Rocky Nook, based in Santa Barbara, Calif., recently has released three handsome new how-to works focused on digital photography and image processing.
Every chapter has been significantly updated in this new edition showing how to use high dynamic range imaging (HDRI) “to digitally capture, store, and edit the full luminosity range of a scene.”
Author Christian Bloch notes: “We’re talking about all visible light there, from direct sunlight down to the finest shadow detail.” Using HDRI, “[t]he old problem of over- and underexposure—which is never fully solved in analog photography—is elegantly bypassed.”
This is not a quick guide. Its 659 pages (in print format) cover everything from “the ideas and concepts behind HDR imaging” to tone mapping (“where you learn to create superior prints from HDR images”) to using HDR images in 3D rendering.
If you are ready to learn how to use HDRI in photographs or computer graphics projects, definitely get this well-written book. It is packed with tips, tricks, step-by-step tutorials, stunning images, and other useful information. Even if you already have some experience with HDRI, you can learn new things and improve current skills using this updated guide.
In famed photographer Ansel Adams’s Zone System for film cameras (which many people still use), the mantra is: “Expose for the shadows; develop for the highlights.” The goal is to capture more details in the shadow areas without losing too many details in the highlight areas.
Of course, much of the artistry of Ansel Adams resided also in his ability to convert his low-contrast negatives into stunning prints using photographic chemicals in “wet” labs.
The Digital Zone System is a methodology for using Photoshop, Lightroom and other digital photography tools to echo the spirit and goals of Adams’s Zone System (which he used primarily with large-format, black-and-white film).
Much of this book’s focus is on showing how to gain greater control over digital images by isolating and adjusting colors and luminance values within specific areas.
One of the important goals of teaching the Digital Zone System is to help speed up workflow and reduce the tedium caused by using traditional methods (such as layer masks) in Photoshop. Zone masks, Fisher notes, are “self-feathering,” so they can give you “smooth transitions and maintain smooth tonal gradations or transitions in your images.”
While color photography is emphasized, the author also shows how to convert digital color images to black-and-white images and apply the Digital Zone System to enhance tonal separations, sharpness, and other aspects.
“Wet lab” film purists no doubt will disagree. But the Digital Zone System described in Robert Fisher’s book can help open the way to creating and producing stunning photographs in color and black-and-white.
James “Jim” Johnson’s new book is a solid, well-written how-to guide to using “the latest in the famed series of Canon EOS 5D full-frame DSLR cameras.” The book , Johnson states, is aimed squarely at “photographers who are comfortable with basic photography, but who need an understanding of the myriad features, functions, options, and settings available with the EOS 5D Mk III camera.”
The 5D Mark III, photographer Juergen Gulbins writes in the book’s Foreword, “may be used for portrait, landscape, and sports as well as for studio work.” And it offers “dramatic” improvements over the Canon EOS 5D Mark II, he adds.
The 22.3 MP resolution is “sufficient for all kinds of photography,” and it allows for print sizes well beyond 17 inches by 24 inches–“if you have a sharp, well-focused image,” Gulbins emphasizes.
James Johnson’s nicely illustrated text starts with what you’ll get in a Canon EOS 5D Mark III package. Then it moves to showing and explaining the purpose and operation of each of the camera’s buttons, connectors, switches and dials. After that, you get some pointers on digital photography, including focus and exposure, while also learning to use the camera’s rich range of menus. And the camera’s video-shooting capabilities and its in-camera photo processing features are explained, as well.
For example, in the section on Live View, the author hails it as “probably the most straightforward implementation of shooting with the LCD monitor that I’ve come across.” But he also cautions: “The LCD monitor uses a great deal of battery power, so when in Live View, you will want to watch the remaining charge level a bit more closely than usual.”
With this excellent guidebook in hand, you can toss aside the camera’s problematic instruction manual and get some real-world explanations from an experienced photographer who also happens to be an experienced technical writer.
— Si Dunn