Q) Often, I work with transparencies, making a montage by cutting parts of a photo in Photoshop and mixing them with other shots. Sometimes, I can't see them in other programs such as ACDSee or Bryce. Instead of the picture with the transparency, I see a black square in which it says: "This layered Photoshop file was not saved with a composite image!" I just can't figure out what I did wrong and why it's different from my other transparencies! How can I change these files into "composites"? I'd immensely appreciate your tips to resolve this problem!
This column is about how to use the digital darkroom to transform a straight-out-of-the-camera shot into the image you envisioned when you pressed the shutter-release button. First, I'll share some techniques for working in a high-contrast situation—getting an image to appear how it actually looked to our eyes when we initially took the picture. That's mainly my objective when working with image files in Photoshop. Then we'll see how we can bring a fanciful idea to reality to create an out-of-this-world image!
Q) My new lens came with a weird-looking lens shade. When do I use it? I'm told I should use it to avoid flair with the sun. Is that the only time?
Q) I feel kind of silly asking this question, so I thought I would send you an e-mail and plead that you keep my last name out of it. Someone recently talked to me about a video tripod. Isn't a tripod a tripod? I suppose there's something to do with weight with some of those bigger video cameras, but some are pretty lightweight, too. So my "stupid" question: Is there such a thing as a "video" tripod?
Q) I'm shooting RAW and my friends tell me to ignore white balance because I can fix it on the computer. Is that right?
Q) I thought I'd try to experiment with taking pictures during the 4th of July fireworks displays this year. A friend thought I should use film to do this. I'm thinking that I should be able to use my digital SLR. Who's right? And what's the best way of photographing the fireworks display?