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George Schaub Posted: Mar 01, 2004 0 comments

One of the glories of digital cameras is that you have as many options as you could desire in terms of exposure, white balance, file format and compression, sharpness, contrast, color saturation, bracketing, flash modes, and ISO settings, etc., all in each frame. This allows you to bring all your photo...

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George Schaub Posted: Mar 14, 2012 Published: Feb 01, 2012 2 comments
I grew up in a black-and-white photographic world. Sure there was color and plenty of it, but what attracted my eye were the black-and-white pictorials in Life magazine, black-and-white movies like The Third Man and the film noir B-flicks, and the amazing work that came out of the FSA and that of Weston, Evans, and Siskind. When I began photography “seriously” I couldn’t imagine shooting in color, except for the rent-paying jobs, or not being the one who processed and printed my own work.
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George Schaub Posted: Mar 17, 2014 Published: Feb 01, 2014 0 comments
While every image we make with a digital camera starts out as a color (RGB) image, it doesn’t preclude creating dynamic black-and-white photos from those image files. In fact, the ability to “convert” to color lends itself to producing more tonally rich images than we ever could have imagined when working with black-and-white silver materials.
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George Schaub Posted: Jan 07, 2014 Published: Dec 01, 2013 0 comments
Not long ago when you wanted even a modicum of quality with the ability to interchange lenses and control over cameras and functions worthy of the craft you’d mainly have to choose among a variety of D-SLR-type cameras. While they all followed the 35mm SLR form and even modes of operation, the digital differentiator was generally the size and megapixel count on the sensor. While there certainly were variations and competitive technologies within different brands, the major split was between APS-C and so-called “full frame” (larger sensors equaling the 35mm format). Improvements tended to drift “down” from full-framers to APS-C, but there were also a number of concessions, if you will, that moved up from APS-C to the more pro-oriented models, which for some muddied the waters although body construction, shutter cycles, and other matters of concern to pros were retained in the higher-priced cameras.
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George Schaub Posted: Jun 26, 2007 0 comments


Courtesy of Sigma Corporation, All Rights Reserved

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George Schaub Posted: Sep 14, 2012 0 comments
There are three general metering patterns available in most cameras—pattern (evaluative, matrix or other nomenclature, depending on the brand), center-weighted averaging and spot. Of all of them, spot gives you the greatest personal control over brightness and tonal values, which is how you become more engaged in your work. But being in the realm of personal creativity and decision-making means it demands more attention in return. In this article we’ll cover why you might want to give this least-used metering pattern a try.
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George Schaub Posted: Apr 01, 2010 0 comments

More pro photographers than you might imagine have been forged by the fire of the wedding photography trade. There is little to compare with the challenges of that combination of business and shooting knowledge and skill required. A typical wedding day can include portraits, still life, posing, lighting, exposure, photojournalism, classic groups, action, low-light, night, and even candle-lit...

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George Schaub Posted: Jul 01, 2007 0 comments

This issue contains our annual new products report in which we look at a number of product groupings and discuss what's been introduced in each in the last few months. The main inspiration for this flood of products comes from our attending America's largest photo/imaging trade show, known as PMA (Photo Marketing Association). Our staff and a host of our contributing...

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George Schaub Posted: Apr 19, 2005 0 comments

When shooting film, especially slide film, color rendition is a matter of
matching the film's "personality" with the subject at hand.
You can choose films with high or "normal" color saturation, contrast
and color response. These two photos of a colorful Christmas toy soldier in
New York's Rockefeller Center show the differences between saturation
renditions. With a digital camera you can program in color saturation, "warmth"
and even color contrast, making every frame you shoot like an individual selection
of film.

Color Low Saturation


Color High Saturation Warm


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George Schaub Posted: Oct 01, 2005 0 comments

The news that Kodak is opting out of the silver black and white paper business should not have come as much of a shock, given the company's recent emphasis and direction. But it was a bit of a wake-up call. According to a Kodak spokesperson, the company has been seeing declines in sales of their silver product line for years and could no longer justify staying in that...


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