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Jim Zuckerman  |  Dec 15, 2011  |  0 comments
Shooting in a studio intimidates a lot of photographers, but the truth is it’s not hard at all. There are a few basic lighting configurations to learn, and with the immediate feedback from the LCD monitor on the back of the camera, you can see immediately if you have the lighting, the pose, and the expression you want. In addition, you don’t need a huge space and it’s not necessary to spend thousands of dollars on lighting equipment. You can even set up a mini-studio with a $10 photoflood and a background with a white wall or a piece of black fabric.
Jim Zuckerman  |  Dec 15, 2011  |  3 comments
Monochromatic color themes have been around since the inception of photography. Toning black and white prints with a sepia toner was begun at a time when photographers could only dream of color. The noxious fumes made the darkroom work memorable, to say the least. With digital technology, we can get the same look of a toned print. When I first started learning Photoshop, I translated my knowledge of the darkroom into the digital world. In other words, I learned how to create in the computer the same effects that I had been creating in the darkroom.
Staff  |  Nov 21, 2011  |  First Published: Dec 01, 2011  |  0 comments
On The Cover
Are you thinking of turning pro? You should go for it, but not until you read this issue first. Through our exclusive interview with Chase Jarvis and our Twitter tips for photographers, you’ll see there is a lot more to marketing yourself than in the past. Business aside, we have breaking tech news: a new archival DVD called the M-Disc. We also have tests on the latest pro equipment to help take your photography to new levels. Our cover shot, by Lindsay Adler, shows what you can accomplish with Broncolor’s Senso lighting kit for example.

Jim Zuckerman  |  Nov 16, 2011  |  1 comments
One of the ways to draw attention to a subject is to find—or set up—brightly colored objects in an environment of a muted or earth-toned background. The eye is immediately drawn to color, and this is a poignant way to make a powerful and dynamic visual statement.
Jim Zuckerman  |  Nov 16, 2011  |  0 comments
Photographing subjects with outrageous combinations of colors is a lot of fun. As great as complementary colors are, and as pleasing as subtlety and mood are, there’s nothing quite like color combinations that virtually knock your eyeballs out of their sockets! Combinations like orange and lime green, deep purple and red, and orange and magenta are extremely potent in drawing attention. Sometimes these juxtapositions of color are found in nature (surprisingly enough) but often they can only be found in man-made objects. One of the reasons I love photographing festivals is because the costuming is frequently shocking and outlandish.
Jim Zuckerman  |  Nov 16, 2011  |  0 comments
Combining color with black and white is a way to focus attention on a subject or one aspect of a picture. This is similar to throwing a background out of focus so our concentration is directed to the in-focus part of an image, or placing a black background behind something so we have nothing else to look at except the subject. You make one area of a picture color and convert the rest of it to black and white, and it is a very unique way to direct a viewer’s attention where you want it.
Ron Leach  |  Nov 16, 2011  |  0 comments
When industry mavens get together to ponder the future of photography, all too often the discussion centers around megapixels, file formats, sensor configurations, optical design, storage options, and other technical minutiae. Of course there’s nothing wrong with those prognostications, particularly since many of us are techno-nerds. It’s also true that sophisticated tools undoubtedly play an important role in a photographers results.
Staff  |  Oct 17, 2011  |  First Published: Nov 01, 2011  |  0 comments
November 2011

On The Cover
This month we feature lighting tools, techniques, and tips from pros covering new gear, new lighting options, and some great lighting setups and ideas. Each of our product reviews contain tips as well and can help you decide which type of setup is best for the type of images you want to create. We cover lighting accessories as well, those modifiers that can help you make creative lighting decisions that bring a unique look to every image. Finally, we cover the wide range of wireless TTL lighting systems that can free you to make great shots in the studio, or on location. Our cover shot, by Lindsay Adler, shows just the kind of great effects you can achieve using the gear and tips featured in this special issue.

Ron Leach  |  Oct 17, 2011  |  0 comments
A “great” photograph isn’t necessarily a beautiful photograph. In fact, some of history’s most compelling images have been those that made a statement about contemporary culture or motivated people to support a cause. These days, the power of photography to instigate social change is perhaps most evident in documentary images of public protests here and abroad.

Jim Zuckerman  |  Oct 17, 2011  |  0 comments
Many photographers use the term white light without knowing its precise definition in photography. After all, there are many types of lighting that we could be talking about, such as the sun, the lamps in our living room, fluorescent fixtures, open shade on an overcast day, late afternoon sunlight, a mercury vapor street lamp, or flash. Which one of these should set the standard by which we judge all other light?
Jim Zuckerman  |  Oct 17, 2011  |  0 comments
One of my favorite color combinations is white on white and I want to introduce this approach to using color because the results can be so beautiful.

There is something ethereal and captivating about images that are devoid of the colors that we associate with the spectrum. Images that are primarily white seem pristine, intriguing, and they will complement virtually any type of home or office décor if you are looking to frame some of your photography.

Jim Zuckerman  |  Oct 17, 2011  |  1 comments
When I refer to window light, I am talking about the soft lighting that comes in through a window when it faces north or when the sky is overcast. This is one of the most attractive types of light photographers use, and it has been a source of inspiration for traditional artists over the centuries when they painted portraits of people, still life images, and the interiors of magnificent works of architecture.
Ron Leach  |  Sep 20, 2011  |  1 comments
Ever since early man scrawled his thoughts and experiences on the inside of a cave, “journalists” have helped inform the public and shape the course of society. And never has the role of the reporter been more important than it is in today’s complicated, fast-paced world. While the Internet has opened the floodgates of news and information, it has also transformed how reporters, photojournalists and news organizations go about their business.
Staff  |  Sep 15, 2011  |  First Published: Oct 01, 2011  |  4 comments
October CoverOn The Cover
Renowned photographer Steve McCurry shot our cover image of a Rabari girl on the last roll of Kodachrome film ever manufactured. We are privileged to share with you the final frames taken with this beloved film. To see more of Steve’s images, turn to page 122. Aside from Kodachrome’s last windup, we have news about the Polaroid Collection of images being saved thanks to the Impossible Project and WestLicht Museum of Photography. In addition, we have D-SLR tests on the Canon EOS 60D and the Pentax K-5, plus an extensive roundup on backdrops and a lighting test on Booth Photographic’s parabolic umbrellas.

Jim Zuckerman  |  Sep 14, 2011  |  0 comments
Chromatic aberration is an inherent problem in the manufacture of lenses. It is the failure of the glass to bend the light in such a way that it focuses all the colors at the same point, and it occurs because lenses have a different refractive index for different wavelengths of light. It is characterized by color fringing, or unwanted colors at the edge of objects. The colors can be red, cyan, green, magenta, blue, or yellow. You usually can’t see this fringing until you magnify the image quite a bit, but at 100 percent and higher it’s quite obvious. I’ve enlarged (#1) to 300 percent, and in (#2) you can see what I’m talking about. Chromatic aberration is quite pronounced in wide angle lenses, and it’s most obvious in the corners. The picture of this famous pool in the Gellert Hotel, Budapest, Hungary was taken with a 14mm lens. The center of the lens is largely devoid of these unwanted colors. Telephotos also have chromatic aberration, but it is usually not as bad.