The digital darkroom has made it simple to accomplish print and image effects
that would have taken hours in the chemical darkroom environment. While the
learning curve can be steep (as it certainly was for the chemical darkroom,
at least if you wanted good results) the ease with which some tasks can be accomplished
is almost...well, embarrassing, at least to those who once labored in the
amber-lit confines of the darkroom.
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.
The new Casio Exilim EX-HG20G (list price, about $350) is a pocket size camera that is a traveling companion for those who like to see where they’ve been. Some examples: during my test with the camera we turned down a dirt road and “got lost” in the back areas of Arroyo Hondo, NM. We saw various side roads going this way and that, roads that weren’t on any map we had in the car. We shot a few pictures with the H20G and later plugged the images into Aperture 3.1 in our MacBook Pro, used the Places feature and voila, we saw exactly where we had been and where those back roads led.
The pocket-size Casio H20G sports maps, a memory for places and a GPS tracker that even records locales indoors.
The recent incidents in England have made for heightened awareness about airline
travel and questions about what can and cannot be carried on. The restrictions
are quite severe for travel to England and through trips connecting in Heathrow,
There are times when we have images that are too dark or too light and often
reject them out of hand. But the values only need to be adjusted to bring what
might have sat in shadow into the light. We can do that selectively with certain
tonal areas in the print or globally--that is, on the entire image. This
web how-to covers revealing what might sit in the shadows and deals with a very
simple global adjustment. The work is done here in Photoshop, but many other
image manipulation programs have similar controls.
While you can choose enhanced color saturation when using your digital camera
via the Menu, this choice generally adds saturation to all colors at once. This
might work fine for some subjects, but there are many ways to "juice up"
selective colors later in the software. We'll work with two controls here,
Hue/Saturation and Selective Color, both used as Adjustment Layers.
The Fujifilm Finepix 200 EXR (list: $599; street, under $500) sports a 12 megapixel sensor and a 14.3X optical zoom lens that is equivalent to 30.5-436mm (!) It takes stills and high-quality video and has a built in mic that delivers quality sound without much if any whirring from the camera. Having that much zoom capability means that you never will want on the tele side with this integral lens camera, and even 30mm is not bad on the wide side.
Looking like a small D-SLR with a moderate zoom lens, the S200EXR actually sports a 30.5-436mm optical zoom, an incredible range in a lens this small, though smaller sensor size is part of the reason they could attain the smaller size.
The III also sports a new Raw option, dubbed sRAW, which is 2.5 megapixels
in size and half the file size of "regular" Raw images. The advantage,
claims Canon, is that sRAW images can be processed just like any Raw image but
stored in at a smaller size. This is perfect, they say, for wedding candid photographers
who want Raw post-exposurepr...