Opinion

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Dan Havlik  |  Nov 25, 2014  | 

Every email I receive from Shutterbug.com writer Steve Meltzer these days is sadly familiar. “We’ve lost another one,” Steve will write while sharing news of the passing of yet another photographic master. The list is staggering, all men of a certain age (in their 80s) who’ve passed away in the last month or so.

Dan Havlik  |  Nov 07, 2014  | 

Drone photography is here to stay, whether the government likes it or not. That’s one of the messages from an intriguing roundtable discussion piece titled “Those Daring Photographers and Their Flying Machines” in an upcoming issue of Shutterbug magazine. In the story, written by Lorin Robinson, three experienced imaging drone pilots share their thoughts on this controversial topic, in what amounts to part “state of the drone industry” and part call to arms.

George Schaub  |  Jan 28, 2013  | 

Early photographers were bedeviled by the slowness of their sensitized materials. Though exposure times were eventually shortened to workable lengths, early studios used neck braces and confining chairs to keep their subjects still while the exposure was being made.

George Schaub  |  Jan 16, 2013  | 

The desire to show and share work is common to most photographers. Taking the work out of the drawer or hard drive and putting it onto paper can be a key phase in the development of a photographer. It is both a challenge and a way to build confidence, as it forces the artist to face the concept and underlying principle of his or her work. And, it can be fun.

George Schaub  |  Jan 04, 2013  | 

If you were a detective you would look for motive as a prime clue as to who did the deed, but how many times have you really thought about your own motivation for making photographs? The mystery all photographers eventually attempt to solve is: just motivates me to make pictures and to process images in my own unique way? Kind of like trying to figure out the meaning of life, I guess, and using your photography to help you answer a small part of that question.

George Schaub  |  Dec 26, 2012  | 

While black and white digital photography is based on the conversion of a color (RGB) image to monochrome via software, those who remain adherents of film photography have an entirely different route to obtaining a black and white image.

George Schaub  |  Dec 16, 2012  | 

The reaction to a human face is inherently stronger than to any inanimate object or arrangement. The expression, body language, placement and lighting often overcome the processing and/or printing technique, or at the least dictate much of the approach.

George Schaub  |  Dec 11, 2012  | 

When a photographer deals with the emotions generated by black-and-white prints, and the methodology of creating and defining those emotions and how they are generated, he or she begins to deal with developing a sense of the aesthetics of the monochrome image.

Christopher Dack  |  Aug 28, 2012  |  First Published: Jul 01, 2012  | 

Recent years have seen staggering innovations in cameras, most notably involving ISO speed, sensor size in compacts, and video capabilities. Despite these advances, however, one thing has divided the industry for more than 10 years but has rarely been talked about—that is, until recently—optical low-pass filters. Many cameras include them, but some do not. There are believers in both camps but the only thing that’s clear is that the issue is far from decided.

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