George Schaub

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George Schaub Posted: Sep 05, 2012 Published: Aug 01, 2012 1 comments
The question is—does anybody really know what a given image would look like if they shot it on Kodachrome 25, or Fuji Acros, or some obscure color negative film that even in film’s heyday was little used or appreciated? Perhaps the more pertinent question is—how many people have made photographs using film? But film references are what a number of so-called film emulation software programs use for describing presets that can be applied to a digital image. Half academic and half nostalgic, the programs use film brand names to describe saturation, contrast, color nuance, and grain structure variations that are then applied to an image. Perhaps using film names is better than poetic fantasy terms, like “misty blue dawn,” but then again entirely subjective descriptors, rather than supposedly clinical ones used in these software programs, might be just as handy for today’s photography crowd. In any case, I recently tested one such program, DxO’s FilmPack 3.1, to see if it offered up creative variations that could be used as is or as foundation images when interpreting subjects and scenes.

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George Schaub Posted: Aug 16, 2012 3 comments
Fill flash can be used for a quick fix for contrast problems that can be solved without further image processing. It is a powerful aid that can even trump today’s in-camera or post-process heightening of shadow detail. It can handle the problem with one exposure, and not rely on HDR or other curve adjustment tricks. Keep in mind that the sensor in your camera has a certain dynamic range that cannot be expanded even with such processing magic, and with too much work on the shadows some noise may creep in.
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George Schaub Posted: Aug 15, 2012 Published: Jul 01, 2012 0 comments
For years we have been working with the “traditional” Bayer sensor and its concomitant pluses and minuses, but we might soon see a change in the capture devices we have in our cameras. In this issue, Christopher Dack covers the recent work by Fujifilm, with a new filter pattern, Sigma’s Foveon sensor, and the elimination of the low-pass filter in Nikon’s coming D800E camera. As you’ll see, these moves challenge conventional thinking about the sensor we have become accustomed to in our cameras.
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George Schaub Posted: Aug 15, 2012 Published: Jul 01, 2012 1 comments
The Ilford name certainly echoes for those with a photographic memory, and now the Galerie brand name sits on a host of inkjet media, some fiber-based and quite a few RC-based products, the subjects of this review.

It must be said at the outset that any mention of RC-based papers usually makes printmakers head for the door. The bum rap RC gets is based on first impressions from 40 odd years ago, when it was quite clear that RC (Resin-Coated, plastic) base materials were poor relations used for convenience rather than quality. RC papers in the silver realm came a long way since their first introduction, and now Ilford claims that RC inkjet papers will do as well. While they have a fair amount of proper disclaimers about ink type and storage conditions, they state that when using pigment inks their RC surface papers will not undergo significant fading or discoloration in a range of from 30 to 100 years.

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George Schaub Posted: Jul 31, 2012 Published: Jun 01, 2012 1 comments
Having worked with numerous types and brands of “metallic” surface papers I have some expectations as to what they can deliver. Metallic is a bit of a misnomer as these papers have a glossy surface on a paper (here acid-free) base with an opalescent sheen diffused throughout the emulsion coating. This gives a spark and edge to a print that glossy shares, but there is an extra kick in the paper surface that works quite well with some images, and not so well with others. It is a particular choice, one that should be part of your printing arsenal but hardly dominated by it.

I generally feel it is best to ignore marketing copy, but sometimes it’s fun to see how folks spin their yarn. Moab’s has always been somewhat transcendent, here telling us that the surface is “reminiscent of the ultra-smooth and slick sandstone surface of the famous bike trail that loops through the desert plains of Moab…” Well, never having done the loop that may well be so, but if so the bike’s tires better have crampons, since this surface is quite slick. What is more to the point is that the copy makes a more straightforward claim that “black-and-white images shine on this new paper producing deep blacks and ultra-bright highlights.” That, and other matters, was the subject of my printing tests.

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George Schaub Posted: Jul 18, 2012 0 comments
I have always been of divided mind when it comes to printing photographic images on canvas. I have certainly seen inkjet canvas material in use at galleries and fine art fairs, where watercolorists, pastel artists etc use the material to create lower-priced copies of originals, making the art affordable yet attractive for many buyers. In fact, it’s a fairly easy bet that the great majority of the canvas coming off inkjet printers is used for just that purpose. The main use of photographic imagery on this material, in my experience, is for portraiture and wedding photography, where the image can stand on its own or gets painted over by artists for a premium touch, and price.
George Schaub Posted: Jul 18, 2012 Published: Jun 01, 2012 12 comments
Wacom recently introduced their new line of Bamboo tablets, and we thought we’d revisit the use of stylus and tablet tools to give it a try. For our test we worked with the Bamboo Capture, described by the company as most apt for enthusiast digital photographers, although there are three intros in this new line.
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George Schaub Posted: Jul 06, 2012 Published: Jun 01, 2012 6 comments
While many cameras today have extensive on-board image processing, and offer numerous special effects and “retouch” functions, you are in fact relying on someone else’s opinion of how your images should look when you avail yourself of them. At Shutterbug we emphasize quality imaging, and part of attaining quality is taking control of your own images by getting involved in how they look and “feel” by taking them in hand and doing your own processing work.
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George Schaub Posted: Jul 06, 2012 Published: Jun 01, 2012 7 comments
Alien Skin’s Snap Art 3 ($199, or $99 for an upgrade from previous versions) is the latest manifestation of image-altering software that works atop the architecture of Photoshop and Lightroom, that is, a plug-in accessible through the Filters menu in Photoshop and for Lightroom as an external editor.

To launch Snap Art from an image in Lightroom you first select the image (or multiple images for batch processing), and select Photo>Edit In>Snap Art 3. You can also right click on the image and select Edit In>Snap Art 3. When Lightroom asks you how to edit the photo, the company recommends you choose “Edit a Copy with Lightroom Adjustments.” This will tell Lightroom to make a copy of the image for Snap Art. You can also check and uncheck the Stack command, depending on how you want to see the image in the Library—choose Stack and you can easily unstack the image later, or just have it sit side by side in the normal Library (unstacked) view.

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George Schaub Posted: Jun 15, 2012 Published: May 01, 2012 0 comments
There are three main elements in depth of field—focal length, aperture, and distance to subject—and depth of field is a very important part of a 2D photograph. It’s how we judge scale (or are fooled by it), how we note the importance of certain subjects within the frame, and how we define content and context in the scene. With these three controls, and using various points of view, it seems we have infinite variations to choose from, and that’s part of the creative play of photography. Now you can add a fourth element to the mix—tilts that range from mild to extreme and that create “slices” of sharpness within the frame. The tool that helps us create that effect is the latest optic from Lensbaby, which they dub the Edge 80.

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