Editor's Notes

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.

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.

While we cover our fair share of gear we always keep in mind what all that gear is for—producing images that speak to your vision and your desire to express your view of the world. In this issue we do just that by introducing you to a number of photographers who have taken those tools and techniques and created a group of images that focus on an important aspect of their view of the world. Tied in with those projects is a dedication to the craft and its practice, which is what often makes their images unique and noteworthy.

Put editors from 28 photo magazines in one room to pick the Top Products of the Year and you’re bound to have some lively discussions. That’s exactly what happened at the TIPA (Technical Image Press Association) meetings in late April this year, the results of which are in this issue. The selection process begins with numerous candidates in 40 different categories, ranging from all sorts of cameras to lighting, bags, software, accessories, and more. Then editors from Europe, Africa, Australia, Canada, Asia, and the US go through the list and finally vote, with the winners chosen by a democratic (majority) process. We’re proud to say that Shutterbug is the sole US magazine in the group and we congratulate those companies, and the people behind the products chosen, on their achievements.

There’s no question that camera makers have been busy of late. They’ve brought out many new models, some basically upgrades from previous models, but also those that blaze new trails in digital photography and camera design. Updates these days are often built around new tech developments or, more likely, the inclusion of some sort of sharing or Wi-Fi functionality.

When images are composed of codes and “addresses” they are open to all sorts of interpretations. Unlike film, where the image characteristics were, if you will, boiled into the emulsion, digital images are ultimately malleable and occasional capricious things. Major capture indiscretions aside, you can do what you please with an image. Want red balloons rather than blue? A few deft touches can change the entire party mood. Want your grass greener? Just slide that slider and you’ll have a lawn to make any suburbanite proud. Want to have zebras on the moon gamboling with unicorns in an idyllic wood? Gather the elements and composite them accordingly.