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Posted: Aug 01, 2009 0 comments

August 2009

On The Cover
This month our focus is on lenses and pro Steve Bedell checks the specs and weighs in on why you may or may not want to keep using pro-quality lenses for your work. In addition, we have a Test Report on the latest Zeiss Planar T* 85mm and 50mm lenses. Aside from optics, we have an exclusive interview with mastercr...

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Peter K. Burian Posted: May 24, 2005 0 comments

As recently as 18 months ago, a built-in image stabilizer was a rarity in digital
cameras. It was available only in a couple of Panasonic models and one Konica
Minolta DiMAGE camera. Today, an increasing number of digicams -- from four
manufacturers -- employ some form of camera shake compensating device. And there's
even a digital SLR with a built-in Anti-Shake mechanism, the Maxxum 7D. We expect
this trend to continue with other manufacturers jumping on the bandwagon. "Sounds
great if you're into high-tech gizmos," you may be thinking, "but
is this feature really necessary?"

...

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Posted: Nov 01, 2006 0 comments

November
2006

On the
Cover


This month our focus is on pro gear. We reveal the tools of the trade with a
variety of Test Reports on new products that take you from capture to output.
We even show youho...

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Posted: Mar 25, 2008 0 comments

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

The fisheye look is anacquired...

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Posted: Oct 27, 2009 0 comments

Industry Perspective

Camera Phones Coming of Age

by Ron Leach

Most “serious” photographers own at least one pocket-size digital camera so that they’re always prepared to capture an interesting scene—even if their trusty SLR is back home in the camera cabinet. That means many of us go about ourdaily...

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George Schaub Posted: Aug 30, 2005 0 comments

The promise of digital imaging is that you can get one-touch corrections on
your photographs, making it easy to create the best images you can from every
picture you take. The phrase: "I won't worry about white balance,
exposure or contrast, etc....I'll fix it in Photoshop" is commonly
heard, but it isn't always the best course. If you shoot in Raw mode you
can fix anything, even exposure compensation, later, but not everyone wants
to go through the steps of working with Raw converters and all those sliders
and options. That's where the supposed magic of "auto" fixes
come into play, and yes, there are times when it can do wonders. Today, cameras
even have auto red-eye fix and amazing adjustments for backlighting problems.

...

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Posted: Jun 24, 2008 0 comments

Digital SLRs on the Upswing

By Ron Leach

A new six-year forecast released by a leading market research firm serving
the digital imaging industry points to digital SLRS as "the brightest
spot in the digital camera market." In their report, entitled "North
American Consumer Digital Camera Forecast:2008--201...

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Posted: Jan 26, 2010 0 comments

Natural Light Reflectors

“Found” Light For Outdoor Portraiture

by Steve Bedell

Photographers love equipment. They’ll attend any seminar and buy any piece of equipment they can in the hopes that it will elevate their work to a higher plane. Now that’s all well and good, but before you start buyingal...

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George Schaub Posted: Mar 15, 2005 0 comments

The pixels that make up a digital image each have an "address",
a code that defines color, brightness and shades. When we make images with a
digital camera or from film with a scanner we are creating a matrix of pixels
that altogether create the illusion of a continuous tone image. These codes
are not dyes or even densities, but specific information as to how the computer
will interpret the colors and tonal values on the screen. It is only when we
make a print that we leave the "digital" world and enter the world
of dyes and pigments. Because each pixel has a code, basically a bunch of information
that is composed of bits and bytes, we can alter that code to change the "address",
or color and tonal look of every pixel. In this lesson we'll use the Replace
Color dialog box, found in most versions of Photoshop, or under other names
in other programs, to illustrate the point and give you an easy, fun way to
play with your pictures.

...

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Posted: Dec 01, 2010 0 comments

December 2010

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...

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Posted: Mar 27, 2007 0 comments

The Palm Springs Photo Festival

May 6-11

Korakia Pensione Hotel

The Palm Springs Photo Festival is the West Coast meeting place of photography's
national and international community and has rapidly become one of the most
extensive photo festivals in the U.S. and abroad, offering numerous invaluable
opportunities to learn andn...

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Posted: Oct 28, 2008 0 comments

November 2008

On the Cover
This month be sure to read our special report on memory cards and memory loss. Despite what you may think, you can recover “lost” images and we show you how, so the next time you’re in the field and this happens you won’t panic. Speaking of being in the field, we have a buyer’sguide...

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Posted: May 25, 2010 0 comments

The “Other” Magical Hour

Blue Light Moods

by Lindsay Adler

Most photographers are familiar with the “golden hour” after sunrise or before sunset when the light is rich, warm, and stunning for photographs. But many photographers don’t realize that there is another magical time—the blueho...

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George Schaub Posted: Mar 28, 2006 0 comments

PMA Coverage in our June, 2006 Issue

by George Schuab

I wanted to give you a Coming Attraction of our June, 2006 Shutterbug issue.
It's filled with new products, trends and technology from the recent PMA
Show in Orlando, FL. This is the biggest photo/imaging trade show in the US,
and we had a team of reporterscoveri...

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Posted: Feb 22, 2011 0 comments

Quick Tips: A Little Flash Will Do Ya’

Use On-Camera Fill For A Taste Of Light

by George Schaub

The small, built-in flash on your camera is not meant to be a powerhouse that will enable you to capture large groups indoors or throw light any significant distance outdoors when trying to conquer the contrast problemsof...

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