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6 Pro Photographers Share Their Most Guarded Digital Secrets

Michelle Delio — Fri, 23 Oct 2009 16:59:59 -0500

Great photos are made, not taken. Creating the perfect image requires a skill set that includes a deep understanding of one’s gear, the light, and the ability to think about what story you want the photo to tell and how to communicate that story through a captured moment in time. Tremendous patience, physical flexibility (a photographer spends a lot of time pretzeled into odd positions to capture the perfect angle), and an ability to think lucidly before dawn (can’t miss that golden light) are also essential.

Most photographers would now agree that proficiency with photo-editing software is also a critical skill. So we asked six photographers to tell us about their favorite image processing applications and add-ons as well as share their best tips for making and digitally refining images.

Lucas Gilman travels the world in search of untouched places and wild experiences, capturing images ranging from kayaking in India to backcountry skiing in South America. His work is often seen in National Geographic, Sports Illustrated, ESPN Magazine, ESPN.com, Men’s Journal, National Geographic Adventure, Outside Magazine, Men’s Fitness, Maxim Germany, FHM Australia, USA TODAY and the New York Times. Lucas recently won the “2008 American Photo Emerging Photographer Award” sponsored by Apple Inc.

Preferred Post Processing Applications: The majority of my post processing work is done in Adobe Lightroom 2. I use Adobe Photoshop CS4 for small detail work and Nikon Capture NX for certain images.

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Favorite plug-in filters/scripts/actions/etc:

Nik Viveza: Amazing color and contrast control without the need for masks. It helps make even a day with the worst light look good with just a few sliders and a couple of clicks.

Nik Silver Efex Pro: The best black and white conversions in the industry, allowing total control and creativity without layers, masks and hours of tedious Photoshop work.

Nik Color Efex Pro: Amazing ability to enhance and correct colors without masks.

OnOne Software Genuine Fractals: Allows me to deliver perfect images that have been resized on demand to epic proportions.

Which filters do you use the most in the Nik collections? In Nik Color Efex I really like the "Brilliance and Warmth" filter. It allows me to add saturation and warmth in a natural way to produce really pleasing images. I also really like the "Tonal Contrast" filter, it allows me to accurately adjust contrast in many areas of the image without masking. In NIK Silver Efex Pro I like being able to click through all the film type options within the black and white conversion filter, being able to control grain and contrast to show every detail that I want is really cool!

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General Filter Tips: Take your time, play around and check out what each filter can do for you. You will be amazed at all the variations you have the ability to produce with some creative thinking.

Favorite Photography Tips: Find your background and then wait for your action to come into the frame. Shoot early and shoot late when the light is good. And take hand sanitizer to Third World Countries -- you will make better photos if you are not sick in bed.

Where do you print your work? Printroom.com

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Preferred Gear:

Photography: Nikon D3X, Nikon D3, Nikon D700, Nikon 14-24mm AFS f/2.8 G ED, Nikon 24-70/2.8G Autofocus-S, Nikon 70-200 mm f/2.8G ED-IF AF-S VR Lens, NIKON 300mm AF-S VR f/2.8G IF-ED, Nikon AF-S Teleconverter TC-17E II, Nikon 400mm AF-S VR f/2.8 IF-ED, Nikon SB900 speedlights, Honl professional Light Modifiers (grids, snoots, gobos for Nikon SB900’s).

Backup and image storage: 16GB Lexar Professional UDMA 300x CompactFlash, Lexar Professional UDMA FireWire 800 Readers, DroboPro (Studio), Western Digital MyPassport Studio Edition 500 GB DRIVES (travel)

Computer: Mac Pro 8-core 3.0GHz Intel Xeon + 8GB Crucial RAM (Studio), MacBook Pro 2.4GHz 4GB Crucial RAM (travel).

To see more of Lucas’ work, visit his website.

David Schloss is the director of the Aperture Users Network and MacCreate.com. A photographer for more than two decades, David specializes in adventure sports, travel, lifestyle and hyper-macro photography. He is the author of two books on photography and teaches workshops internationally.

Preferred Post Processing Applications: I do about 95 percent of my work in Aperture, with occasional work in Photoshop CS4, Illustrator CS 4 and Painter.

Favorite plug-in filters/scripts/actions/etc:

NIK Silver Efex Pro: This is by far the best black and white conversion tool ever made.

Imagenomic Portraiture: After spending countless hours retouching portraits for commercial use Portraiture has been a godsend. It selectively retouches images without having to create complicated masks, it can tell the difference between facial texture and things like hair and makeup.

Picture Code’s Noise Ninja: The industry standard for noise reduction. Getting rid of noise from a high ISO or low light shot doesn’t get any easier--or better--than this.

Which filters do you use the most in the Nik Silver Efex collection?: I tend to be drawn to the filters that provide the grainy black-and-white experience I used to get from darkroom techniques. The film simulations for things classic 1600 ISO film stock are great. While it doesn’t feel exactly the same to me (there’s just a quality of black and white high-ISO film that’s hard to duplicate) it brings back much of that quality of playfulness and artistic expression of the darkroom.

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General Filter Tips: Digital filters are best used like a spice. A little bit can transform a creation from mundane to extraordinary, but used too heavily it will overwhelm the creation. And there’s no filter that’s going to save an out of focus image so work to get the image right in the camera first.

What tips can you share with us about working in Aperture: In the 90's there was almost a mandate that "artistic" photos had to be processed and highly-filtered. A lot of simulated cross processing work and bleach tones. For many photographers the image in-camera was simply a jumping-off point for a creative journey. That's fine and it produced a lot of great looking images, but it can only go so far.

With the advent of Apple's Aperture, and the focus (pardon the pun) on bringing out the best of an image, I've really rededicated myself to shooting the best possible image in the camera and just bringing it back to the way I saw it in my mind when I shot it. So filters for me are largely about bringing images back to reality, or at least the reality that I had envisioned.

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The really powerful adjustments in Aperture allow me to do a lot of things I used to do in filters -- adjust levels, saturation, vibrancy, sharpness. I take my images and round-trip to a plug-in when I need to make that final little creative tweak to make an image mine. Take the black-and-white conversions possible with Silver Efex Pro -- Aperture is not designed to simulate a film stock, but the ability to take an image and go right into a plug-in and still manage it in Aperture allows me to make a version that replicates the techniques I used to use, with today's tools.

Favorite Photography Tips: The best thing I’ve ever heard about photography came from photographer Jay Maisel. Taking the expletives out it boils down to "you can’t take a picture if you don’t have a camera." One thing I learned from my father, a commercial shooter, was to forget about the automatic settings and spend days walking around with camera in manual mode, changing the f/stop and shutter speed by feel. Meter once in the morning and see if you can tell how many stops lighter or darker your subjects move from there. As a result, I often think of things in terms of stops of light. I’ll turn on a bedside lamp and think of how many stops lighter the room got. It’s really a great way to become one with your camera.

Do you still shoot with film? I have not shot a piece of film since 2002. The convenience, speed and ecological benefits of working with digital have outstripped all the reasons I shot film.

Where do you print your work? At home, on my HP B9180 and a HP Z3100. I’ve also used the site ImageKind.com when I want to get output printed, framed and shipped. They do great work.

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Preferred Gear:

Photography: Canon 1Ds Mark III, 5D Mark II, Nikon D3x. A mix of lenses, favorites are the Canon 50mm 1.4, Canon 65 1x-5x macro, and the Nikon 14-24mm f/2.8.

Computer: My main Mac is an 8-core Mac Pro with 16GB of RAM, connected to a Drobo Pro, HP B9180 printer, dual 30-inch Cinema Displays and a Wacom Intuos drawing tablet.

To see more of David’s work, visit his website.

Tony Sweet decided to redirect his creative energies towards nature photography after 20 years of working as a professional jazz artist. His images are published on calendars, post cards, posters, annual reports, greeting cards and catalogs. Tony conducts Visual Artistry photography location workshops and speaks to photography organizations and "Professional Photographers of America" schools throughout the continental United States and Canada. He is a staff writer for Nikon World magazine and has authored four books on the art of photography. Tony has been honored as a "Nikon Legend Behind the Lens" and is represented by The Getty Picture Agency.

Preferred Post-Processing Applications: Aperture for processing and cataloging, also Photoshop CS4.

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Favorite plug-in filters/scripts/actions/etc:

Nik Color Efex Pro: Particularly the “Darken/Lighten Center” filter to add depth to the image.

Nik Silver Efex Pro: For black and white conversions.

LucisPro: I use it on every HDR image to enhance detail and add depth.

AlienSkin Snap Art: To add watercolor, oil paint and other artistic effects.

Topaz Adjust: to affect exposure and region on specific images.

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What tips can you share with us about working with filters in general? Play often to learn the capabilities of the software. It’s impossible to pre-visualize a filter effect on an image if you are not familiar with the filter. And always place the filter effect on a separate layer and blend it with the original -- this works especially well when you are blending a black and white converted image with the color original. Work in layers, leaving the original untouched. Practice using your software. The more familiar you are with software usage, the more options you have to bring your creativity to fruition.

Favorite Photography Tip: Isolate and simplify the subject.

Do you still shoot with film? No more film for me. I have no need for it.

Where do you print your work? I use an Epson 7900.

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Preferred Gear:

Photography: Nikon D3X, 14-24mm, 24-70mm, 70-200mm, 105mm macro, Lensbaby.

Computer: MacBook Pro, 8G RAM, 320GB HD, 4TB external storage, Epson 7900 printer.

To see more of Tony’s work, visit his website.

Mike Sweeney started his visual career by drawing incessantly from the time he was old enough to be trusted with a box of crayons. By the time he was his early twenties he had bought a Canon 35mm camera and was learning the finer points of photography. Now Mike blends his photography skills with his extensive knowledge of technology to produce images that are both classic and state of the art. Mike is an active member is the "Strobist" and other social groups on Flickr, as well as the PPA (Professional Photographers of America), ASMP (American Society of Media Photographers) and NAPP (National Association of Photoshop Professionals). He specializes in wedding photography, portraiture and fine art photography.

Preferred post-processing applications: Adobe Suite CS3 (primarily Photoshop, InDesign) for advanced editing, Lightroom 2 for the majority of workflow management and light editing, PainterX for live media effects, LumaPIX to create albums, calendars, cards etc, VMwareFusion for running Windows XP and LumaPIX, and Fundy SOS album builder which is Photoshop application for creating wedding albums.

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Favorite plug-in filters/scripts/actions/etc:

Imagenomic Portraiture: The best and fastest tool I have found for smoothing and evening out skin surfaces and skin tones.

Imagenomic Noiseware: The best noise reduction software.

OnOne Pro Tools: The best overall photo editing tool box on the planet. I especially like the Photo Tools Bleach Bypass and High Pass Sharpening filters.

A Neutral Density Gradient: I use a gradient more than any other processing tool aside from sharpening to dial in localized exposures of sky, water, windows etc.

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What tips can you share with us about working with filters in general? Apply any filter effect at the level that you think it should be and then dial it down a notch. Educate yourself about sharpening your images. It's not as simple as you may think and it can make or break an image. Highpass sharpening is your friend. Learn about using sharpening masking in Lightroom, you will be amazed at the details it can bring out. When you’re sharpening don’t forget to zoom in to 100%. Invest 17 bucks in a monthly pass for kelbytraining.org, some of the best information I’ve seen for Lightroom comes from Matt Kloskowski on kelbytraining.

Favorite Photography Tip: Read the manual for your camera even if you have been shooting for years, you will certainly learn something from it. Be an active member of a few of the many, many photography related boards, there is always something new to see and learn and you never know when you will uncover a piece of priceless information or learn the one thing that will tip a gig your way.

Do you still shoot with film? Yes, Kodak Porta-160VC. I offer it as a custom option for portraits. Some clients like the look of film and will pay a premium for it. And I still shoot Polaroid sometimes because it's fun.

Where do you print your work? BayPhoto and MPIX

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Preferred Gear:

Photography: Nikon D70s, D90, D300, Nikon 17-55mm F/2.8, Nikon 11-24mm F4, Nikon 50mm F1.8, Nikon 17-55mm VR, 4 Nikon SB800 flashes, Nikon SU800, 5 Cybersyncs, Mountainsmith Parallax backpack Flashpoint carbon tripod/head, Westcott collapsible umbrellas, Photoflex Transpack, Z Raygun - a Dual Xenon battery powered light by Brinkmann.

Computer: MacBook Pro 6GB RAM, 250GB drive (Travel), Mac Pro dual quad 10GB RAM, 4TB disk (studio) with a Dell 24-inch Ultrasharp monitor, Canon MP950 all in one printer, Epson 4990 Scanner.

To see more of Mike’s work, visit his website.

Anthony Tortoriello is a Chicago commercial photographer who specializes in animal and pet photography, action/motorsports, food and people and anything else that comes his way. His work has been used in numerous publications worldwide. Anthony is an expert in color processing and regularly works as a digital technician for top shooters across the country. He has studied color theory with the best (notably Dan Margulis) and is also a professional retoucher.

Preferred Post-Processing Applications: I’ve dabbled with every photo related software at some point or another but now the vast majority of my time is spent working in Phase One’s Capture One Pro which is a RAW workflow application, Photoshop CS4 (which I live and breathe) and occasionally Lightroom.

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Favorite plug-in filters/scripts/actions/etc:

onOne’s Software Suite: Mainly for Genuine Fractals Pro and Photo Frame Pro which I find useful for certain images and jobs.

Photomatix Pro: For HDR and a handful of complex sharpening and color boost actions that I created and are specific to my style.

What tips can you share with us about working with filters in general? Less is more. Filters are to be used when needed not just because you can. Sure you can play and have fun, but if your job is to get an ordinary image to look like a breathtaking postcard then use filters with caution.

Also, you can use color effects software, noise reduction software, etc., but there is no substitute for knowing how to do this all yourself by having a solid understanding of Photoshop. Photoshop is our digital darkroom period and should not be taken lightly.

I would suggest people use Photoshop as if it is a video game and you are trying to win the game by getting the best possible looking images. Try every possibility like you would in a game, for example you could try running filters in different channels.

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Favorite Photography Tips: I am a firm believer at shooting as much as possible any time I can. This means always having a camera by your side and using it with NO worries about what others may be thinking. To paraphrase something photographer Jay Maisel has said, we have to do our visual push-ups everyday to keep our skills in shape.

Do you still shoot with film? I have not touched my film cameras in years. It just does not make sense on so many levels for me to still be using film.

Any tips on getting prints that match what we see on the screen? Make sure your displays are calibrated correctly with a calibration device such as an i1 Display 2 from X-Rite, which will help ensure that the color and luminosity of what you are seeing is accurate. Familiarize yourself with the proper settings for your software and output device -- for example, if you are printing out of Photoshop make certain you are not double color managing your files -- turn off color manage in the print dialog box. And select the correct paper profile. Obviously there is much more to it than that, but those things are a big step in the right direction.

Where do you print your work? At home I print with an Epson 4880 and an Epson 3880 for my more manageable sized prints. And for the larger prints I work with an amazing printing boutique in Chicago; JS Graphics.

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Preferred Gear:

Photography: Nikon D3x, Nikon D3, and Canon 5D Mark II. Lenses include “fast glass” Nikon 14-24mm f/2.8, 24-70mm f/2.8, 70-200mm f/2.8, 200-400mm f/4, 105mm f/2.8 micro, 16mm f/2.8 fisheye, & 50mm f/1.4G and similar for the Canon. Tony also loves his Canon G10 and G11 professional point and shoot cameras for everyday fun.

Computer: (Studio) Mac Pro 8-Core Two 2.93GHz Quad-Core Intel Xeon "Nehalem" Processors with 16GB 1066MHz DDR3 RAM with 4TB Internal Storage and 20TB external RAID Storage. 30-inch Apple Cinema Display and a 22-inch CRT for proofing. Wacom Intuos4 graphics tablet “I could not work without it.” (Travel) Apple 17-inch MacBook Pro with 8GB of RAM

To see more of Anthony's work, visit his website.

Michele Wortman has been taking pictures professionally for over a decade. Her specialty is “macro photography with a deep emphasis on observing beauty.” Her work also includes shooting studio portraits of her tattoo clients. Her photography has been featured in several publications and in a book, “Moments of Epiphany” by Proton Press.

Preferred Post-Processing Applications: Adobe Photoshop CS3. And I particularly enjoy shooting my portrait work directly into my computer using Aperture and completely bypassing the memory card in the camera by tethering the camera to the computer. You can really see your shot and be able to make adjustments a lot better than the film days.

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Favorite plug-in filters/scripts/actions/etc: I don't use a lot of filters, and all of my favorites are included with Photoshop. I try not to alter the image too far beyond the original shot as I like to preserve the natural magic from the first impression. Typically I adjust the levels first, then I use the selective color menu to create better color balance adjustments. If the image needs some enhanced focus I select the area to sharpen with the lasso on a wide feather and sharpen as needed. I often use the path select tool to create cut outs for my portrait photography. I am a firm believer when it comes to digital manipulation that less is more. A subtle enhancement can make an image look extra dreamy, but take it just a bit too far and the piece will probably look artificial and overworked.

Favorite Photography Tips: Follow your bliss and where the light lands. Shoot what interests you and whatever your passion is. It will show in your work.

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Do you still shoot with film? No, digital photography meets all of my needs plus I never have to deal with the hassle of scanning negatives with dust specs!

Where do you print your work? For portfolio purposes I print on the Epson Stylus Photo r1800. I also sometimes print on high quality transparency film which I backlight when I’m exhibiting my work.

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Preferred Gear:

Photography: Canon EOS 5D with Canon EF 24-70MM, Canon MP-E 65MM, Canon EF 100 MM lenses. Lights: Calumet travelite 750 set, Nova 32 softbox, Canon 540 EZ Speedlite

Computer: MacBook Pro with 2.5GHz Core 2 Duo and 4GB RAM and an iMac with Intel Core Duo 2GHz and 2GB RAM. MyBook Essential edition 1TB external drive and a Burly 4 Bay Firewire Enclosure with four Seagate 7200.10 500GB drives.

To see more of Michele’s work, visit her website.

Canon Digital Rebel T1i vs. Nikon D5000

Zack Stern — Wed, 16 Sep 2009 12:40:26 -0500

Coke versus Pepsi. Mac versus PC. Canon versus Nikon. Among these great rivalries, we can only pick out one clear winner. (Here’s a hint: It’s not the colored sugar water.) In the latest Canon-versus-Nikon entry-level digital SLR (single-lens reflex) battle, both cameras score hits against the other.

It's the DSLR version of Mac vs. PC--except without as obvious a winner.

But in the end, they’re much more similar than different. If you already use a film camera from either camera maker--and own a few lenses--don’t bother switching sides. If you’re not already invested in hardware that only works with one of them, your decision is much more nuanced. After much debate, we give a tiny edge to the Nikon D5000 for its impressive high-ISO performance. But you could just as easily fall in love with the Canon Rebel T1i for its slightly brighter, clearer LCD.

Canon Digital Rebel T1i

The T1i is light in your palm, weighing about 1.5 pounds with the bundled lens. We felt comfortable slinging it around and shooting with just one hand in one of the auto modes. Like the D5000, the T1i uses a single LCD screen to show your exposure data. (Most midrange and high-end DSLRs include a top-mounted screen too.) But the clear markings give enough details for manual photos, and you can also see the most important information inside the viewfinder.

The T1i LCD edges out the D5000 in a direct comparison. Canon’s slightly larger screen sports a higher resolution and looks great when reviewing recent images. It also looks a little better outdoors, but just as the D5000’s, this screen washes out in bright sun. When you sight through the eyepiece, the screen automatically turns off, which is a major benefit at night.

Images look good overall, although the T1i has a few weaknesses. We shot clean colors in many different lighting conditions, but the auto settings look more muted than higher-priced cameras. While bright daylight can wash out the hues, and night images without a flash run too warm, they are common problems that can be combated with manual controls. Earmark a lot of storage space for best results: The T1i’s 15.1-megapixel RAW photos can run 20MB each.

Mid- and high-ISO night photos mark the T1i’s biggest weakness. Images show moderate noise--random, colored pixels in dark areas—at about 400 ISO. Significant noise enters past 800 ISO, a setting you’d try to use to compensate for minimal lighting.

Nikon D5000

The D5000 is roughly the same shape and weight as the T1i. Nikon’s camera felt just as comfortable to shoot with, and its versatile LCD helps you shoot in awkward positions.

Like the T1i, the D5000 includes a live-view shooting mode, so instead of looking through the eyepiece, the preview image gets diverted to the LCD just like a point-and-shoot camera. But since the D5000 LCD swivels and turns, you can hold the camera high above your head, around a corner, or at ground level and still get a clear view of the screen. The 2.7-inch screen unfortunately stays lit when you compose shots through the eyepiece. But you can rotate it against the body, giving up exposure details for just the viewfinder information.

We thought that colors in photos shot with the D5000 popped a little more than those shot with the T1i, although the 12.3-megapixel D5000 scored only a subtle edge. And like the T1i, fine details looked excellent, such as the furry texture on a flower’s leaf.

In low light, the D5000’s clearer high-ISO modes perform better. We cranked the setting up to 2500 ISO before the noise seemed too distracting, but you could go even higher in a pinch. Images brightened up in this mode, helping us shoot in certain night conditions--indoors or with a streetlight--with no flash.

Tough Call

The similarities between these SD-card DSLRs outnumber most of the differences. Both shutter speeds range from 1/4,000th second to bulb mode (where you hold the shutter open as long as you choose). Both start up and continuously shoot images with almost no delay. Both have competent stabilizers built in to the bundled 18-55mm lenses, netting shake-free photos as slow as about 0.4 second. And both shoot weak high-definition video, blurring moving subjects or camera pans into useless footage. (If your subjects and framing stay mostly static, video can look great, however.) Other than that video complaint, they’re both winning cameras.

Mac OS X v10.6 Snow Leopard Troubleshooting Roundup Two

David W. Martin — Mon, 14 Sep 2009 19:37:31 -0500

Apple's Mac OS X v10.6 was released two weeks ago and for most of us the transition from Leopard to Snow Leopard went by without incident. However, we've spent part of the last few weeks scouring Apple's discussion boards and support site for solutions to problems people have been reporting with the upgrade.

Mac OS X Snow Leopard v10.6.1 Security Content

The first update to Snow Leopard, according to Apple, only contains one security update. That update is an upgrade to Flash Player plug-in for Safari. The upgrade brings the plug-in to version 10.0.32.18. You can find more information about the plug-in at Adobe.com.

Mac OS X Snow Leopard v10.6.1 Update

This update released last week and Mac|Life covered it here.

Problems with MAMP and MAMP PRO

Mac|Life recently published a how to for this incredible tool that you can use to design and code web applications that rely on a webserver running Apache, MySQL and PHP on your Mac. Problems with the older versions prompted the developer to release version 1.8.2 of MAMP and MAMP Pro that is compatible with Snow Leopard. You can download the update from the vendors website.

Installing Snow Leopard and finding 'System Events.app'

When we installed Snow Leopard Mac OS X v10.6 over v10.5, and then after restarting the last time, a window came up right after logging asking for us to locate 'System Events.app. '

We called AppleCare and asked about this issue and their advice was just to hit Cancel on the prompt. We did this and on subsequent reboots the message never reappeared. It was theorized that this belonged to some app that have been previously installed, but could not be identified. The file is part of Mac OS X and it is located at: System/Library/CoreService/System Events.app and appears in some user accounts in Account preferences under Login Items.

MacBook Pro Display Gamma Fix

We found a problem with how colors display on the latest 13-inch MacBook Pro models. The problem, with a suggested work around, can be found on Apple's discussion board. Expect a fix for this in a future OS update where appears to be an accidental omission of settings for a particular display panel used in 13-inch MacBook Pros.

Where are my ODBC and Server Admin Tools?

Snow Leopard does not include the ODBC utility as part of its installation so you must download and install it yourself now. In addition to that if you had the Leopard Server tools installed previously, their updates don't appear in Software Update. You must download and install them yourself if you still need them.

SuperDrive Update 2.1 Unexpectedly Quits

Apple has released a support document on what to do when running the SuperDrive 2.1 update that can affect your computer after it updates and then restarts. The fix prevents the Update from reloading and then crashing on subsequent restarts.

VoiceOver Command Changes for Snow Leopard

Apple has published a support document that details the differences in VoiceOver keyboard commands between Mac OS X v10.5 and Mac OS X v10.6 Snow Leopard. OS X v10.6 includes new keyboard commands and support for standard gestures on Macs with a multi-touch trackpad. If you've used this feature previously you might find yourself having problems since two VoiceOver keyboard commands are completely different in Mac OS X v10.6.

MobileMe Sync Log Changed

If you are trying to troubleshoot MobileMe in Mac OS X Snow Leopard the filename has changed from "dotmacsync.log" to "mobilemesync.log" and it is now located in ~/Library/Logs/Sync ("~" equals your Home folder). This Apple support document gives you all the details including the steps needed to view the log inside of the Console application.

Apple Releases HP and Canon Printer Drivers

If anything Apple's Snow Leopard fails pretty badly out of the box for printer support. While it was a good idea not to load all those drivers by default, to save disk space, it turned out to not be such a hot idea. In some cases the system wasn't going out automatically to Internet or the Snow Leopard Install disk and getting the drivers when they were needed. Some of these problems were addressed in the v10.6.1 update and others were not. Now Apple has posted downloads for Hewitt-Packard (HP) and Canon printers.

Canon EOS 5D Mark II

Russ Juskalian — Fri, 03 Jul 2009 03:31:00 -0500

When Canon announced the 5D back in 2005, it was a game-changer. The camera was the first full-frame DSLR--meaning that its CMOS sensor is the same size as a frame of 35mm film, about 60 percent larger than the sensors in most DSLRs--in a standard sized SLR body, all for just a bit more than $3,000. Three years later, its successor, the 5D Mark II, pushes the image-quality bar higher and the cost of entry lower. But 2009 offers a more crowded field of competitors, and this camera comes with a few things--like full 1080p HD video--that puts it in a category all its own.

The second generation of Canon's 5D offers awesome stills and full 1080p video.

The price has come down, but at $2,699, the new 5D is certainly no entry-level camera. The price does buy quality, however. It’s chunky and well built, has monster resolution, and can produce images that rival anything you’re likely to achieve with a high-end consumer or pro camera.

It’s astounding that the Mark II, at 21.1 megapixels, offers nearly twice the number of pixels as its progenitor without incurring any negative consequences with respect to image quality. In fact, low-light images are actually cleaner--and the ISO range of the camera is as good as it gets--from 100 to 6400 standard, and it can be pushed all the way to 50 on the low end and up to 25600 on the high end.

Throw in automatic dust reduction, live view with contrast detect autofocus, a killer 3-inch LCD, advanced battery management that tracks shooting history and battery stats for up to six batteries, a micro adjust feature to perfectly calibrate the autofocus for each lens in your collection--and there’s enough here to get excited about, if you’re in the market for a high-end piece of photographic equipment.

But let’s be honest. What makes the new Mark II not just an awesome upgrade, but killer device, is what it can do with video: beautiful, crisp, 1080p HD video that easily rivals pro-level cameras.

Forget the stuff you get out of high-end HD digital video camcorders with three chips--this is something altogether different. Because of the huge size of the CMOS sensor in the Mark II, the camera is able to shoot video that looks like what you see in blockbuster films at the theater: totally isolated subjects with razor-thin depth of field (the so called “film look,” where one part of the frame is in focus and the rest is a buttery smooth blur), incredible low-light sequences, and the sharpest, cleanest colors this side of a Hollywood studio. Even the mighty Red One video camera doesn’t have a sensor as large as the one in the Canon.

But as with all good things, there are limitations, and the Mark II has enough video limitations that the world’s filmmakers probably won’t ditch their current rigs. For instance, the longest you can record at full HD is 12 minutes (around 4GB worth of video). It’s not the end of the world--how many films have any single shot that runs longer than a couple minutes? So although it’s not a deal-breaker, it is an inconvenience.

Worse, in video mode, one is left with little in the way of manual controls for things like exposure, aperture, and ISO. A workaround for these issues is to use the video mode with older manual focus, manual aperture lenses that are adapted to work with the camera. But this is a whole separate project.