mj2013persinger1

Demystifying the Digital Negative: A Short Primer

written by: Tom Persinger

One obstacle faced by those working with historic photographic processes is how to quickly and easily create a reliable negative−a method that doesn’t involve complicated steps, calculations, graphs and all of the tedium that might cause one to fall into a glazed stupor. Another challenge is consistency of procedure. If you’re working in an inconsistent manner success will be rare. If you can control both the procedure and the negative, everything else will fall into place and success will be yours. Finding first black. Nearly all 19th Century prints were made using contact printing methods, which means that the negatives Read more »

mj2013skupin1

Altered Worlds: Photo Encaustic Part II

written by: Jill Skupin Burkholder

Beyond the Basics A photography student showed up on the second day of an encaustic workshop with a huge smile on her face. After learning the basics on Day One, she had gone into a local art supply store that evening and roamed the aisles. “For the first time,” she said with a grin, “I felt like I belonged there.” I knew exactly what she meant. As photographers, we share a history of chemistry, foul concoctions and magical toners but rarely do we get the chance to enjoy a stroll through the paint aisle, having our imaginations tickled by the colors Read more »

Figure 1. Mel Brown at Christo’s Lounge in Salem. This image was taken towards the end of the set and the noise is substantially worse than at the beginning due to the sensor becoming overheated. Leica M9, 50mm f/2 Summicron lens. ISO 2500, f/4 @ 1/30 second.

Noise Reduction in Digital Photography

written by: Steve Anchell

Much has been made of digital noise being similar to grain in film. And like film grain, the photographer needs to decide to use it or lose it, often depending on the image. For example, if the image is a landscape meant for large format reproduction, then noise is a bad thing, with less being better. On the other hand, if the image is a street scene or a music show, then noise can add a gritty, gutsy feeling, one that is lost by eliminating all the noise. Even if you choose to keep the noise it helps to know Read more »

saffirMA13j

Selective Color Adjustments in Adobe Photoshop

written by: David Saffir

There are quite a few ways you can edit color in Photoshop, even down to the colors of leaves on a tree. The advantages? You can target specific parts of an image for a simple color boost, change the color completely, add a color tint or color cast, improve dimensionality and more. I define selective color adjustment to also include selective color replacement. I encourage the use of Photoshop, because many of these techniques can be applied to a new layer, or an adjustment layer, or a series of layers. This gives you maximum flexibility in editing although it can Read more »

chambersMA13a

Small Sensor Cameras Make the Grade

written by: Lloyd Chambers

Introduction The fast-paced digital photography market kicked into high gear beginning with cropped-frame sensors (Nikon D1, 1999), and then quickly moved to full frame (Nikon and Canon). But disruption is in full progress, and if Canon and Nikon aren’t careful, companies like Sony and Olympus could eat their lunch. Hugely improved sensor quality coupled with market demand for smaller, lighter and more convenience now drives a move back to smaller sensors, accompanied by an impressive assortment of lenses, including support from stalwarts such as Zeiss and Schneider. No longer are smaller sensor cameras mediocre solutions for amateurs; professional photographers are Read more »

anchellMA13a

Creating a Panorama with Lightroom & Photoshop

written by: Steve Anchell

Creating panoramic photos is a fun and easy way to add to your repertoire. In fact, once you learn how easy it is you might even become addicted as many have. The definition of a panorama is an image that has a 2:1 or greater ratio of sides, though ratios up to 3:1 are considered to be the most visually pleasing. Even so, it is not uncommon to see panos that have a 4:1 or even greater ratio. Good panoramas begin in the camera. While it may seem logical to record the subject using horizontal orientation of the camera, a Read more »

jillbMA13a

Photo Encaustic: Part I The Basics & Beauty of Beeswax & Photography

written by: Jill Skupin Burkholder

The Touch of Wax A pivotal moment came years ago when I spotted what seemed to be a large dark silhouette of a tree shining through a window-shaped opening in a South Beach hotel lobby. Like someone in an old movie looking across the room and falling recklessly in love, I was spellbound. It was a photographic art piece by Doug and Mike Starn. Its luminescent detail was something new−and the light passing through the tree was mesmerizing. “I think it’s wax,” said my all-knowing husband at my side. I wanted to know more. History of Encaustic Encaustic painting, or Read more »

Chambers1nd9

Focus and Practical Depth of Field

written by: Lloyd Chambers

Especially with high-resolution digital cameras, full-image sharpness is limited to a narrow zone even when stopped well down, demanding careful attention to detail for best results. My recent PHOTO Techniques articles have explored how diffraction, focus shift, and field curvature all can lead to blur. The focus shift and field curvature issues can be mitigated by increasing the depth of field, so long as diffraction is held at bay by not stopping down too far. Depth of field means “the zone of reasonably sharp focus,” with the term “sharp” being both arbitrary and ambiguous. The word “zone” is truer to reality, Read more »

Ctein5nd9

Great Scans

Discover What Helps and What Doesn't
written by: Ctein

Scanning is serious business. Think of your scanner as a combination enlarger and enlarging lens, the intermediary between your original film (or photographic print) and your finished photographs. For many photographers, a good enlarger and lens were the single most expensive and important purchases they made in their career, and they would pore over the details and published tests to determine which ones would really serve their needs. Learning how to make high-quality enlargements was not an overnight task. Cleanliness, sharpness, freedom from stray light and contrast-robbing flare, all were concerns of the darkroom printer. Just as with darkroom work, making Read more »

barnbaumMA13a

The Past, Present & Future Of Traditional Black and White Enlarging Paper

written by: Bruce Barnbaum

In the 1980’s fine art photography went through a wrenching period. The numerous excellent fiber-based enlarging papers manufactured by several companies were suddenly facing a huge threat: RC (or Resin Coated) paper. RC paper was quicker to work with, developing fully in just about a minute and was a fast way to fully process and dry prints. Plus it dried perfectly flat, not rippled or curled up like fiber based paper. It quickly became popular. So popular that it appeared possible that all the excellent fiber based enlarging papers would disappear under the onslaught of RC. In the midst of Read more »