George Schaub

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George Schaub  |  Nov 01, 2006  |  0 comments

When the term pro gear is used these days it means more than a high-priced camera and fast lens, or a strobe setup that can fire three heads at once and still have juice to spare. Pros these days also have to be concerned with fast computers, terabytes of backup, and large-screen monitors that display images in all their glory. They also need the software to run it all, and the...

George Schaub  |  May 01, 2001  |  0 comments

What happens when you let
loose a team of crack photo and digital imaging reporters onto the floor
of America's biggest photo and digital imaging show? Read on.

Each year, the Photo Marketing...

George Schaub  |  Aug 01, 2003  |  0 comments

Watertight Gear Cases

Watertight Gear Cases
Seahorse cases provide watertight protection for all sorts of gear, with their newest model being the SE 710 Hurricane Series computer case. The case comes with a fitted, shock absorbing bottom, a lid organizer to...

George Schaub  |  Sep 01, 2008  |  2 comments

Like most everything else these days the cost of "art" inkjet printing paper seems to be going through the roof, so printmakers are seeking alternatives without sacrificing quality. The perceived issue with some so-called "third-party" papers (those that do not carry the printer maker's brand, thus lack a profile installed with the original start up...

George Schaub  |  Jun 27, 2014  |  First Published: May 01, 2014  |  0 comments

Starting with the 2014 CES trade show, held at the turn of the year, and continuing through press time for this issue, we’ve seen a goodly number of new products come to the fore. All this is only the start—this being a photokina year we’ll see a whole new round of products, including CMOS-sensor medium formats, with prices to match, coming our way. I trust that this report will give you a good sense of what’s here and what’s coming down the pike. So, here are my quick picks of those products that caught my eye, plus a snapshot of some of the trends.

George Schaub  |  Aug 16, 2012  |  1 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.
George Schaub  |  Dec 15, 2015  |  0 comments

Print surface decisions are usually conditional, that is, they depend on the look you want for each image and how you might intend to display the print later. There is a general wisdom that states that glossy surfaces make prints look “sharper” and matte makes them look “softer”, although that softness is more in overall tone and mood (and ink dispersion) than edge definition.

George Schaub  |  Dec 12, 2012  |  1 comments

While weight is just one measure of a paper’s resilience and usefulness for fine art printing, it can also have an effect on how that paper is handled, depending on the printer. In the case of Red River’s Polar Matte Magna, which is a 96 lb (320 gsm) stock, it means working with individual sheet feeding rather than with a stack loader in almost every printer you might have. This feed-through also limits the printers that can make use of this nice surface—those without a single feed option need not apply, as well as, according to Red River’s notes, HP printers with front feed paper trays (which have also proven problematic with other heavyweight surfaces).

George Schaub  |  Dec 19, 2011  |  First Published: Nov 01, 2011  |  1 comments

There’s no question that glossy and satin or pearl-type surfaces give an image more “pop,” but on the other hand you might want to use a matte surface to enhance the look and feel of certain images that rely less on pop than a quieter mood. It could be boiled down to a simple rule of thumb: for rich, high-saturation images you might use a glossy or semigloss; for more subtle colors it might be better to use a matte or satin. In the black-and-white realm it’s more of a toss-up but I think the same general rule applies. For example, for architectural images of adobe or stucco wall buildings I use matte; for glass and steel skyscrapers I choose glossy. Notice that I always modify the recommendations with “might”: if you really get into papers for printing you’ll make your own judgments. But there’s no denying that surface decisions play a role in overall effectiveness of the image.

 

George Schaub  |  May 20, 2014  |  First Published: Apr 01, 2014  |  0 comments

Choosing the right paper for your prints is often a matter of surface texture and tone, but there’s more to it than that when printing for exhibition or display. It’s what the paper is made of, and the inks it can handle, that make the difference between a “warrantied” saleable print and one that might be used for quick display or repro. While there are no industry standards for print longevity as of yet, working with papers that could be dubbed “archival” by their very makeup is a good place to start.

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