Best Digital Photography Books for Digital Photographers

In 2005 there were more digital imaging books published than ever before and trying to pick some of the best was difficult. So here’s the best books for digital photographers according to shutterbug.com

Creative Photoshop Lighting Techniques; by Barry Huggins; Lark Books; 192 pages.

Creative Photoshop Lighting Techniques (A Lark Photography Book)

Shutterbug: “This book has cogent text, beautiful photography and extraordinary production values that combine to create a book where readers will find usefull information on every page. There’s more than weather effects with entire chapters on creating reflections, working with the “Quality of Light,” and creating special lighting effects.”

Read other reader reviews

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Photoshop Tutorial: Extracting (easy)

Lara Jade has written an easy to follow tutorial on how to extract your images for basic photoshop users. This is a must know skill for photo manipulators.

extracting_tutorial

Go to Extracting Tutorial

Konica Minolta Dimage Z6 – Review @ CNET

Theano Nikitas reviewed the Konica Minolta Dimage Z6 at CNET and gave it 6.7 out of 10 (good). He wrote:

“The good: 12X zoom lens; Anti-Shake image stabilization; broad feature set; extremely close macro focus; flexible continuous-shooting modes; compact SLR-style body.

The bad: Subpar EVF; less-than-stellar photo quality; movie mode downgraded to 320×240 resolution.

The bottom line: Compact and affordable, the image-stabilized megazoom Konica Minolta Dimage Z6 delivers a solid feature set. Finicky photographers may take issue with its image quality, though.”

Nikon D200 – Review at Digitalkamera.de

Digitalkamera.de reviewed the pre-production Nikon D200 and wrote (page was translated with altavista):


” An important criterion with the image quality represents naturally also the quality of the exposure. Those might be raised over each doubt, there the D200 the same technology (3D-Color-Matrixmessung II) as the cameras of the D2-Serie for exposure measurement begins. 1996 weihte Nikon with the F5 the 3D-Color-Matrixmessung. Up to then cameras analyzed excluding the light distribution (depending upon number of messzellen more or less roughly) and could let the brightness and the contrast of a scene flow in this way into the exposure measurement also. The F5 and/or the 3D-Color-Matrixmessung revolutionized the exposure measurement to that extent that new factors with were included. That was first once the spatial situation of the main motive in the picture, which was determined over the AF sensors (vertical/horizontal position) and over a chip in each objective (to the transmission of the distance information). Therefore also the 3D in the name. But the true innovation was that “color came into the play”. On the basis a RGB sensor with 1.005 pixels (a kind mini CCD) the color distribution in the picture could be considered roughly. That was enough, around e.g. a scene with much blue (sky) and much green (meadow green, leaves o. ae.) to identify by comparison with a data base (those at that time already 30,000 reference situations covered) as landscape and adapt the exposure accordingly. All this can do also the 2. Generation of the 3D-Color-Matrixmessung, which refined now however algorithms for recognition as well as to the balancing of shade and lights in the picture possess and thus not only the gesamtkontrast in the picture, but also the contrast of the brightest and darkest picture portions into the exposure measurement also lets flow.”

Canon PIXMA iP5200

Steve has posted his review on Canon PIXMA iP5200 at Steve’sDigicams.com and wrote:

Canon PIXMA iP5200

“For everyday text and color document printing tasks the Pixma iP5200 is an excellent printer and very fast. It’s also very quiet and the built-in duplexer (two-sided printing) is great for web page or document printouts and saves lots of paper. It’s also great for printing double-sided photo albums, sales flyers, catalogs or whatever. The top and bottom paper trays are a real convenience, use the auto sheet feeder on the top for plain paper and the covered cassette for photo paper where it’s kept away from dust and etc. What I do is put my most-used 4×6-inch photo paper in the cassette and then drop in the bigger, letter-size sheets of photo paper in the upper feed when needed. If you’re on a printing spree, both the top and bottom trays can be loaded with up to 150 sheets of plain paper each and the printer can be set to auto-switch trays when one goes empty.

Canon’s photo printers are still the fastest of the fast. The iP5200 cranks out 4×6″ borderless prints in about 36 seconds when connected to the computer. When connected to a camera in Pictbridge mode it makes the same 4×6″ print from a 7-megapixel image in 1:33. It makes a full-size 8.5×11″ borderless glossy print in the highest quality possible in just 2:10 from the computer — via PictBridge it took 3:15. “

Apple Aperture Article by Rob Galbraith

Rob Galbraith has written quite interesting article focussing on the new Apple Aperture, a new professional photo workflow application.

“Two things have lifted us out of a gloomy funk regarding the potential quality of Aperture’s RAW conversions:

First, Apple is promising that the conversions for certain cameras have been optimized, and have said as much as in the promotional materials for Aperture. The list of optimized cameras includes all Canon digital SLRs back to the D30, all Nikon digital SLRs back to the D1, plus the Olympus E1 and Konica Minolta Maxxum 7D.

Second, Apple has used as a reference for their own colour rendering the colour produced by the camera makers’ RAW conversion software. In chatting with Apple’s Schorr about this, he gave the specific example of comparing Nikon Capture’s rendering of NEF files to Apple’s rendering during Aperture’s development phase. He also stressed that camera maker colour was not the end goal, but rather an important step along the way towards building what are promised to be good-quality colour conversions from Aperture. We like camera maker colour as a rule, and in some instances we love camera maker colour, so it was a pleasant surprise to hear the Apple thought it important to be at least partly guided by this in designing their new colour processing.”

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Photoshop TV is Now Available

On Monday, October 24, the National Association of Photoshop Professionals (NAPP) launched a new video podcast – Photoshop TV.

Hosted by the “Photoshop Guys” (Scott Kelby, Dave Cross and Matt Kloskowski), Photoshop TV immediately began climbing the charts of Apple’s iTunes podcasts to hit number 2 on October 28, leaving heavyweights such as NPR, Al Franken and ESPN in their dust. The cast saw over 6,200 subscribers in its first 72 hours.

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Canon EOS 5D with Canon 70-200mm f/2.8 L IS Sample Photos

Francesco has just posted his personal test of Canon EOS 5d with Canon EF 70-200mm f/2.8 L IS USM and commented:

“It is certainly a fantastic lens. Unfortunately too heavy, big and intrusively obvious to be used as a walkaround lens. Great for sport / high movement and certainly for portraits in available light. I found the fall-off (vignette) at 70-100mm a little bit too much but looks overall nice in the pictures.”

canon_5d_with_70-200mm

Please click on the image above to visit his gallery

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Canon EF 24-105mm f/4 L IS USM – Review by The Digital Picture

The Digital Picture reviewed Canon EF 24-105mm f/4 L IS USM and commented:

” The Canon EF 24-105mm f/4 L IS USM Lens’ color and contrast are excellent. The rectangular baffle (above) over the rear of the lens is purposed to increase contrast and reduce flare/ghosting. CA (Chromatic Aberration) is well controlled with some CA visible at 24mm in very harsh contrast situations – mostly at full-frame edges.

Eight circular aperture blades provide excellent quality defocused image quality (bokeh – foreground/background blur). While f/4 in this focal length range is not the best at creating diffusely blurred backgrounds, close subjects at 105mm can have pleasingly defocused backgrounds.

Canon’s latest generation Image Stabilizer (IS) provides an additional 3-stops of handholdability in the Canon EF 24-105mm f/4 L IS USM Lens. This is definitely my favorite feature of the 24-105 L. The 24-105 L’s IS is very quiet and very well behaved (does not jump when starting, …). IS does not stop subject motion blur, but it is excellent for stopping camera shake. IS allows use of narrower aperture settings to increase DOF (Depth of Field) in handheld shots with non-moving subjects (landscapes, sculptures, art …). IS allows use of longer shutter speeds to create motion blurs – such as moving water. “

IR Photography with Nikon D70

Do you have Nikon D70(s) ?
Do you want to take those surreal photos with your camera and an Infra Red filter just like the image below ?

IR Photography with Nikon D70

Then this IR Photography with Nikon D70 tutorial is a must read for you…

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