||My friend, photographer Paul Taggart has been on assignment in Iceland, shooting the historic annual round-up of horses. Each year, traditional herdsmen round up thousands of highland horses for the winter. Paul and photographer Lindsay Blatt have spent the last few weeks, living with the herdsmen and following them across the Icelandic landscape. You can see some of the fruits of their labor at the Herd In Iceland site. (You can also follow the project on Facebook and Twitter.)|
I love my Canon EOS 5D Mark II. I’ve been shooting with Canon digital SLRs since the breakthrough EOS D30 in 1990. Along the way, I’ve shot with lots of other digital SLRs, and a huge assortment of point-and-shoot cameras. Point-and-shoots have always been frustrating due to their lack of flexibility and mediocre quality, so I’ve always loved having a quality SLR to fall back on. But, to be honest, the 5D ain’t light. Especially if you want to carry some extra lenses. Micro Four Thirds cameras are a perfect in-between, offering great quality and the flexibility of an SLR, but with weight that’s closer to a point-and-shoot than to my 5D. If you’re new to the Micro Four Thirds spec, and what it means, then this overview will get you up to speed quickly.
||Photoshop’s a great image editor, and all, but you need a lot of money to get it. If you’re a Mac-based photographer who’s been looking for a more affordable alternative, and iPhoto is not for you, then you might want to consider Pixelmator, an incredibly speedy Photoshop alternative that offers a fair amount of power at a reasonable price. Read the full review here.|
A photographer friend recently sent me this extraordinary collection of color images shot during the Depression. One of the things that’s fascinating about looking at them is that we simply are not accustomed to this subject matter being in color. It’s a fine example of McCluhan’s “medium is the message” idea. Your choices of black and white or color, grungy or sharp, saturated or muted – all of these have a huge impact on the reaction the viewer will have. For film photographers, many of these decisions are determined by film choice, and the ability to choose specific films to achieve a particular look or feel is one of the great advantages of film shooting. Alien Skin Exposure, a sophisticated film-simulating Photoshop plug-in, gives this same power to digital photographers. Read more »
Performing image resizing in a batch process can be tricky. How do you tell Photoshop to resize when you might have a batch of images of varying orientations and aspect ratios? Because batch resizing requires special consideration, version 5 of the Photoshop Automator Actions, contains four different resizing actions.
Resize Image, Change Resolution, Scale Image, and Fit Image all resize your image using different controls. With these four actions you can handle any batch resizing chore you might have, and this video, Resizing Images, explains how they work and why you’ll choose one over another.
||While the Photoshop Automator Actions ship with a lengthy, detailed, can’t-put-it-down user manual, there are times when an old-fashioned screencast is still an easier way to learn a new piece of software. Assuming that this is one of those times, I have put together the first in a series of movies that detail how to use Automator to drive Photoshop.|
|A lot of beginning shooters think that raw format photography is a high-end technology that only professionals need. They fear that it’s complicated, and a different way to shoot, and generally something that beginners should stay away from. But it’s not! In fact, the safety nets provided by raw format shooting are a boon to beginners! With raw format, you can correct overexposure and white balance problems that are impossible to tackle with non-raw formats. This article will walk you through a basic understanding of what raw is, and why you might want to consider giving it a try. (And if you want to know more, take a look at my Getting Started With Camera Raw– a complete discussion of all things raw.)|