As I noted in my last article reviewing the RAM Mount Universal X-Grip system, mobile is advancing at a very rapid pace in the photography world. Not just taking pictures with a mobile device but the use of mobile devices in workflows.
As I continue to research and experiment with different mobile options for my new book project, I’m pretty much at a point where I think a laptop on the road is unnecessary, probably, 90% of the time or more. Really, the only time I think I might need a laptop is if I were doing a live software demonstration. And even then, quite possibly not. Patriot Gauntlet Review, cont'd >>
The world of mobile photography continues to grow. And I’m not talking about taking pictures with a smartphone or tablet. I’m talking about the ability to use mobile technology to help in the workflow. Using tablets or smartphones and associated apps to help make photos or videos with a DSLR.
X-Grip Review, cont'd >>
Noise in images seems to create a fair bit of confusion. In particular the whats and whys of noise in images.
Noise is often referred to as the digital equivalent of grain in film. The thinking is that noise sort of resembles film grain. Well, no, it doesn’t really. Not if you look at it moderately closely. Digital Image Noise, con't >>
This will be just a quickie today. There’s a lot of confusion in digital photography circles about the terms Dynamic Range and Bit Depth and how they’re related. Some think that they’re completely interconnected. They’re not. It gets even more confusing when HDR is brought into the mix. Let’s try to clarify. Dynamic Range/Bit Depth, con't >>
I’ve recently been made aware of a new photography magazine that’s hit the North American market. Jack Howard, author of Practical HDRI and Practical HDRI 2nd Ed let me know about it a few weeks ago. The mag. is c’t Digital Photography. I checked out the website and got in touch with the publisher and they were kind to send me a copy of the latest issue. c't Digital Photo Review, con't >
This is a follow up to my original Power of Lightroom article from just about a year ago. Lightroom has been improved with each new version and while the black and white capability and the Adjustment Brush capability have been in place before v3, I thought I’d take the opportunity to toss in a new article on Lightroom for black and white. Probably 80% of what I do with editing photos, I do now with Lightroom. There are still some things I use Photoshop for and I’d never give up Photoshop but Lightroom is a wonderful piece of software. Power of Lightroom - Redux, con't >
Digital photography – which includes digital printing via high quality inkjet printers – has made a wider variety of printing surfaces available as like never before.
We have glossy and matte, warm and cool, smooth and textured, as we had in the past in the darkroom and these surfaces are getting better and better all the time, particuarly with the introduction of the fibre-based papers that have come on the market recently. Aside from the standard glossy and matte, we also have specialised surfaces like canvas and even metal. If you’ve not seen a print on metal, they really can be quite striking.
With all these choices available, it makes choosing the right surface to print a photo on even more important. There are lots of opinions out there on how to choose the right paper for the image and what follows is mine.
Right now, canvas is the hot item. It’s new. It’s cool. It’s different. Well, maybe not so different anymore. It seems like canvas is being used by a lot of photographers for a lot of images that would look better on another surface. It’s almost become cliché, which is unfortunate.
When it comes to printing, I categorise media into two types – hard and soft. Hard are those surfaces that hold finer detail better, provide a crisp appearance, generally have a better colour gamut, more vibrant colours, better DMax and are typically harder to the touch. Gloss, semi-gloss, lustre would fit into this category. As would metal, obviously. Soft are the papers that offer, generally, more muted colours (albeit only slightly in some cases), a lower DMax, provide a more painterly look, a softer look and are softer to the touch. Pretty much just the opposite of hard papers. Things like Velvet Fine Art, watercolour, museum rag, textured rag and canvas are these types of media. A paper like Epson’s Ultrasmooth Fine Art can fit into both but in general the printing media available on the market will fit into one of those two categories. Printing Surface, con't >