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Digital Photo ProDigital Photo Pro

Digital Photo Pro December 2018

Digital Photo Pro is the serious digital photography enthusiast and professional’s guide to advanced technology and creativity. Each issue showcases the very best in photography, and helps readers navigate the sea of equipment, storage methods, electronics and more, so they can make better decisions and take better photos.

Paese:
United States
Lingua:
English
Editore:
Madavor Media, LLC
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access_time2 minuti
editor’s note

This remarkable portrait, photographed by Sarah Blesener, is part of an exceptional series of photographs called “Beckon Us From Home,” which you can read more about starting on page 32. There’s a caption to this image that Blesener provides, as well: “Elizabeth Nelson, 17, in the parking lot of Home Depot waiting for her friends after watching their team lose their first football game of the season, August 25, 2017, Omaha, Nebraska. Nelson enlisted in the Army the summer before her senior year of high school and will ship out to boot camp three days after she graduates.” As a journalist, I’m content to connect this descriptive caption to what I see in the photograph. At the very least, it helps me put the subject and select details in the photograph more…

access_time5 minuti
new tools of the trade

Adobe Brings The Full Version Of Photoshop To The iPad In the late fall, Adobe introduced a slew of updates to Creative Cloud apps and launched several new digital-imaging, video and multimedia apps, as well. The new updates and releases coincided with Adobe MAX, the company’s annual event taking place in Los Angeles in mid-October. One app of particular interest to photographers is a full version of Photoshop becoming available for the iPad in 2019. According to the company, it can be used on the tablet itself or synced (via Adobe Cloud) and used with the desktop version. Adobe claims there will be “no compromises on power and performance or editing results.” For instance, photographers can access all files without any conversions or changes. That means they can work on the same…

access_time12 minuti
how sony’s full-frame mirrorless cameras have captured the hearts of pro photographers

In January of this year, veteran New York Times photographer Doug Mills, who has shot for the newspaper’s Washington, D.C., bureau since 2002, appeared on C-SPAN to discuss various aspects of his photography. During the interview, Brian Lamb, journalist, founder and former CEO of the cable and satellite television network, talked with Mills about his method of covering the news, politicians, press conferences and others events that take place in the nation’s capital. During the interview, Lamb asked Mills about a closeup photo he shot during an immigration meeting Mills and other Washington, D.C., photojournalists had taken part in with President Donald Trump. During the near-hour-long meeting, Mills and a number of other photojournalists from other media outlets were going about their routine tasks of photographing the commander in chief. But…

access_time12 minuti
being sandro miller

Chicago-based Sandro Miller is a sculptor of sorts, using light as a chisel to bring out the essence of the sitters before his camera lens. His photography series Malkovich, Malkovich, Malkovich: Homage to Photographic Masters, exemplifies this mastery of advanced lighting techniques. To create the series, the Lucie Award-winning photographer set out to recreate 62 historic photographs during two marathon multiday shoots in 2014 and 2017. For each image, Miller worked with renowned actor John Malkovich, who with each costume change channeled the original subject’s personality. But Miller’s skill would be tested: He faced the daunting tasks of replicating the lighting schematics of a cross-section of photographic masters as well as matching the wardrobe and creating the set for each shot. In the end, the photographer feels he learned a valuable lesson…

access_time9 minuti
taking the time with the next generation

In the mid-1950s, legendary photojournalist W. Eugene Smith set out on a three-week assignment to shoot the city of Pittsburgh. More than three years later, the photographer had amassed 22,000 negatives and around 1,200 master prints of the Steel City, which would set the standard for future longform photo essays and projects after it. And while the precise reason Smith took such an extended amount of time may never be known, it does seem that the project required much more time in order to let the subtler and more nuanced aspects of the narrative unfold for him. It was the only way to really discover the essence, the truth, of the city. “My principle concern is for honesty,” said Smith about his work as a photographer, “above all, honesty with myself.” But…

access_time10 minuti
shoot stock on assignment

It’s been said that by the end of a fruitful career, a photographer’s catalog of images can double as a retirement fund—licensing and re-licensing the best photographs, passively earning income as one sails off into the sunset. That’s a great idea, for sure, but why wait until retirement to start earning income from licensing? Why not start adding stock photo shoots onto assignments? Done correctly, it can be a great way to grow the bottom line now, while adding to an archive that continues earning for years to come. Advertising and stock photographer Inti St. Clair says that adding stock shots to assignments used to be easier, but large-scale changes to the industry have made it more challenging than ever. “In past years, I knew quite a few people who were able…

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