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BY: Chris Drost (nice+smooth ultramedia)
SOURCE: Flickr

Chris Drost co-runs the nice+smooth ultramedia record label and media company. He also plays in the band, Kinder Atom.

About this photograph: “This was taken by the mouth of the Humber River in Toronto earlier in the month (November) where recent fog was so thick that you couldn’t see much beyond 10 feet… pushed curves to recover any possible detail and a radial blur to reign in the edges. Nothing else. Even though it’s ISO100 it’s noisy noisy noisy. Almost like a photocopy/charcoal effect.”

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BY ROY BARKER

There are many different versions or styles of landscape photography, not the least landscape photo art. Hopefully, I have been able to explain some of its characteristics in this topical article and it will leave you a little wiser. I have compiled other articles on a similar bend but none of them really cover this area of landscape photo art that well.

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BY T.J. TIERNEY

As a photographer, architecture offers many different challenges, especially for the new photographer. Technically, buildings can be very demanding to photograph, but the key in solving this and attaining good images is understanding image distortion and finding the best time to capture the building at its most glamorous moment.

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BY: Parc Cruz
SOURCE: Flickr

Parc Cruz is a hobbyist in the Philippines. Visit his blog, PARC Goes Digital. This excellent image was captured in Pagsanjan, Laguna, south of Metro Manila, Philippines.

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BY AMY RENFREY

Let’s start this digital photography lesson by looking at the digital camera. All digital cameras photograph images which have a normal pattern of pixels that make up this image. In some digital photography images a moiré effect is created. To avoid this, modern SLR digital cameras come with a built-in filter that gives a softer effect to the image.

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BY: -stacey-
SOURCE: Flickr

SOME COMMENTS: “Great title and capture of colours in the sky! The composition here is terrific! Well done” “stacey this is sublime; isn’t it great to be excited and up early and see something like this? really terrific” “I like the delicate look of this image… The color is soft and the light is soothing…” “The warmth coming from the little house looks so comforting to me. Terrific colours and framing. Sometimes getting up early is worth it, I guess…”

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BY JENNIFER CLARKSON

Whenever you resize or edit a digital image, you should consider sharpening your image as a final step. If you sharpen first, and then edit your image further, you are likely to exaggerate the “artifacts” created as part of the sharpening process. Make sure you save your edited image with a different filename, or in a different folder than the original, in case better sharpening algorithms come along in the next few years — I burn my original images to CD and also store them locally in an “Original Photos” folder. I place the edited versions in a “Photo Editing” folder.

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BY ROHN ENGH

Your legislators in Congress have been tussling with the Copyright Law, attempting to bring it up to the 21st century. They find the Internet presents revision problems much more complex than the revisions that went into the 1978 revision of the Copyright Law.

Especially important to editorial stock photographers is the question: “On the information highway, which pictures need a model release and which ones don’t?”

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BY KENNETH C. HOFFMAN

If you are over 60, you probably don’t like to have your picture taken. Older faces are prime victims to harsh lighting, deep shadows, sharp lenses and unforgiving close ups. You probably look fine at night with candle light on your face but once your granddaughter shows up with her digital camera, your pleasant image is history. Arcsoft, Adobe and Corel all sell image editors with the necessary tools to fix that.

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BY MOSES FRANCIS

When you take a photograph from a digital camera of, say, a beautiful pastoral scene, and straightaway view it on the computer, or in print, what you see would be a subdued image of the scene, removed to some extent from the reality that your eyes beheld while shooting. This is because the digital image is not able to capture in full the quantity and distribution of natural light in the actual scene. In fact, no camera can capture the full tonal details of the actual scene in one exposure.

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