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One of the reasons that many people are getting into making prints at home
these days is that inkjet prints are simpler to make and more permanent than,
in many cases, photographic prints (dye based projection, that is.) With recent
advances in ink and paper technology from companies such as Epson and HP we
now see the potential, given proper storage, of digital prints lasting more
than 100 years. Even snapshot size prints, according to Wilhelm Research, from
portable printers like the popular and relatively diminutive PictureMate from
Epson can last three generations or more. And most of the newer printers don't
even require the intermediary of the computer to make very good looking prints.

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14 tracks and looking for more, the International Speedway Cooperation (ISC)
has an ace up their sleeve when it comes to photography. Director of photography
Mike Meadows has been their primary go to guy for the past six years when the
shot had to be just right.

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When shooting film, especially slide film, color rendition is a matter of
matching the film's "personality" with the subject at hand.
You can choose films with high or "normal" color saturation, contrast
and color response. These two photos of a colorful Christmas toy soldier in
New York's Rockefeller Center show the differences between saturation
renditions. With a digital camera you can program in color saturation, "warmth"
and even color contrast, making every frame you shoot like an individual selection
of film.

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Want to take one of your photos into the future? In a few steps, you can add
a cutting edge high tech look to your images with the Mosaic filter in Adobe
Photoshop or Elements. Whether you want to add this futuristic dynamism and
drama to a portrait or an object, simply follow the steps outlined here. I've
chosen to add it to a profile portrait of a young woman, but the technique can
be equally effective with objects such as a cell phone or even a shot of your
digital camera. The steps shown here are those I used in Photoshop CS, but Elements
has the same filter, as may some other image editors, perhaps with a different
name.

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As recently as 18 months ago, a built-in image stabilizer was a rarity in digital
cameras. It was available only in a couple of Panasonic models and one Konica
Minolta DiMAGE camera. Today, an increasing number of digicams -- from four
manufacturers -- employ some form of camera shake compensating device. And there's
even a digital SLR with a built-in Anti-Shake mechanism, the Maxxum 7D. We expect
this trend to continue with other manufacturers jumping on the bandwagon. "Sounds
great if you're into high-tech gizmos," you may be thinking, "but
is this feature really necessary?"

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Until recently, few digital camera owners were able to make true wide angle
images because a 38mm focal length was the shortest available in built-in zooms.
(All focal lengths are discussed in 35mm format equivalent.) Today, an increasing
number of digicams include zooms that start at 28mm or even 24mm. Many of the
high-end cameras also accept 0.7x adapters, ideal for ultra wide angle photography.
And SLR system lens manufacturers have also started making incredibly short
zooms, such as 12-24mm, for a very wide angle of view. All of this is great
news for creative shooters who want to expand their visual horizons.

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One of the main problem areas for many digital photographers is getting a print
that is reasonably close to what you see on screen. Assuming that you have a
calibrated display (and if you don't, stop reading this article and profile
your monitor!) the problem may lie in your printer settings. It's all
too common to find that someone having problems is actually managing the printer
settings twice - once in the print driver and once in their image editing software.

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