Photo Club

As with a lot of books, Take Your Best Shot is one that has been years in the making. While working with the nature photographer George Lepp, Tim Grey started a quarterly newsletter called "Digital Darkroom Quarterly." Over time he kept getting questions via email asking questions on digital photography, and many times these questions were the same or similar questions. So instead of just responding to these questions, in 2001, he started the Digital Darkroom Questions (DDQ) email newsletter. To this day, these questions still go strong. Tim Grey's latest book, Take Your Best Shot, was developed from these questions. The book is 252 pages in length and is divided into 10 chapters.

Chapter 1, "Digital Fundamentals," begins with question topics that will help give you a strong foundation in digital photography and help shorten your learning curve. The goal here is that even if you have the basics down, by reviewing some of these topics you will even pick up a point or two. Topics covered here include the debate between film and digital, dynamic range, ISO, resolution, RAW capture, and lens problems such as chromatic aberration.

Chapter 2, "Digital Cameras and Tools," examines the wild and wonderful world of ever expanding digital technology. In the days of film cameras, things did not change that frequently, but with the advent of digital, things don't stay the same for very long. Now you have many choices that constantly change. Here you will learn about the differences in camera choices, cleaning sensors, memory cards, lenses, and even about some specialty accessories like Lensbabies lenses.

Chapter 3, "Digital Capture," is really a new technology in the grand order of things, and so we are all still trying to define the rules. While there are a lot of similarities between this technology and film, there are also a lot of differences. This can lead to frustration. In this chapter the author attempts to remove those frustrations by examining some of these new rules. This includes comparing RAW to JPG, why to shoot RAW, setting color temperature, when to change ISO, what color space should you use on your DSLR, and how to interpret the histogram on your image.

Chapter 4, "Digital Darkroom," is a place that you will likely spend a lot of time if you are serious about digital photography. The digital darkroom needs equipment much like the traditional darkroom, but it is dry and performed in open spaces (and it does not have that chemical smell). To build a system, there are also a lot of questions to be answered such as Windows vs. Mac, storage and backup, do you need Photoshop? Do you need Lightroom? As well as many more topics examined. Here you will get a good feel for what you might need.

Chapter 5, "Color Management," examines why there are two kinds of photographers with regard to color management; those who are frustrated with it, and those who ignore it. Topics here try to look at how to manage color. Questions answered here are about profiling camera, calibrating monitors, color spaces, how to use print preview in Photoshop, as well as color management in Photoshop.

Chapter 6, "Optimizing in Photoshop," will help you overcome the learning curve that one generally finds when learning Photoshop. In this chapter the author examines many of the common questions that people have when working with Photoshop. These include working with RAW files, Curves and Levels, Cloning and Healing, Adjustment Layers, Selections, and working with Gradient Effects on an Adjusted area.

TrustedReviews have reviewed the GE E840s, a slim 8 megapixel camera with 4x optical zoom and 2.7 inch LCD.

“Perhaps the most surprising thing about the E840s is the image quality, which is much better than I had anticipated. It’s not really in the same league as some of the other compacts we’ve looked at lately, but then it costs half as much, and for a cheap camera it is really quite good. The lens produces some barrel distortion at wide-angle, but no worse than the ВЈ220 Nikon S600 I reviewed earlier this week, and while the overall image lacks a certain sharpness it is at least consistent from corner to corner. There is a little chromatic aberration towards the edges of the frame, but not enough to cause a problem in most circumstances.”

Website: TrustedReviews – GE E840s Review

The 24-70mm f/2.8 full-frame zoom is becoming the general-purpose standard for news, wedding, portrait, landscape, and event pros. (Everyone, in other words, except sports and close-up photographers.) Canon, Nikon, and Sigma all offer superb examples. Sony’s outstanding new entry ($1,750, street) isn’t based on any earlier Sony, Zeiss, or Konica Minolta designs, but — as the blue logo indicates — was codeveloped with Zeiss, and it paves the way for Sony’s soon-to-be-unveiled 24MP pro flagship DSLR. This lens was introduced along with an equally beefy 70-200mm f/2.8, now the fastest zooms in the Sony catalog. Both have the near-silent Super Sonic wave focusing Motor (SSM), and aspheric and ED glass elements for better control of linear distortion and chromatic aberration, respectively. A 36-105mm equivalent on Sony’s APS-C sensor cameras — such as the Alpha 350 tested in the May 2008 issue — the 24-70mm benefits, as does the 70-200mm, from Zeiss’ T* coating for suppressing reflections and flare from internal and external sources.

HANDS ON

Mostly metal construction (except for the felt-flocked, polycarb lenshood and outer barrel) and that bright f/2.8 maximum aperture make for a large, heavy lens that weighs almost 10 ounces more than the comparable Sigma. Its handsome, matte-black finish and finely ribbed focus and zoom rings are signature Zeiss.

DP Review has posted their review of the Canon SD870 IS and writes – ‘Like other cameras in this range what makes the SD870 IS so appealing – aside from the high quality design and construction – is the ‘point and shoot’ reliability, which produces good, sharp, well exposed results in a wide range of shooting conditions, something you simply can’t say about a lot of competitors. We were also very impressed with the lens; a wide lens usually results in a compromise between the really useful ability to ‘zoom out’ and a degree of chromatic aberration and corner softness that can dent image quality. Our tests and experiences of real-world shooting show very little evidence of these expected shortcomings, helping the 870 IS stand out from competing wideangle ultra compact cameras.’

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