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George Schaub Posted: Mar 15, 2005 0 comments

The pixels that make up a digital image each have an "address",
a code that defines color, brightness and shades. When we make images with a
digital camera or from film with a scanner we are creating a matrix of pixels
that altogether create the illusion of a continuous tone image. These codes
are not dyes or even densities, but specific information as to how the computer
will interpret the colors and tonal values on the screen. It is only when we
make a print that we leave the "digital" world and enter the world
of dyes and pigments. Because each pixel has a code, basically a bunch of information
that is composed of bits and bytes, we can alter that code to change the "address",
or color and tonal look of every pixel. In this lesson we'll use the Replace
Color dialog box, found in most versions of Photoshop, or under other names
in other programs, to illustrate the point and give you an easy, fun way to
play with your pictures.

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George Schaub Posted: Jun 13, 2006 0 comments

To add a keyword in the Keyword HUD (which comes up with the keyboard shortcut
Shift-H) click on the plus/minus button on the far left and type in the keyword
required. This creates a main keyword. Here the keywording process gets started
by typing in "kids."

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George Schaub Posted: Jan 30, 2007 0 comments

What Happened to My Images ??!!



Corrupted Disks and Rescue Strategies

by George Schaub

I am not sure if it's happened to you, but it's happened to me.
After having spent an afternoon shooting with my digital camera everything suddenly
stopped. While the counter in my camera LED showed that I hadple...

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George Schaub Posted: Oct 05, 2005 0 comments

Willard (Bill) Clark, a photo industry icon and the former executive director
of Photoimaging Manufacturers & Distributors Association (PMDA), died on Sept.
24. He was 77 years old. Cause of death was cancer.



Mr. Clark was associated with the photo industry for more than 40 years primarily
in consumer and trade journalism, both as a writer and photographer, and more
recently with PMDA. He worked with the senior executives of virtually every firm
in the photo industry, serving as confidant and advisor to many and earning the
respect of all.



Mr. Clark came to New York as a photographer for United Press after working for
a small Ohio newspaper as a reporter and photographer. His equipment in those
days was a 4x5 Speed Graphic, standard issue for a news journalist at that time
but now seen only in photo museums and period movies. In 1954 he became associate
editor of U.S. Camera magazine and then founding editor of Camera 35 magazine.
"I was a staff of one," he once said. He subsequently was appointed
editor.



After a variety of other magazine publishing positions, Mr. Clark came back to
the photo industry in 1981 as editor and associate publisher of Photo Weekly Magazine,
which evolved into Photo Business Magazine. His final publishing stint was a short
one as editor of PTN.



Mr. Clark retired from his position as PMDA executive director earlier this year.



At the time of his retirement, some industry associates paid tribute to him. Stacie
Errera, chief marketing officer for Tamron USA, Inc., and current president of
PMDA, said, "Bill always acted as a professional and was liked by everyone.
Everything Bill did was in the best interest of the organization."



Dan Unger, Agfa's director of marketing and PMDA board member, said of Bill:
"He was an easy-going guy who did everything right."



Mr. Clark is succeeded by two sons, Paul, Ashland, OR, and Bruce, Hopewell, NJ,
both attorneys, and two granddaughters, Fiona, 3 ½ and Emmeline, 1. He
was pre-deceased by his wife, Olga.



Editor's Note: The notes on Bill's life were kindly
provided by Jerry Lansky. I knew Bill for almost twenty years and he was always
a class act, with a kind word and encouragement for all. His "How are you
doin', man!" greeting will always echo in my ears. Those fortunate
enough to have known and worked with him understand that he was a great contributor
to photography and the photo industry and a genuinely good soul. I will miss him
greatly.

--George Schaub ...

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George Schaub Posted: Oct 25, 2005 0 comments

It's 10PM: Do You Know Where Your Pixels Are?

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George Schaub Posted: Feb 07, 2011 1 comments

Remote viewing and shutter release capability opens up a host of picture opportunities, from working high atop camera platforms from ground level to very low level shooting without muddying your clothes (given your camera lacks an articulating monitor) to placing your camera in spots and being able to view and shoot without your being right behind the viewfinder. Many photographers routinely work with radio triggers for flash, especially in studio environments where the lights are set in position and photographer and model or subject move. The Hahnel Inspire adds to the mix with remote shutter release and viewing in one.

Here in this Hahnel supplied illustration you get a good idea of the way the unit works, setting up a signal relationship for both remote viewing and shutter release.

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George Schaub Posted: Oct 31, 2006 0 comments

Impressions and Images: Panasonic DMC-L1K DSLR

by George Schaub

The Panasonic DMC-L1K DSLR is Panasonic's first digital single lens reflex
camera. Priced at just under $2000 with a Leica D Vario Elmarit f/2.8-3.5 14-50mm
zoom lens (equivalent to 28-100mm in 35mm format) and 7+ megapixel sensor, it
is a member of theF...

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George Schaub Posted: Apr 26, 2005 0 comments

There's lots to like about the new Olympus C-7000 camera, including the
size of the image files it puts out and the "seamless" 30X zoom
(5X optical and 6X digital combined) that delivers better quality digital zooms
than many cameras we've worked with in the past. The C-7000 is aimed at
those who like to get involved with their photography, and offers as many options
and modes as you could desire. They certainly make this a camera that allows
you to flex your creative muscles. Granted, you have to delve into the menu
to get at most of the options, something that helps streamline the body but
can hold up spontaneous changes.


Olympus C7000 camera from file (PMA)

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George Schaub Posted: Jun 16, 2010 1 comments

Modotti, a new play by Wendy Beckett, traces the life and spirit of the times of Tina Modotti, photographer and political operative, during the first half of the twentieth century. The play explores the tension between a life in art and commitment to political change, and uses the relationship between Modotti and Edward Weston, her lover and photographic "mentor", as the device. Edward Weston (Jack Gwaltney) is portrayed as seeking abstraction and the idealization of form and light in his images, while Modotti (Alysia Reiner) speaks as the representative of using art as a political weapon to enhance and encourage social change, thus creating the "art/reality" conundrum that, among other matters physical and intellectual, drive the couple apart.

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George Schaub Posted: Aug 29, 2006 0 comments

Black and White Imaging: Ilford's Perspective

by George Schaub

Given that we all have seen a shrinking in silver-based materials in general
in the last year, and in light of Kodak exiting the black and white paper business,
and Agfa leaving the black and white (and all photo) business altogether, we
were all leftwo...

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