a need for resultant images that aren’t just “OK” but as good as they can be. And part of the need, it would seem, is that some folks don’t want to spend a lot of time learning complex programs to get the image results they want. Companies like Athentech Imaging aim to make it a one-click affair.
Steve Bedell Posted: Jun 21, 2013 Published: May 01, 2013 3 comments
The job of auto-retouching software is to retouch faces quickly, easily, and with as little human intervention as possible. Most require you to either set or confirm where the major points of the face are, like the eyes, ears, and lips. After you’ve identified those areas, the software then goes about its business of transforming little Pamela into little Princess.
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David B. Brooks Posted: Feb 07, 2013 Published: Jan 01, 2013 2 comments
While some, like me, like to spend hours working on an image in their digital darkroom, quite a few photographers express a desire to process photographs into good-quality digital files with as little effort as possible without having to learn a new technique or software. For those who don’t find it fun and the rewards too hard to come by, a company in Europe called Elpical may have an answer.
Matthew Bamberg Posted: Dec 17, 2012 Published: Nov 01, 2012 23 comments
Photographers should back up their image files—it’s as simple as that—and there are numerous services that offer their services today. In this article I’ll be looking at one, Carbonite (www.carbonite.com), that works somewhat differently from others. Many people have told me that their $59 per year for the Home Plan, unlimited backup, is a steal, so I thought I’d check it out.
Staff Posted: Sep 14, 2012 Published: Oct 01, 2012 2 comments
There’s no question that do-it-yourself photo books have captured the imagination of photographers, from pros to those who simply want to create a remembrance of a journey or to gather family photos. While just about every imaging software and online picture service, from iPhoto to Shutterfly, offers quick and easy bookmaking, there are some companies dedicated to serving the higher-end market, generally pros but also including every photographer who wants a stylish, custom-designed book. Software to help design the book is a key ingredient, as are options for book materials and binding. And in the end, the quality of the images reproduced, and the facility of ordering and making images ready, is what makes the bookmaking process a creative, fun project that will result in a book that will be cherished for many years.
Edited by George Schaub Posted: Sep 18, 2012 Published: Aug 01, 2012 10 comments
Every year the Technical Image Press Association (TIPA), a worldwide association of photo and imaging magazine editors, meets to pick the Best of Class in a wide range of photo categories. As the sole US member of the association, Shutterbug joins editors from Europe, Asia, and Africa in the nominating, judging, and selection process. One of the most exciting aspects of photography today is the constant advancement of technology and design, and this year’s Top Products reflect that spirit and those accomplishments, including new categories of Video D-SLR and Mobile App. Editor George Schaub joins all fellow TIPA members in congratulating those selected to receive the prestigious TIPA award. (To learn more about TIPA, please visit the website at: www.tipa.com.)
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George Schaub Posted: Sep 05, 2012 Published: Aug 01, 2012 1 comments
The question is—does anybody really know what a given image would look like if they shot it on Kodachrome 25, or Fuji Acros, or some obscure color negative film that even in film’s heyday was little used or appreciated? Perhaps the more pertinent question is—how many people have made photographs using film? But film references are what a number of so-called film emulation software programs use for describing presets that can be applied to a digital image. Half academic and half nostalgic, the programs use film brand names to describe saturation, contrast, color nuance, and grain structure variations that are then applied to an image. Perhaps using film names is better than poetic fantasy terms, like “misty blue dawn,” but then again entirely subjective descriptors, rather than supposedly clinical ones used in these software programs, might be just as handy for today’s photography crowd. In any case, I recently tested one such program, DxO’s FilmPack 3.1, to see if it offered up creative variations that could be used as is or as foundation images when interpreting subjects and scenes.

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Jon Canfield Posted: Sep 06, 2012 Published: Aug 01, 2012 2 comments
One of the most common complaints about digital imaging is the lack of consistency when going from one device to another—most commonly screen to print. Dark prints are the typical complaint, but color shifts are also a contributor to choice language and lack of hair. Yes, we tweak the image until the sky is that perfect hue of blue, or the skin tones have just the right amount of warmth and vibrancy. When it’s all done, the image is posted online or printed and it looks nothing like what we expected. The image is too dark, skin tones are too red, any number of problems. Where did it go wrong?

In almost all cases, the culprit is an uncalibrated display. Back when CRT displays were the common screen type, color could be wildly different and it was usually pretty easy to detect when the display was at fault. With modern LCD displays that isn’t necessarily the case—color is often close to correct in hue, but luminance, or brightness, is where the problem usually lies.

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Jack Neubart Posted: Aug 08, 2012 Published: Jul 01, 2012 1 comments
Attempting to make the HDR process more user-friendly, the newly updated HDR Expose and Photoshop-dedicated plug-in 32 Float, now both in Version 2, largely share the same features and enhancements. As I see it, the improvements center mainly on workflow—reason enough to upgrade, in my opinion, and reason enough to consider these as serious tools for HDR work. Both are available from Unified Color Technologies.
George Schaub Posted: Jul 18, 2012 Published: Jun 01, 2012 12 comments
Wacom recently introduced their new line of Bamboo tablets, and we thought we’d revisit the use of stylus and tablet tools to give it a try. For our test we worked with the Bamboo Capture, described by the company as most apt for enthusiast digital photographers, although there are three intros in this new line.
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John Brandon Posted: Jul 05, 2012 Published: Jun 01, 2012 11 comments
With each successive release of ACDSee Pro, the photo management suite adds ever-more-powerful features. In this review I hope to help you decide whether or not its features match up with your own workflow, meet your needs, or even improve on existing features to enhance your photographic creations.

In my own workflow, the new version, ACDSee Pro 5, smoothed over a few rough edges in the editing process and made my management chores a bit less time-consuming. The release is not so groundbreaking that it might make you consider abandoning Adobe Lightroom or Apple Aperture altogether, but there are some pro-level additions that are definitely worth considering. The program never crashed and operated quickly for just about any task on a standard desktop PC. Note I said PC—there is no Mac version available or considered at this point.

Jack Neubart Posted: Aug 01, 2012 Published: Jun 01, 2012 4 comments
The most recent speed gains have been in SD format cards, making us wonder about the larger CF card. But that concern has been to an extent dispelled by some of the recent developments in this very fast-changing field. One of the newest developments unveiled at the show was a card that sits between those two sizes, the XQD card. The first camera to accept the new memory card is the Nikon D4, although the D4 also features a CF slot.

XQD has a smaller form factor than CF, so they’re not interchangeable. Sony, the company that introduced the world’s first XQD card, notes that you can record up to 100 Raw image frames from continuous shooting mode using the card and obtain 125MB/sec read/write speed when using a PCIe port; new XQD card readers are available as well. The casing around the card is “robust,” with contact pins inside the casing itself, which Nikon says helps eliminate problems in the field.

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Jack Neubart Posted: Jul 19, 2012 Published: Jun 01, 2012 16 comments
DxO Optics Pro Version 7 is a Raw converter for Mac and Microsoft Windows with some nifty tricks up its sleeve. It offers its own brand of nondestructive image editing, with tonal, exposure, geometric, and optical corrections that make it stand apart from the crowd. As was true of Version 6.6, Optics Pro 7 supports the company’s new FilmPack 3 film emulator plug-in (see sidebar below). We will have a more complete review of the film emulator in a future issue.

Optics Pro Version 7 is a dramatic departure from earlier releases. The Select pane is gone, so you no longer have to deal with tedious Projects (unless you want to). Now you go straight to work after opening a folder. Double-click on an image and that takes you right to the nondestructive editing phase, in Customize. Beyond this point the Mac and Windows versions part ways in one key respect: the Windows version runs faster than the Mac version, which continues to be laborious.

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