Harris_MA_2007_1

Using Photoshop’s Bridge and Snapshots to Make a Creative Image

written by: Ron Harris

The wheat-growing area in Washington State consists of rolling hills of loess soil blown in as dust from retreating glaciers 15,000 years ago. The soil is rich and deep, with top soil up to 100 feet thick in places, making it one of the most productive wheat- growing areas in the world. The hilly terrain causes the wheat growers to plow their fields in serpentine patterns, which are quite intriguing to look at and photograph. However, finding the most interesting areas usually requires many miles of driving on dirt roads. This photograph was made in 2005 from a high vantage Read more »

Ctein_MA_2008_1

Polishing Your Digital Prints

This collection of tips and tricks can make the difference between a good print and an exceptional one

Maybe it’s just because I’m in the midst of de-rusting and repainting my VW bus, but it seems to me that a lot of the routines I go through to make my digital prints sing are a lot like painting and polishing a car—cleaning off all the dust, making sure the paint’s blemish free, touching up the pinstripes, giving the chrome one extra coat of wax. It’s those small, almost subliminal, touches that make an ordinary auto stand out. A lot of my photo manipulation techniques serve the same function. They don’t fundamentally change the photo- graph, but they get Read more »

Ctein_MA_2009_1

X-Rite ColorMunki Photo Color-Management System

Get the Best Digital Photos You Can by Calibrating Your System
written by: Ctein

Color management is a serious— if not downright painful— business. Without good color management, the hues you see on your computer screen won’t be anything like the ones you thought were in the photograph, and what winds up on your print will look even worse. If you’re sharing files with someone else, they won’t see the photo you do. X-Rite’s long been a serious player in the photographic control business, from traditional densitometers and sensitometers through computerized control. They now own Pantone, long a source of “off icial” colors. The fruit of their joint labors is ColorMunki Photo (Figure 1). Read more »

mj2013saffir1

The Fuji X-E1: Pint-Sized Photo Powerhouse

written by: David Saffir

Author notes: After I finished my first review of the Fuji X-E1, I had felt at the time that available RAW processing software had not quite caught up with the demands of the new processor provided in that camera.  And as so often happens in the digital world, things have changed again!  Adobe just released Camera RAW version 7.4. Long story short, it apparently includes upgrades to processing for the Fuji’s images. I downloaded the update and reprocessed some of the flower images I had taken with the X-E1.  I definitely see improvements, sharpness foremost among them. The small details Read more »

Siskin9ja9

Reflecting About Reflections

How Professionals Photograph Shiny Objects
written by: John Siskin

The basic principle behind shooting very reflective subjects, from motorcycles to jewelry, is the same: you need to light what the subject reflects more carefully than you need to light the subject itself. Think of the subject as a mirror and you’ll understand why. So the first tool for lighting a reflective subject is essentially a white room, which photographers call a “tent.” The tent is a white translucent container; because it is larger than the subject, its surfaces can be evenly lighted. You can use many kinds of tents. The one I use, for small objects, is a clothes hamper from Read more »