DxOMark

A comprehensive list of general camera ratings from DxOMark. The Overall Sensor Score is based on all characteristics of a camera sensor, independent of the camera lens, and for a general purpose use case. The Use Case Scores take into account the sensor performance for three typical photographic use cases: the Portrait Score, based on Color Depth; the Landscape Score, based on Dynamic Range; and the Sports Score, based on Low-Light ISO. This very helpful list is also set up so you can compare cameras and lenses.

Aperture 3.0 Versus Lightroom 2.0 / 3.0

Now that Apple has come out with a 3.0 version of Aperture, the competition between Adobe Lightroom and Aperture is heating up. From my perspective, there really hasn't been any competition until now.  I bought Aperture the moment it was announced, weeks before it was released, before I had heard anything about Lightroom. My early experience with Aperture was horrendous, as were many other users. The program was slow, buggy, and poorly supported. There was, in fact, a mini rebellion among many first adopters about all kinds of issues, including how much the program cost. When Lightroom came out -- and came out as a FREE (did I say FREE) demo -- many frustrated Aperture users, me included, took it for a test spin, migrated, and never looked back.

Until now.

While I haven't taken Aperture 3.0 for a spin yet, I plan to. In fact, while I haven't touched Aperture since version 1.0, I plan to upgrade to 3.0. That's because I want to use Aperture's wedding album / book making functions, which is sadly lacking in Lightroom. And while I'm at it, I also plan to try out some of the new features that people like Chase Jarvis and Joe McNally have been raving about. In advance of purchasing the $99.00 upgrade, I've spent some time watching the tutorials Apple has posted, which are great!

So what, exactly, are the pros and cons? How do these two titans compare to one another? Here's where you can find a few great reviews and feature-by-feature comparisons. The first piece, by Matt Kloskowski, is the best because it includes many real-world comparisons from people who have actually used both programs.

5 Reasons To Stay With Lightroom (And Not Switch To Aperture)
By Matt Kloskowski

Five Reasons For Switching From Lightroom 2 To Aperture 3
By Marco Davi

First Impressions Of Aperture 3
By Thomas Fitzgerald

Apple Aperture 3.0 Awesomeness
By Chase Jarvis

Aperture 3 Was My Idea
By Joe McNally

Apple's Aperture 3 Causing Significant Memory Leak For Many Users
By Seth Weintraub

Kelby TV

Your one-stop source to learn everything about Photoshop, Lightroom, Nikon, and photography in general, including an endless stream of easy to understand tips from pros who know what they are talking about. Go here to pick from hundreds of fast-paced, informative, user-friendly programs.

Viva Viveza!

I first heard about Nik Software's U-Point technology when they worked with Nikon to develop Capture NX. I was so impressed with what this technology could do, that I bought Capture NX when it first came out -- and then, because of a clunky interface and buggy program, abandoned it. My interest was recently reawakened when Scott Kelby and Matt Kloskowski began showcasing Nikon's Capture NX 2 software on their new D-Town program. I upgraded, but was again unhappy with the clunky interface and also didn't relish the idea of using (and learning) another software program to edit images in. Wasn't there a way to incorporate U-Point technology into Photoshop or Lightroom, which are the two main editing programs I use?

Turns out there is! The Nik software folks have come out with a program called "Viveza" which provides a U-Point plugin for Photoshop, Lightroom, and Aperture. Although pricey ($249.00), I think it is worth it. I bought the software and now have it working in both Lightroom and Photoshop -- and love what it can do!

Here's how Nik Software describes Viveza:

"Two of the most important factors in creating great photography are color and light. Mastering the art of selectively correcting or enhancing each of these is now possible for every photographer without the need for complicated masks or selections, or expert-level knowledge of Photoshop. Integrating award-winning U Point technology, Viveza is the most powerful and precise tool available to control light and color in photographic images.

"U Point powered Color Control Points, placed directly on colors or objects in an image (such as sky, skin, grass, etc.), reveal easy-to-use controls that photographers can use to quickly adjust brightness, contrast or color in a fraction of the time needed by other tools. With Viveza you’ll spend more time shooting photographs and save hours of image editing."

Here's where you can read more about it, watch tutorials, and download a 15-day fully functioning demo.

And, finally, here's a coupon code that will shave some buckeroos off that hefty $249.00 price tag: NIKPSS.

Nikon D90 Vs. Nikon D300

Source: QQQQcon YouTube Website
Additional Information: Ken Rockwell On D90

Nikon's New D90

Nikon's D90 Web Page

DPReview On D90

Ken Rockwell On D90

Scott Kelby On Nikon D700

Excerpt:

Things I Really Liked:

* Besides the really obvious stuff (like High ISO and Full Frame, and the inclusion of a pop-up flash for triggering wireless flash), I really like how you access the memory cards -- there’s no annoying memory card door button to push first -- it’s just a simple slide of a panel (more like you have on some Canon models)...

* I like that you can use the same batteries as the D300...


What I Didn’t Like:

* I could only come up with one thing that I didn’t like about the D700, but to me, it’s pretty significant. I don’t like the feel of the shutter. To me, it feels soft and kind of mushy (compared to either the D3 or the D300)...

* There is one more issue, but it’s not a D700 issue; it’s a full-frame issue. The problem with the D700 is the same problem as with the D3; to really experience the full frame sensor advantage, you really have to have lenses that were made to take advantage of the full-frame sensor. If not, and you put DX format lenses on the D700, you get a 1.5x cropped image that’s only around 5 megapixels. If you have a lens like Nikon’s 70-200mm f/2.8 VR lens, then you’re in luck -- it works great with full frame, and doesn’t do the “DX Crop” thing. However, if you have the popular 18-200mm f/3.5 - f/5.6 VR lens, then your image will be cropped down to 5-megapixels. Hey, better you hear it from me, than learn it the hard way. I guess what I’m trying to tell you is this; you’re probably going to need more than just the D700 body. You’re probably going to need to buy a lens (or two) to make it worth your investment. If you shoot portraits, the incredibly crisp new 24-70 f/2.8 FX lens runs around $1,700. If you shoot landscapes, Nikon’s fabulous 14-24mm f/2.8 FX lens costs around $1,550. In short; you’re going to need the money you save from not buying a D3.

The Bottomline:

The D700 just takes a better looking photograph than the D300... The new sensor, the autofocus, the low noise -- it all adds up to photos that just beat the D300...

Then, who should buy a D700? It’s for anyone who wants to shoot handheld in low light (at higher ISOs than you would ever consider with a D300, like 6400 ISO). It’s for anyone who really wants the advantage of shooting with a 35mm-sized full-frame sensor, and it’s for anyone who just wants better looking images than they’re getting now with a D300 or lower...

Read Scott's complete review here.

Moose Peterson: Nikon D3 Versus D700

Moose Peterson Writes:

"The D3 or the D700? Since both use the same sensor (as in exactly the same), it is a very good question.

"...the D700 isn’t really that much smaller than the D3. Attach the MB-D10, it’s the same height. The D3 weighs in at 3.16lbs and the D700 at 2.62lbs (battery included). So just going by size and weight, not a huge difference. The fps of the D3 is 8, the D700 is 5 and goes to 7-8 with the addition of the MB-D10 (depending on battery) so there is a little difference there. Stock D3 & D700 have the same buffer size but now with the buffer upgrade, the D3 doubles that of the D700 (and adding $500 to the cost). So looking at just the specs it’s real easy to see why folks are wondering which way to turn.

"That’s until you look at the price. Yeah, the D700 saves you bucks and in this day, that is an important factor. Do you loose something by spending less? You do lose the dual CF slot, you do loose the faster fps going with the D700 but you gain the sensor vibration which so many seem hooked on. You can read the Nikon DSLR comparison brochure or the D700 IB which might help with your decision making.

"My answer for most folks is, go with the D700 as dual CF and fps isn't mission critical for most photographers..."

Read complete article.

Hands-On Review: Nikon SB-900 Speedlight

Stroblist review on Nikon's new SB-900 Speedlight versus the SB-800. Read it here.

Mini Multi-Battery Tester

Product Description: The ZTS Mini Multi-Battery Tester (Mini-MBT) provides a comprehensive means of testing more than 15 battery types. The Mini-MBT's microprocessor-based design makes battery testing simple -- using a patented, high accuracy pulse load test. After a fully automatic test cycle, percentage of remaining battery capacity is indicated on the LED bar display. Battery types are clearly labeled next to appropriate contacts. There are no settings, and test results are easy to understand. Its small size makes it ideal for the gadget bag, toolbox, or home utility drawer. Negative test lead/probe conveniently stores in seam at side. Tests 1.5v alkaline (AA, AAA, C, D, N), 1.2v NiMH/NiCd, 3v photo lithium, and 9v alkaline. Uses 4 AAA batteries (not included). Advantage of Pulse Load Technology. Battery performance is very important in today's electronic devices. The Mini-MBT computes the battery's actual remaining power capacity using a 2-second pulse load test. This pulse load simulates the real power demand that batteries experience in a high drain electronic device. So battery performance is measured, not just voltage. The load is automatically disconnected, so testing will not harm or drain the battery.

Read Ken Rockwell's Review (includes links to Adorama and Amazon for purchasing full-size and mini versions)

Best Camera Bags

Digital Photography School members were asked to give recommendations for which camera bags they liked best. The response generated 200 responses. 70 or so bags were mentioned by name. Click here to see the list of recommended camera bags.

DPReview: Nikon D300

Excerpt:

"The D200 was a big step forward for Nikon, the 'baby D2X' certainly gave the competition a thing or two to think about. Its big problem was the fact that Canon was still a generation ahead in the noise stakes, managing to consistently deliver clean images despite megapixel jumps. With the advent of the D300 however Nikon has conclusively removed this disparity and if anything stepped ahead of Canon (mostly thanks to its chroma based noise reduction delivering more film-like grain rather than color blotches).

"But that's just one aspect of the D300 story, almost everything else about this camera has been improved. Starting on the outside there's that stunning high resolution three inch LCD monitor, the usefulness of which shouldn't be underestimated (you'll find you get enough detail without magnifying as far), there's perhaps the best implementation of Live View to date with both contrast detect (like a compact camera, although not particularly fast) and passive auto-focus options, and there's HDMI output; a boon no doubt to studio photographers who can now provide live high resolution previews of a shot. And of course we can't talk about the D300 without giving Nikon credit for the superb build quality and robust 'go anywhere' feel the body has.

"On the inside Nikon has worked hard to deliver both better image quality and better performance; you get usable images up to ISO 3200, extended image parameter control, improved dynamic range, automatic CA removal (which immediately improves the performance of all your lenses), six frames per second continuous shooting (eight with the grip / battery combo), a new AF sensor, AF tracking by color and scene recognition. There are also an almost infinite range of customization options available, everything from how many AF areas are used to the size of the center-weighted metering circle to what happens when you hold the FUNC button and turn the command dial.

"My biggest problem writing this conclusion has been picking out the D300's weak points. The usefulness of Live View would certainly be improved with an articulating LCD monitor (although I'm sure Nikon would argue that this could compromise the integrity of the body), auto white-balance is poor in artificial light (although this isn't anything unique to the D300) and there's still no true mirror lock-up feature. But really, these few niggles are really the only things we could pick out as criticism.

"There is price, but sometimes the best products demand a premium and the D300 is no exception. Nikon's biggest problem now will be bettering the D300; it raises the bar to a new high, and represents the state of the art despite strong competition from the likes of Canon, Sony and Olympus. There's simply no better semi-professional digital SLR on the market."

Read complete review.

DPReview Announces Lens Reviews

"Dpreview is pleased to announce the launch of a new section dedicated to testing and reviewing digital SLR lenses. Designed to offer the same class-leading testing standards as its legendary camera reviews, dpreview’s new lens reviews are the result of months of intense research, development and testing, including the development of new test charts and proprietary analysis software designed to overcome the limitations of existing systems."

Michael Reichmann On Nikon Versus Canon

Michael Reichmann, of The Luminous Landscape, just posted an informative comparison between Nikon and Canon, with a special focus on how Nikon's new D3 and D300 cameras stand up against Canon cameras. Here are a few excerpts.

EXCERPTS:

"In this essay I look at the new Nikon D3 and D300 though the eyes (mine) of someone who has been shooting with Canon cameras for the past 8 years. Prior to 1999 I used Nikons, shoot film, and used them to make a living in photography for some 30 years. I also used (and still do) Hasselblads and Leicas, and as a magazine reviewer have probably tested and shot with almost every major camera system available since the mid-1960's. But for several decades prior to the advent of digital, Nikons were my 35mm tool of choice.

"In about 1998 I switched to Canon. The reasons were because Canon had fast USM autofocus, a line of Tilt / Shift and long Image Stabilized lenses that Nikon did not, and I found that these were all to my needs and liking. I also felt that I wanted a change, maybe even just for the sake of it, to learn and become familiar with something new and different. This type of change can often be creatively stimulating.

"As the new decade progressed and digital became dominant I never regretted my move to Canon. Though Nikon was first with an affordable pro DSLR, the D1, Canon quickly responded with the D30, 1D and their successors. Canon was then the first with a full-frame DSLR (1Ds) , and this plus the company's extremely clean and low noise proprietary CMOS sensors meant that there was little pull on me to return to the Nikon brand.

"But then in mid-2007 Nikon announced the D300 and D3, and just prior to the end of the year started to ship both. Even a cursory look at the features of these two cameras showed that Nikon was back in the game. This caught my attention, and for the first time in nearly a decade I decided to see what Nikon was offering. I also decided that the only way to do justice to the brand was to actually go out and put together a complete system and to start using it in the field.

"No -- this doesn't mean that I am switching from Canon to Nikon. But it does recognize that with more than 1 million readers a month from around the world I have a lot of people visiting the site who are interested in both camera platforms. It makes sense therefore for me to become conversant with both systems and to cover them equally from now on. So -- during November and December 2007 I purchased an almost complete Nikon system. It consists of Nikon D3 and D300 bodies, and a selection of lenses..."

............

"Not to put too fine a point on it, but after being away from Nikon for the better part of a decade and having been immersed in the Canon gestalt since then, I was frankly surprised at the extent to which current Nikon cameras offer feature and function advantages over Canon. While some of the ones mentioned above may not be relevant to any one photographer's needs, there are bound to be several which can be real productivity aids, if not just downright fun to have and use.

"As a journalist I really don't care which camera system is better than the other. I have no loyalty to either brand, or any brand for that matter. All I care about is features, functionality and performance...

"We now have a bit of a sea change happening. Nikon has flexed its considerable muscle and with the D3 produced a camera that sends a clear challenge to Canon's nearly decade-long dominance of the digital arena. The D300, though in many ways simply a logical progression from the D200, is a much better camera than its predecessor, and along with its superior sensor offers the pro and advanced amateur a set of features and functionality that is unmatched at the moment in Canon's line up.

"For its part the full-frame Nikon D3 is a direct challenge to Canon's 1 Series, which has dominated the pro marketplace now for more than half a decade. The 1D MKIII is right in the D3's bore sight, and the D3 matches it or surpasses it in IQ, sensitivity, and resolution..."

Read Complete Article.

Popular Photography: D300 Camera Of The Year

Popular Photography crowns Nikon's D300 the 2007 Camera of the Year.

>> watch larger clip on Popular Photography's website <<

Excerpts from Popular Photography's D300 article:

"Nikon could have played it safe. By just tweaking its highly rated D200, the company could have come out with a camera priced closer to Canon's new 10.1MP EOS 40D ($1,300, street, body only). Instead, the engineers went wild, revamping everything from the viewfinder to the sensor, adding live view, and taking such pro-level features as the 51-zone AF system from the new Nikon D3 ($5,000, body only). The result: the new 12.3MP D300 ($1,800, body only). Now, after our Lab and field tests, it's clear that Nikon made the right decision. We're so convinced of it that the editors of Pop Photo named the D300 The Camera of the Year 2007..."

...

"From the outside, the D300 looks a lot like the D200. But what's on the inside pushed the D300 to new performance records in the Pop Photo Lab:

"• It's the first DSLR to earn an Excellent image quality rating from ISO 200 all the way up to ISO 3200.

"• It sports the fastest (and most sophisticated) AF we've tested so far.

"A major factor in the D300's stellar image quality is the new Sony-made 12.3MP (effective) CMOS sensor that captures RAW data with up to 14 bits of color per red, green, and blue channels. Most other DSLRs in this class only provide 12 bits per channel. This gives the D300 an advantage in reproducing fine color gradations, shadow details, and wider dynamic range. But it also increases the file size of images recorded in the 14-bit mode (selectable over normal 12-bit RAW)."

...

"The only reason the D300 didn't earn an Excellent image quality rating at ISO 6400 was the higher noise levels in shadows."

...

"NX now ships with Nikon's D300 and D3, allowing advanced exposure, white balance, and lens-distortion correction, D-lighting and sharpening tools, and the powerful U-Point technology (with an assortment of filters) inherited from Nik Software, Inc."

...

"If you're a sports photographer and photojournalist, then you might want to stick with the amazing low-light image quality and burst capacity of Fine-quality JPEGs, and leave RAW (or RAW + JPEG) to those who can accept the hit to burst capacity and have time to process the files later. After all, the D300 captures up to 100 Fine-quality JPEGs at 6 frames per second..."

...

"The EXPEED image processor also cuts startup time (Nikon claims 0.13 sec), enables true HDTV video output (via an HDMI connector), and serves up dynamic-range enhancements in the Active D-Lighting controls. When turned on, Active D-Lighting manages high-contrast scenes by preventing blown-out highlights without blocking up shadow details, much like Sony's Dynamic Range Enhancement. For NEF RAW files, Capture NX software must be used to apply D-lighting adjustments."

Read the complete review here.

Ken Rockwell On Nikon D300

Excerpted From Ken Rockwell's D300 Page:

"Holy cow, without even trying my D300 is cranking out killer colors I never could get with any other camera, digital or film. Along with the psycho colors, the dynamic-range controlling firmware (cryptically called 'Active D-Lighting' by Nikon) really works and is giving me better highlights than I've ever seen with digital capture. My D300 is making better images than any of my other cameras, which is a "first for me to say that since my color reference, at least up until yesterday, was Fuji Velvia 50. I think I prefer my D300."

............

"my D300 has surprised me by being the first digital camera that actually makes visibly better photos than my other Nikon cameras! it does this on both artistic and technical levels. My D300 delivers clearly superior images directly from the camera as JPGs. I never shoot raw since I shoot too much to manage it in NEF.

"As every artist knows, the most important technical aspects of any image (besides lighting and composition) are tone (light and dark) and color. The D300 clearly can have bolder color than any previous Nikon, and also has some fancy tricks that really work to render light and dark as I want them."

...........

"I'm renaming Nikon's magnificent but stupidly-named 'Active D-Lighting' (ADL) as 'Automatic Dynamic Range Accommodation' (ADRA). That's what it does: it applies the zone system and alters exposure as well as development for each shot in order to accommodate the scene's dynamic range. It also could be called 'Adaptive Dynamic Range' or ADR.

"Unlike the awful post-processing gimmick called 'D-Lighting,' this pre-correcting system works great...

"Unlike the crappy D-Lighting post-processing of the D40 and D80, this lightening is subtle and doesn't have those horrific shadows around them as D-Lighting did. I love ADL so much I leave it on all the time.

"ADL really does improve my biggest complaint against digital cameras. This feature automatically identifies highlight areas that will be lost, and does its best to bring them under control. It works, and it works automatically."

...........

"The D300 has an uncanny ability to eliminate lateral chromatic aberration (LCA or lateral color fringes, those green and magenta halos that often appear on bright edges at the sides of an image).

"I kid you not: the 10.5mm DX and manual focus 8mm AI-s fisheyes somehow lose their color fringes and snap back into perfection in the corners. The 24-70mm f/2.8 has a little LCA at 24mm on the D200, and it also goes away with the D300. Ditto with the 18-200mm VR at 18mm: no more fringes on the D300!"

Drobo Followup

Well, my Drobo unit arrived today and I ran into two problems.

First, Drobo uses SATA drives, not ATA drives. This is clearly mentioned on the Drobo website, but somehow I overlooked this important information. What's the difference? Basically, ATA is the old standard computer hard drive, while SATA is the new one. You can find a quick "ATA versus SATA" tutorial posted here. Since I had planned to pull the drives out of four external drives, now I needed to know which external drives contained ATA drives and which ones contained SATA drives. So I used the net to track down the specs on the external drives I owned, but soon discovered that none of the manufacturers listed the ATA/SATA information. So I took my chances and cracked the cases. The two newest drives, both made by Seagate, contained SATA drives, while the two older drives, one made by Seagate and one made by Maxtor, contained ATA drives. Bummer. That meant I only had two drives that would work in Drobo. So installed those two and ordered two new 500 GB internal SATA drives via Amazon ($119.99 each). Drobo, by the way, requires two drives to work.

With the drive compatibility issue dealt with, I now realized that Drobo works a significant portion of its backup magic through redundancy. Translation: depending on the size of the hard drives you have loaded into Drobo, Drobo uses 1/2 to 1/3 of your total storage capacity for making a backup of your backup. Here's a quick chart that is included in the Drobo manual that shows you how much hard drive space is used for redundancy. The hard drives with the mark through them are the ones that are unavailable to you for backups.

Drobo, unfortunately, doesn't broadcast this fact on their website. You have to download a pdf called the "Drobo Data Sheet" to find out, or dig into the Support section of their website. If I had read the fine print more carefully, I may have decided to stick with my previous method of backups. On the other hand, now that I actually have a Drobo on my desktop, I like it! Green lights tell me my drives are working. Blue lights tell me how full the drives are. The "Drobo Dashboard" (which is a software program that comes with Drobo) gives me more details about how much space has been used and is available, and also painlessly updates its software and firmware. And -- the big thing -- I really like the idea of having an automated system that warns me of potential drive failures, lets me know when drives are getting full, lets me add larger drives as they are needed, and makes backups of backups to be sure I don't loose any data.

Now I'll put Drobo to the test of real world use and report back in a month or two as to how well it does.

Here's a quick look at what Drobo's Dashboard software looks like. Click on the image to view a larger picture.

Canon 40D Review

By Michael David
Taltos Photography


Let me begin with a disclaimer. As there are as many "professional" photographers in the neighborhood as Nikon and Canon makes cameras, I'm going to write this from my personal experience with the camera and not from any "professional" level.

That said, owning a Canon 5D and 1DMark II, one might ask why buy the 40D? Curiosity for the most part. I read a lot of reviews on the camera which seemed feature packed and was interested in the 14 bit images. I have taken a limited number of shots with it, but from what I have seen in Lightroom, it holds it's own with the other two cameras. As long as I get everything right on my end the 40D produced crisp images with color closer to the the actual subject than my 1D. I don't claim to be the smartest guy on the planet and in that I may not have the 1D set well. I also didn't notice a huge difference in image noise between the cameras. I spent quite a bit of time comparing shots taken at the same settings with all three cameras using the same lens, 24-70 f2.8 L and same subject.

The 6.5 fps rate is more than fast enough for what I do. The 5D is rated at 3 fps, so the 40D seems like a speed demon. At the 6.5 fps setting though, I found the write time to the CF card stopped me for a few seconds to finish its job. I wasn't using a fast card though and would want to if I had to shoot faster than the normal wedding moves.

I absolutely love the 3" LCD. Although I think the LCD on David's D300 is sharper and produces better color. It is far better in my eyes than the 5D's LCD, which I have never been impressed with.

The weather sealing Canon added to this one makes the body feel tight. Although slightly smaller than the 5D body, it has a real solid feel without being heavy.

I also like the mode dial having 3 custom settings options. I have one setting to shoot B&W right now and will explore different settings for the other two.

Live view seems to have gotten to be a big thing. I found it nice when taking a macro shot. Live view requires manual focus. I can hold the camera in a more comfortable position, achieve focus and get a great shot with it. If you push the magnify button, the image in the LCD blows up giving you a much better look at your focus. I haven't used Live View mounted on a tripod yet.

Oh yeah, AF. I found a couple of dark corners in the studio here. Low contrast, low light. I used One Shot, the center focus point on all three cameras and the same lens. The 5D hunted for a bit and finally found focus and locked. The 40D hunted, found focus, and locked maybe slightly faster then the 5D. At least it seemed that way to me. The 1D Mark II hunted and never did achieve focus.

It might seem that I'm slightly hard on the 1D Mark II. I really like it and have really enjoyed using it. It's fast, shoots great, and I'd be hard pressed to sell it. I think all three cameras have their strong points and their quirks.

There are other features to the 40D that I haven't gone into here. Having had it for a short time, I have only mentioned what I have experienced with it.

So, once I got over the stigma of the 40D being labeled a "Prosumer" camera and realized all the features packed into this thing along with the IQ, I think I'll keep it. For the money, I'm pleased.

A Review Of Scott Kelby’s 7-Point System for Adobe Photoshop CS3

By Jeremy Schultz


EXCERPT:

The whole book is focused on a seven-point system of Photoshop techniques that is all you need to make even the worst photographs look good:

- Adobe Camera Raw processing
- Curves
- Shadow/Highlight
- “Painting with Light,” basically introducing a darker or lighter version of the image and then masking parts of it
- Channels adjustments with Lab and Apply Image
- Layer blend modes and layer masks
- Sharpening

The book was the brainchild of Jeff Kelby, Scott’s brother, who saw how many of Scott’s best photos looked poor right out of the camera. The book was to show how crappy photos could be made great in a few simple steps, and as the book developed Scott realized he used a handful of techniques over and over again--which became the seven points above...

I almost never give a perfect ten, but Scott Kelby’s 7-Point System for Adobe Photoshop CS3 deserves it. There’s so many resources for Photoshop tips, printed or otherwise, but this is a rare instance of an author analyzing his Photoshop work in order to distill it to a system helpful to any Photoshop user. It’s ironic that a handful of basic Photoshop techniques is all you need to make photographs look great, but any advanced user will tell you it’s true. If I had to find fault with this book, I would cite the long title and the fact that it’s hard to pull keyboard shortcuts, menu items and main ideas from the text, but I think this book does so many things so well that those quibbles are very minor indeed.

Read The Complete Review

Buy The Book

All Things D3

The folks at Photography Bay have created a place for tracking all things related to Nikon's new D3 -- reviews, photos, interviews, etc. Click here to visit.


Excerpt:

"My first impressions, as expected, were mind blowing. To be brief, I’m stunned at how responsive this camera is and I didn’t believe there was much room for improvement to the way the D2xs handled. I was clearly wrong. The Focus, feel of the shutter, focus point selection, enormous LCD, auto white balance, dynamic range, color rendition, and a few other things have all been written about and touted, but nothing prepared me for the incredible quality of the files out of camera. In addition, the high ISO performance, which was also talked about, is nothing short of revolutionary. This camera literally changes the rules of photography and will simply allow me to capture things like never before." -- Cliff Mautner