Category Archives: Underpinnings and Core Issues
A house is only as sound as its foundation. The same maxim is true about digital photography. If the core issues of light and color are not clearly applied to each digital image, it may not deliver the visual emotion that you intended.
Grayscale (Black and White) Images Look Better on Displays and Desktop Printers Than They Look on Four-Color Presses!
Absolutely true. Every color pressman knows this for a fact. There is a very good reason why this is true. And unfortunately, there’s not much anybody can do to change it! Here is a little known fact outside the printing industry. Full-color printing … Continue reading →
Most scenes captured in full daylight that include elements that are almost pure white and nearly total black. Many times their dynamic nature gets buried within a standard single exposure. The tones are there, as your camera has the capacity … Continue reading →
Starting where we left off in Part One, the darkest point on the Input scale of the histogram has a value of 0, and represents solid color or tone. The lightest point on the Histogram is assigned a value of … Continue reading →
and they always will. It’s an unavoidable reality. The reason for this has little to do with color management, inks, paper surfaces, device profiles, or any other adjustment-related issue. The simple fact is that your monitor’s white is illuminated by a projected light … Continue reading →
If you don’t fully understand the purpose and useful functionality of a histogram, you’re not alone. I would venture that most folks who edit digital images really don’t understand what the little mountain range chart is telling them or how … Continue reading →
The printing industry taught me valuable lessons about photography. And what I learned first, they don’t even cover in photography school, though it’s probably the reason why my images print right every time. You see, I learned about the photography … Continue reading →
What is it that makes one picture more more striking than another? What is it that makes tones appear sharp and detailed in one area of the picture and smooth and transient in another? The answer to both of these … Continue reading →
THE WAY IT WERE I had spent the prior 20 years laboring inside the color separation/printing industry when all the digital feces hit the photo-lithographic fan back in the mid eighties. Shortly thereafter I found myself consulting with an upstart … Continue reading →
Don’t tune me out just yet. It’s actually true. What few people realize about capturing color images is that each capture starts in black and white. There is no such thing as capturing color! Let me try that from a slightly different approach. … Continue reading →
…and you know it. Yet you buy into it every day. “I can’t believe my eyes” is actually more true than you realize when it comes to photographic images. You have been a willing victim of this ruse for as … Continue reading →