George Schaub

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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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George Schaub Posted: Mar 15, 2005 0 comments

Shutterbug Forums create an online community for information, questions and
debate on topics of interest to photographers today. A wide range of topics
are covered, including various camera User Groups, 35mm and Digital SLR photography,
camera collecting, Help desks and more. The Forums are also a great way to get
in touch with Shutterbug writers and editors as well as professional photographers
from around the world. Many of these experts will be moderating focused discussions,
as well as participating in all the Forums at the Shutterbug site.

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George Schaub Posted: Mar 01, 2005 0 comments

All Photos © 2004, George Schaub, All Rights Reserved

Further Information
Fuji FinePix F810
www.fujifilm.com

There's something about a wide angle view that attracts the eye. Wide screen TVs, the continued popularity of panorama images (and their attempted resuscitation every few years...

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George Schaub Posted: Mar 01, 2005 0 comments

I just got a call from a digital photographer we all know and who is one of the pioneers and chief practitioners of the craft. He related the awful tale that we hear all too often these days--that his computer crashed and all the data on his hard drive was gone. Luckily, he had been backing up all along, on CDs and a separate hard drive.

If...

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George Schaub Posted: Mar 01, 2005 0 comments

All Photos © 2004, George Schaub, All Rights Reserved

Software Used: Photoshop Elements 2

Time: 3 Minutes

Degree Of Difficulty: Moderate

When you make candid portraits you don't always have the time or the disposition to use aperture settings for a shallow depth of field (where the subject...

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George Schaub Posted: Mar 01, 2005 1 comments

Note the "EX DG" appellation in this new Sigma lens. This signifies a lens that you can use for both film and digital photography, as opposed to Sigma's "EX DC" branding, which can only be used with digital SLRs. The difference is in the image circle each projects. Use a "DC" lens on a film camera and you'll have serious...

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George Schaub Posted: Mar 01, 2005 0 comments

Memory is an odd process. Recollections can be triggered by a certain muscle movement, a dream, a flash of color or shape as we walk down the street, a shift in the wind or, more concretely, by a photographic image. In all, memory is an associative process, in that some catalyst seems to create a circuit in the mind that refers to something real, or imagined, in our past. We all...

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George Schaub Posted: Mar 01, 2005 0 comments

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.

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George Schaub Posted: Feb 15, 2005 0 comments

Handcolorists have been doing it for years. They began with a black and white
image and using photo oils, chiefly from the Marshall Company (distributed by
BKA Group) added selective color or entirely covered a monochrome image with
color. This was often practiced with portraits, but began to find followers
in the "fine arts" arena as well. We've seen this so-called
mixed-media trend come and go, and I don't think hand-coloring will ever
go out of style. Digital has opened up many new doors for creativity, and because
you can manipulate images with ease it allows you to emulate any look, style
or technique that you might admire. In this lesson we'll take a look at
"colorizing" an image and mixing color with black and white.

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George Schaub Posted: Feb 01, 2005 0 comments

If you've ever been walking down the street and a picture caught your
eye, but had no camera to capture the moment, then the small, shirt-pocket size
digicams might just be item you're seeking. A number of companies, including
Pentax, Casio and Minolta have already introduced such models, each with their
own unique feature sets. Now, Contax, a name renowned for exquisite cameras
and excellent lenses, has jumped into the fray with their own version, the U4R,
a 4-megapixel camera sporting a Carl Zeiss Vario-Tessar T* lens. Those familiar
with the amazing image clarity of this line of lenses will immediately recognize
the name; those unfamiliar with it can be assured that it is a legendary name
in optics. The camera has just under a 3x optical zoom lens, delivering the
equivalent of 38-115mm in 35mm format. There's also a digital zoom if
you need it, delivering over 400mm, but as with many digital zooms it's
really a crop into the frame, and will not deliver the quality of the prime
optics.

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