Pro Techniques

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Rosalind Smith  |  Dec 01, 2007

It's challenging to get the right combination of true color, composition, and light playing on figures who are moving in unprecedented positions at a rapid rate of speed. The dancers are theatrical, sassy, and innovative, and this is where Boston photographer Jeffrey Dunn shines as he photographed America's Ballroom Challenge for Public Television's presentation...

Jack Neubart  |  Dec 01, 2007

Just when I thought I'd seen her at her best, Lois Greenfield steps it up a notch and amazes me once again with her sharp eye for the body in motion. "Sharp" is the operative word here. Many photographers, myself among them, may accept a little blur in a fast-moving subject. Not Greenfield. She learned long ago that if sharpness and crisp detail are important to...

Jim Zuckerman  |  Apr 01, 2009

One of the traditional compositional guidelines that many artists and photographers adhere to is that a subject’s movement should go toward the center of the frame. You can see this method of composing an image in the photo of the frigate bird (#1) that I placed on the left side of the frame; it is flying toward the imaginary vertical center line of the image. Similarly, I placed the tall...

Jay Abend  |  Dec 01, 2000

You're all familiar with Murphy's Law--Anything that can possibly go wrong will go wrong. Certainly being a working photographer is a great way to see Murphy's Law in action on nearly a daily basis. While I pride myself on being prepared for every...

Jeff Howe  |  Jul 18, 2014  |  First Published: Jun 01, 2014

Last year, I decided to take on a challenge focusing on the unique natural beauty associated with wildfires in a Florida scrub ecosystem, one of the most rare ecosystems in the state. Florida is no stranger to wildfires. Nationwide, Florida has the second highest number of wildfires annually. In 2011, it was estimated that 300,000 acres of land was burned due to over 4800 wildfires. My project was centered at Indrio Savannahs Preserve, where a 120-acre wildfire was ignited by lightning in March of 2013.

Shutterbug Staff  |  Apr 02, 2025

What exactly is a "workflow," and how does the right advanced technology increase efficiency, conserve resources and improve the consistency of the end results?

Jay McCabe  |  Mar 15, 2013  |  First Published: Feb 01, 2013

Bill Pekala, head of Nikon Professional Services, came to the US Open at the Billie Jean King National Tennis Center in Flushing, New York, last August to run the NPS operation at the matches. Sports events can be the ultimate proving ground for camera gear, and one of NPS’s primary roles is providing their member professional photographers with the assurance of dedicated on-site support.

Steven Rosen  |  Oct 31, 2011  |  First Published: Sep 01, 2011
It was 9pm on a Saturday night in April of 2008, and I had spent the day, as I spend so many days, at my computer, editing and retouching. My husband was out of town and I was feeling antsy and bored when an e-mail arrived with a list of goings-on in my Brooklyn neighborhood. Sandwiched between a Jewish Singles social and our community theater’s latest production was a listing for a “Dances of Vice” costume party at the Montauk Club. I sat up straight. The Montauk Club is modeled after a Venetian palazzo and I’d long admired the exterior. This was my chance to finally see what was inside.
Jack Neubart  |  Jul 01, 2009

Working at Spiratone, Nick Koudis (www.koudis.com) began his photographic career designing many of those wonderful gizmos made popular by my mentor, the world-renowned Norman Rothschild. Koudis brought his knack for developing clever and ingenious gadgets with him when he opened his first studio in New York City over 25 years ago. Back then we...

Joe Farace  |  Jul 01, 2008

The noise that appears in digital photographs is the visual equivalent of the static you hear in radio signals. Most digital cameras add some level of noise to captured images.

Shutterbug Staff  |  Nov 19, 2024

The official first day of winter is still more than a month away, but we're already focusing on mild, sunny weather and the June 7-8 celebratory opening weekend of the colossal Photoville Festival that will run through June 22, 2025. Now in its 14th year and promising to be bigger and better than ever, the free, public event is now in its planning stages and cordially invites you to submit your visual story proposals for consideration.

Submit your proposal today to be a part of New York’s favorite photo festival dedicated to global visual storytelling in the heart of NYC!

Steve Bedell  |  Mar 01, 2011

Most of us know about making outdoor portraits using the small fill flash on our cameras. But these photos have a “look” that tells everyone they were “made with flash.” They have a flat, often harsh look to them. A more sophisticated technique that can be accessed with many new cameras is the use of off-camera flash; you can even use multiple units controlled directly from the camera. I use...

Rosalind Smith  |  Jul 01, 2008

Photojournalist Kevin Moloney grew up in Greeley, Colorado, amid the hub of professional cowboys and "bucking broncos." Although his father, a professional sports photographer, found inspiration in the sport of rodeo, this did not interest his son. It was the hard news and cultural stories that drew him to a news service from National Geographic and to magazines like...

Blaine Harrington  |  Oct 15, 2013  |  First Published: Sep 01, 2013

I learned photography in the film days, and when the huge change to digital came along, I changed not only my gear but the way I see. I used to have to see in terms of very specific criteria of what would work within the ISO range of my film and what the film could record in terms of light and shadow. Low ISOs meant I couldn’t get enough depth of field, or a tripod was needed, or I had to light something because there wasn’t enough information in pictures that had incredible shadow detail. High ISOs often meant an unacceptable level of grain and bad color rendition. As a result I passed up a lot of situations that got my attention but were beyond the capability of my film to capture.

Maynard Switzer  |  Dec 23, 2011  |  First Published: Nov 01, 2011
The last thing I ever want to do is pose someone. On my travels I want pictures of people acting naturally, doing what they normally do, and if they acknowledge the camera at all, or pause for a portrait, I want them to do it in the most natural way. The people I photograph are always aware of me, but I never want them to play to the camera—which can be tricky because the very presence of the camera changes the situation.

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