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HDR Processing: Software: Photomatix
Harold Davis  |  Sep 10, 2013
This article is excerpted from “Creating HDR Photos, The Complete Guide To High Dynamic Range Photography” (ISBN 978-0-8230-8586-6, Amphoto Books, 2012, $29.99). In this comprehensive guide, Davis covers a wide range of exposure, composition and processing strategies for creating great HDR images, including both bracketed and single shot HDR images. He also covers a wide range of processing programs and how to get the most from them. This guide is one of the best and most current HDR how-to’s we’ve seen.—Editor
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Helping Those With Special Needs: Rehabilitation Through Photography
 |  Dec 28, 2010

Industry Perspective

Helping Those With Special Needs: Rehabilitation Through Photography

by Ron Leach

We've often spoken of photography as a beacon for social change and a powerful vehicle for improving the plight of those less fortunate than ourselves. And these days there is perhaps no better example thanRehabilitation...

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Hindsight is Sometimes More than 20/20
 |  Aug 25, 2009

Industry Perspective

Hindsight is Sometimes More than 20/20

by Ron Leach

As the end of this decade approaches, I found myself pondering the direction our technology-driven industry has taken and some prognostications Shutterbug writers made back in 1999 about the future of photography. Let’s take a look back and see...

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Histograms in Levels: Diagnostic Tool and Quick Fix in One
George Schaub  |  Mar 28, 2006


All Photos © 2005, George Schaub, All Rights Reserved
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How About a Digital Camera Without A Body, Viewfinder or LCD Display?
Ron Leach  |  Jul 23, 2013
There’s an intriguing rumor making the rounds that, if true, could dramatically alter the way in which photographers interact with wireless devices like smartphones, tablets and laptops. According to Sony Alpha Rumors, a typically reliable source of information regarding future digital imaging technology from Sony, we may soon see the unveiling of a high-quality lens featuring WiFi connectivity, a built-in imaging sensor and its own power source.
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How I Photograph Women
 |  Jan 26, 2010

How I Photograph Women

Using The Least Amount Of Equipment

by Joe Farace

It may come as a surprise to some of you but I didn’t start out to be a people photographer. When Mary and I opened our studio in 1982, we divided the workload based on the type of images that clients wanted. It turned out to be a simpledivisio...

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How To - Get Published: Picture This!
George Schaub  |  Dec 07, 2004

Every month in Shutterbug we publish photographs from readers based on an assignment
published in a previous month's issue. We get hundreds of photographs
from readers all around the world and unfortunately we are limited to publishing
just a small fraction of the work we receive. We've had topics including
"Black and White in Color", "Silhouettes" and "Historical
Reenactments." Our purpose in creating this section in the magazine is
to create a visual forum for readers and to challenge them to fulfill assignments.
It's always a delight to open the packages we receive. I know the thrill
I got when my fist photo was published, and my hope is that the same excitement
is shared by those whose images we select to publish each month.

...

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How To - Work With Monochrome Images
George Schaub  |  Dec 21, 2004

There are many ways to work with monochrome images, including selective adjustment
of tonal values, contrast and even image color that can emulate toning. In this
installment of our Web How To's we'll play with colorization, adding
color to selective parts of a monochrome image that can make it look like a
combination hand-painted (with photo oils) and toned photograph. You can paint
in selectively with brush tools if you like, but this how-to deals with a more
simplified approach.

...

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How To Create A B&W Infrared Effect From Any Image
Howard Millard  |  Sep 27, 2005


To
achieve the eerie, glowing effect of infrared black and
white film, I applied several techniques in Adobe Photoshop.

Photos © 2001, Howard Millard, All Rights Reserved

Are you attracted to the
mysterious, otherworldly glow of black and white infrared film? But
you've heard that it's a bit of a hassle to shoot and print.
Well, here's how to emulate that exotic infrared (IR) look digitally
starting with any color original.



Why not shoot IR film to begin with? Kodak High Speed Infrared film
is a challenge. First, to avoid fogging, it should be stored in the
refrigerator and must be loaded and unloaded in the darkroom or a changing
bag. Then, for the best effect, you must shoot with a deep red or opaque
filter over your lens. Once you've focused, you must re-focus
the lens manually to the infrared focus point. Since your camera meter
doesn't measure IR light, it's advisable to bracket exposures
widely. In the field, you must load and reload your camera in a light-tight
changing bag. After the film has been processed, the negatives are extremely
contrasty and often require extensive dodging and burning to get a good
print.


I
started with this original color 35mm slide shot on Fuji Sensia
II and scanned it on a Polaroid Sprintscan 35 Plus scanner
at 2700dpi for a 26MB file.

...

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How-To Create That Fabulous, Funky Fisheye Look
Howard Millard  |  Jul 26, 2005

1.

It was the swinging `60s,
I was in college, and many wore a rainbow of tie-dyed colors. What had
been "normal" was being challenged on every front, and that
included photography. The bulging, startling perspective of the fisheye
lens added an otherworldly look to album covers for rock musicians like
Jimi Hendrix and Cream. Now, decades later, just as bell bottom pants
recently returned for yet another cycle, fisheye images have again reared
their heads in both print and television ads. A fisheye lens, of course,
is one that takes in an extremely wide angle of view, often 180º,
and appears as a circle within the black image frame. Yes, there are rectilinear
full frame fisheyes (which give a rectangular, not round image), but to
my mind, they're merely ultra-wide angle lenses. A true fisheye,
on the other hand, is a unique special effects tool which renders a unique
circular perspective of the world.



When I was a student, fisheye lenses cost a small fortune (some still
do). What to do? I drilled a hole in the center of a lens cap and glued
a brass door peephole from a hardware store to it. Snapping the lens cap/fisheye
lens over a 50mm or wider angle standard lens, I got a small 180º
circular fisheye image in the center of the black frame. Quality was not
great, but the effect was spectacular.
...

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Hubble Photos: When Galaxies Collide
 |  May 29, 2008





Hubble Photos: When Galaxies Collide

By Ron Leach

For most of us, the term "photography" brings to mind topics like
portraiture, wildlife, sports, macro, landscapes, journalism and other genres
popular with professional photographers and passionate hobbyists alike. Science
and industry, of coursecompri...

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Image Editing With Paint Shop Pro 9
Jon Sienkiewicz  |  Dec 27, 2005

Image Editing With Paint Shop Pro 9

A Software With Its Own Approach And Style

Text And Photography By Jon Sienkiewicz

For
certain tasks, Paint Shop Pro 9 produces results faster and easier than other
products in its category. For novices, or for those among us who haven't
mastered all ofth...

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Image Management; Finding Images with Keywords
George Schaub  |  Jun 13, 2006

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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Image Potential: Knowing What You Can Do After Makes You A Better Photographer
George Schaub  |  May 22, 2012
Think of the image you capture with a digital camera as a digital negative and that you are a master printer who can take that negative and make as good a print as you have ever seen in a gallery and you begin to understand the potential of each shot. The expectation that you can do something more with an image can be built into every type of lighting condition, contrast and exposure problem you might face. It is not that you can “fix it” in software, it is that you should think beyond the exposure to what can be done to the image later, right at the moment you make the photograph. This approach can open you up to many other possibilities and make you take chances when you work; it can also raise expectations of what you have obtained beyond what you see on the playback right after the shot.
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Image Processing: Find The Potential In Your Images
George Schaub  |  Jan 21, 2014
Dedicated black and white photographers have always processed their images and made their own prints. Negatives were carefully developed according to exposure and contrast needs; prints were made with extensive “handwork” and archival processing procedures. Processing was and is a key element in black and white photography—digital does not change that element of the craft.
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