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Ron Leach  |  Jun 04, 2024  | 

It's easy to become overwhelmed when editing photos in Lightroom because there are virtually endless tools and features one can employ. This beginners guide is designed to simplify your workflow with a trio of basic methods you can put to work now.

Ron Leach  |  Mar 04, 2024  | 

The most common goal when editing our landscape photos is to imbue images with vibrant colors and accurate exposures that enhance all the details of a scene. But what do you do when photos you capture look more like a snapshots—either because the light isn't interesting or there's nothing particularly captivating about the scene?

Shutterbug Staff  |  Jul 16, 2021  | 

Seems as we untangle ourselves from the seaweeds, the world is slowly opening back up again for travel. The more freedom we redeem the more that itch to capture the colors and wonders of the Earth will tickle your fingertips.

Ron Leach  |  Aug 24, 2015  | 
Sooner or later most avid photographers find themselves in a rut and find it difficult to get the creative juices flowing. If you’re a working pro on assignment, duty calls and it’s relatively easy to get motivated. On the other hand, if you’re a photo enthusiast shooting for yourself, sometimes you have to play some mind games to push yourself through the doldrums.
Ron Leach  |  Jan 22, 2014  | 
The New Zealand Antarctic Heritage Trust recently discovered and restored a treasure-trove of century-old cellulose nitrate negatives left behind by the ill-fated Ross Sea party when they were rescued after spending three years struggling to survive on Ross Island after their ship broke loose from it’s moorings and blew out to sea. The small box of 22 unprocessed negatives were part of more than 10,000 objects conserved at Captain Robert Falcon Scott’s hut and brought back to New Zealand by the Trust and painstakingly restored.
Staff  |  Jan 21, 2014  |  First Published: Feb 01, 2014  | 
In this month’s issue we feature black-and-white photography in all its power and glory with portfolios of portraiture, location, and street photography. We also hone in on a series of tests covering dynamic new cameras from Canon and Panasonic, a look at a B&W-focused inkjet paper, and an exciting close-up lens from Tamron.
Jim Zuckerman  |  Jan 21, 2014  | 
To fully understand your flash, there are some basic principles and definitions I need to explain. When I start discussing how to be creative with your flash, you will know what I’m talking about with this information under your belt. Flash is not difficult once you understand some fundamental principles. I will start from the beginning and take you step by step to the point where it will seem like no big deal to get excellent flash pictures.
Jim Zuckerman  |  Jan 21, 2014  | 
I have made the point that on-camera flash is not the most attractive artificial light for photography. In fact, I’d say it’s at or near the bottom of my list for choosing artificial light sources to illuminate the subjects I photograph. If I can’t take the flash off the camera and I’m forced to use on-camera flash, then the best approach is to diffuse the light. There are various ways to do this. Some diffusion techniques require a modest expenditure while others don’t cost anything.
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.
George Schaub  |  Jan 21, 2014  | 
One of the most exciting aspects of black and white photography is your ability to interpret your images, that is, joining your way of seeing with the application of techniques. For example, when shooting landscapes, the aim is generally to communicate your “sense of place.” The techniques you apply define both the objective place (the record of that scene) and your perceptions and feelings about it. Depending on your decisions, you can create an image of the same scene pervaded by light and contrast, or set in deep, dark tones. The objective image does not change; what can change is your interpretation, the way the scene is altered by journeying through your mind’s eye.
Ron Leach  |  Dec 25, 2013  | 
In perhaps an unfortunate sign of the times, we recently learned that an unauthorized telemarketer has illegally obtained a portion of Shutterbug’s subscriber file and is contacting readers in a fraudulent attempt to collect funds for past, current or future subscriptions. We’ve heard from a number of angry readers, upset by the rude, harassing (and illegal) telephone calls from someone they perceived to be one of our authorized subscription representatives.
Staff  |  Dec 18, 2013  | 
In this month’s issue we feature black-and-white photography in all its power and glory with portfolios of portraiture, location, and street photography. We also hone in on a series of tests covering dynamic new cameras from Canon and Panasonic, a look at a B&W-focused inkjet paper, and an exciting close-up lens from Tamron.
Jim Zuckerman  |  Dec 18, 2013  | 
Many people think that professional looking portraits of either people or animals require a multiple light setup in a studio. The traditional configuration consists of a main light, a fill light, sometimes a hair light depending on the hair—or lack of hair—of the subject, and two lights on the background. You can see what this type of lighting looks like in where I used a 4-light setup. The background was black paper and the two subtle background lights made it look gray. I set the studio strobes to provide a 3:1 lighting ratio on the model’s face.
George Schaub  |  Dec 18, 2013  | 
Think of a digital camera as a microprocessor with a lens. Along with doing all the things a camera does there is an immense amount of image processing that goes on inside before the image is recorded on the memory card. There are many ways to change the character of an image using the camera’s processor.
Jim Zuckerman  |  Dec 18, 2013  | 
This story is oriented to photographers who are serious about their photography, and who want to learn to use flash creatively. However, I know there are a lot of people who are very happy with their camera and who aren’t interested in buying sophisticated flash units. Admittedly, there is a lot to be said for being able to use one unit for both exposure and illumination. In this section I will address the issue of pop-up flash units and tell you how to get the most out of these small and convenient types of flash.

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