Shortly after I moved into my former home, there was a knock at the door. Standing in front of me was an 8-year-old girl who lived down the street. “I’m selling note cards,” she told me, “I made the pictures.” A second look showed subjects a kid might shoot but others demonstrated that she was thinking about the photographs before making them. I bought several note cards and asked about her camera, which turned out to be borrowed. With her grandmother’s permission I gave her an old, unused digital point-and-shoot. The girl loved the camera and was inspired to keep making photographs and we talked from time to time about her aspirations. Today she’s a young woman with professional ambitions.
Leaves haven’t started falling on Daisy Hill, but soon will be, and just as quickly the number of leaves needing to be raked reminds me of the thousands, maybe tens of thousands, of websites I’ve looked at and written about for Web Profiles over the years. The best are presented here but there are almost as many—maybe more—near misses that fail to make the grade because they lack focus. Not the pictures, mind you, but the purpose of having a site in the first place. While it may seem obvious to you it may not be to the person who lands on your homepage. Fall is a good time to reappraise and perhaps redesign your site for the New Year, giving it not just a new look but also a new purpose. Set a goal for your site and make sure that everything from the colors used to the words and images that appear go toward achieving that goal.
When I first saw the battery-powered Photoflex TritonFlash at a pro show I was impressed as much by its power output and flexibility as its tiny size. Available in a kit that includes one of the company’s light banks along with everything—except a light stand—the setup can get you started making portraits in the studio or on location with nary an electrical outlet in sight.
On October 2, 1950, the first Peanuts comic strip appeared in a daily newspaper. As a lifelong Peanuts fan and Snoopy collector it’s fitting that this month’s column is my 2100th published magazine article and I’d like to thank the best editorial team I’ve ever worked with—Shutterbug’s Editorial Director George Schaub and Managing Editor Andrea Keister—without whom none of this would be possible. I would also like to thank all of those readers who have hung in there with me for all these years. You are the reason I do this.
As I write this controversy is swirling over Adobe Systems abandoning Creative Suite to focus on Creative Cloud. Even if this is solved by the time you read this, there will come a time when you’ll have to face a decision about whether or not to upgrade your software. There are two different schools of thought on software upgrades: one approach suggests that if a program is working, why spend money to upgrade? The reason behind this philosophy is that sometimes upgrades create more problems than they solve. A second viewpoint is to always upgrade to the latest version—no matter what. The thinking is that since change is inevitable that you should upgrade to the newer version to minimize or eliminate future problems. How Adobe has handled Camera Raw over the past few Photoshop upgrades is a testament to that theory. Over the years I’ve changed from an upgrade-regardless person to a more cautious approach. I may prefer to have the latest version of everything being used on a daily basis but now will wait weeks (months, years?) all the while listening to the drumbeat of grumbles from early adopters. That’s why I’m waiting to see what happens with Adobe’s new policy.
Here are a few ABCs of web design to keep in mind when working on your site. A) Add something new each week. This is doubly important for blogs because search engines look for regular activity; the more and regular activity there is, the higher it will move the site in rankings when people look for photographers. B) Bigger is not necessarily better. Large file sizes cause a page to load slowly and, as I mentioned before in this column, the longer it takes, the more likely a person visiting the site will bail. Big file sizes also means it takes longer for a search engine spider to crawl your site. C) Colors should be simple, avoiding a strong graphic or photographic background. What works in print doesn’t always look good on a backlit monitor. A site’s focus should be on your photographs, not its design.<
Mary and I have fond memories of using early generation Bowens monolights; they were our first really “good” lighting system when we set up our studio in 1982. We loved shooting with those big, black, paint-can-shaped 800B monolights because they were inexpensive, dependable, and powerful. From what I can tell from my tests of their two-light Gemini 400Rx Kit that continues to be the case.
In this test, Joe Farace tackles a higher-end LED light source that he adapted to still photography work. In it you will find technical sidebars outlining how we will test LEDs for the still photographer in the future. We offer this somewhat tech-heavy review as both a close look at this unit and a primer on LED output and LED lighting, which, as Joe states, will become increasing important, and prevalent, in studio and location work for the still shooter.—Editor
Pro shows are a great time to catch up on the latest in lighting gear and trends, so we asked Joe Farace, who does lighting equipment tests for us here at Shutterbug (type Joe’s name in the Search box at www.shutterbug.com to see the wide range of gear he’s tested) to roam the floor at the WPPI show to see what’s hot. His report covers new equipment that caught his eye there but, while there’s plenty to read about, this is not intended to be a full report on what’s new in the category. Some of these products will be covered in future issues, with promised updates from Joe. Also, the show was a few months back, so most, if not all the gear, you read about here is available now. Check our web page news for new products and developments, and follow our in-depth lighting test reports that appear regularly in Shutterbug.—Editor
Alien Skin Software’s Exposure 5 is powerful monochrome conversion software that lets you produce accurate film simulations while adding a range of creative effects. Wrapped up in a redesigned and easy-to-use interface, Exposure 5 can also be launched as a stand-alone application, which can be useful in a workflow that doesn’t support plug-ins. This latest version includes controls for emulating color or black and white so you don’t have to switch between modes or, as in previous versions, separate plug-ins. It’s all one happy family.