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Posted: Dec 29, 2009 0 comments

Digital Photography In Black And White

Seeing In Grayscale Tones

by George Schaub

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...

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Howard Millard Posted: Sep 27, 2005 0 comments


To
achieve the eerie, glowing effect of infrared black and
white film, I applied several techniques in Adobe Photoshop.

Photos © 2001, Howard Millard, All Rights Reserved

Are you attracted to the
mysterious, otherworldly glow of black and white infrared film? But
you've heard that it's a bit of a hassle to shoot and print.
Well, here's how to emulate that exotic infrared (IR) look digitally
starting with any color original.



Why not shoot IR film to begin with? Kodak High Speed Infrared film
is a challenge. First, to avoid fogging, it should be stored in the
refrigerator and must be loaded and unloaded in the darkroom or a changing
bag. Then, for the best effect, you must shoot with a deep red or opaque
filter over your lens. Once you've focused, you must re-focus
the lens manually to the infrared focus point. Since your camera meter
doesn't measure IR light, it's advisable to bracket exposures
widely. In the field, you must load and reload your camera in a light-tight
changing bag. After the film has been processed, the negatives are extremely
contrasty and often require extensive dodging and burning to get a good
print.



I
started with this original color 35mm slide shot on Fuji Sensia
II and scanned it on a Polaroid Sprintscan 35 Plus scanner
at 2700dpi for a 26MB file.

...

Filed under
Ron Eggers Posted: Dec 26, 2006 0 comments


The Topaz A2, which powers the Ringflash, is a full-size power pack
with 1600 ws output that features symmetrical/asymmetricalp...

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Posted: Feb 01, 2011 0 comments

February 2011

On The Cover
This month we have exclusive reports from photokina, the worldwide photo trade show. While we couldn’t cover all of the new products and innovations displayed at photokina, we did bring you the 2011 product highlights in cameras, lenses, lighting, tripods, accessories, and bags. Plus, we take a look atwhat&rsqu...

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Posted: Sep 30, 2008 1 comments

The Sony Alpha 900



What Does 24 Megapixels Look Like, and Why Would You Need It?

by George Schaub

First off, you won't see any images with this piece. The reason is that
when I first got to shoot with the camera in August, Sony made me sign a blood
oath that no images from the preproduction sample couldb...

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Posted: Apr 27, 2010 2 comments

Depth Of Field

Creative Focus Effects

by Jim Zuckerman

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...

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George Schaub Posted: Oct 25, 2005 0 comments

It's 10PM: Do You Know Where Your Pixels Are?

...

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Posted: Feb 27, 2007 1 comments

Printing Trends

by Ron Leach

Back in the "old days" of film, most photographers concentrated
on image capture, with "output" being limited to the relatively
few pros and enthusiasts with access to a darkroom. Things are a bit different
in today's digital world, with affordable inkjetprinters...

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Jim Zuckerman Posted: Apr 26, 2011 1 comments

I was privileged to be able to photograph a champion Gypsy Vanner horse, Romeo, with a beautiful model in period costume. I chose late afternoon about an hour before sunset to take advantage of the spectacular backlighting on the blond mane, the tail, and the feathering around the feet. For this particular photo session, I wasn’t able to shoot Romeo in an open field, and the corral fence behind him (#1) bothered me at the time but there were no other options. I knew I wanted to separate my subjects from the background at a later point in time during post-processing, but what makes this breed of horse so beautiful—the long, flowing hair—is a nightmare to deal with in composite work.

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Posted: Jan 27, 2009 1 comments

Fujifilm Instax 200

The Instant Camera Alternative

by George Schaub

When Polaroid dropped out of the instant camera business it left lots of Polaroid camera owners holding the (camera) bag. Without the dedicated film, Polaroids became instant paper weights, interesting items for the MOPO (Museum of Photographic Obsolescence.)When...

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Posted: Jun 01, 2006 0 comments

June
2006

On the
Cover


This month's issue is dedicated to our coverage of the PMA Show, the largest
photo trade show in the US. We hope you'll enjoy this inside look at the
latest gear and...

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Ron Leach Posted: May 29, 2007 0 comments

Technology Paves the Path

by Ron Leach

A decade ago pundits were describing the business of photography as a "sunset
industry," suggesting that the "smart money" should look elsewhere
for innovation and profits. Then came the digital revolution which not only
changed the manner in which we capture, share...

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Posted: Oct 30, 2007 0 comments

November
2007

On
the Cover


This month take your images to the next level with a multitude of hot pro tips
and new pro gear reviews. Our special report on the pros and cons of pixel packing
answerswhet...

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Posted: 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...

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Ron Leach Posted: Mar 28, 2006 0 comments

Breaking the Four-Minute Mile



By Ron Leach, Publisher

We recently returned from the 2006 PMA Convention and Trade Show in Orlando,
FL--the largest annual international trade show in our industry. With over
600 exhibitors, 20,000 attendees, and more than 200 educational sessions, this
four-day event is pretty much a "must...

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