Home Past Issues March-April 2006

March-April 2006

March-April 2006


  • How To Choose A Digital SLR

    What to look for...and look out for

    Choosing a digital SLR is a bit trickier than choosing a film SLR because you have all of the film-camera considerations, plus a number of digital aspects to weigh. One benefit, though, is that you can't go wrong with any of today's D-SLRs—they all offer lots of features, good performance and enough resolution to produce quality 12x18 inkjet prints.

  • Toolbox: Camcorders

    Choose and use simple camcorders to create Hollywood-style results

    If I had any doubt of what could be achieved with an affordable camcorder and a bit of imagination, it was swept away while attending a high-school film festival. As I watched, kids from San Fernando High School in Southern California shared short live-action and animated films they had created with cameras, computers and software.



  • Cool Gear: Designer Hard Drives

    Personal storage with personality

    Mundane tasks like data backup and image archiving aren't as exciting as working with your images on the computer. It may be essential to protect our irreplaceable photos, and the time and creative effort we put into perfecting them, but as I write these words—"external hard drives"—I imagine your eyes are glossing over in boredom. Though necessary, backup storage devices aren't the kind of equipment typically associated with "fun."


  • 10 Top Digital Camera Shooting Tips

    Shoot it right from the start and get better images for use in the computer

    While everyone knows Photoshop is a marvelous imaging tool for photographers, in some minds it has been transformed into a magic wand, with powers beyond imagination—you don't have to shoot the image perfectly initially because you can always fix it in the computer. As good as the digital darkroom is, the old acronym about computers is still important to remember: GIGO (garbage in, garbage out). Paying attention to the craft of taking the picture is also about using Photoshop and other image-processing software, because how you first capture your subject tremendously affects what you can do in the computer and how you do it.

  • March/April 2006 HelpLine Getting The Most From A Photo Workshop

        * Making A Workshop Work
        * Affecting Depth Of Field
        * USB Effects
        * The EV Answer
        * What's In A Name?
  • Snapshot To Postcard In Five Minutes

    Simple fixes to turn an okay image into a “wish you were here” moment

    Have you ever taken a seascape or landscape picture from inside a moving plane, boat or car, where the view of the horizon line was tilted? Have you ever had to shoot fast to get off a shot without making any exposure adjustments, resulting in an over- or underexposed picture?

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