Toning and Handcoloring Photographs.

Title: Toning and Handcoloring Photographs

Tony Worobiec begins his book by writing, “Some photographers avoid toning and handtinting because they consider themselves to be unartistic, but anyone who shows a concern for and sensitivity to the visual world is artistic.” Worobiec’s book provides an easy to use resource that shows artists, photographers, and crafters how to master the age-old technique of toning and handcoloring.

Book contact: Watson-Guptill Publications – www.watsonguptill.com
Author: Tony Worobiec
Publisher: Amphoto Books (Imprint of Watson-Guptill Publications)
ISBN: 0-8174-6062-4, 128 pages, softback, $24.95 US
Website: www.watsonguptill.com

Nicholas Hellmuth’s Medium Format Digital Camera Initiative

For over 40 years Nicholas Hellmuth has used Rolleiflex and Hasselblad cameras to record the flora, fauna, and archaeology of Belize, Guatemala, Honduras, and Mexico. Now for several years he is extending his medium format experience to digital photography.

Since FLAAR works both in a studio as well as out on location, we are an ideal focus for judging portability. We have experience with large format digital scan backs (the excellent BetterLight) and we also use Nikon and Canon digital cameras. A full-service digital pro should have at least one medium format digital system and should consider large format digital options as well.

Although we started with a Leaf Valeo 22 coupled with a Mamiya 645 AFD body and lenses, we are open to showcasing all bodies as well as other digital backs. Indeed we have tested an Imacon 4-shot back on a Hasselblad H1 body. Then (February 2006 onwards) we are evaluated a MegaVision black-and-white dedicated back for fine art photography. Next we are testing a 33-megapixel Phase One P 30. Since 2008 FLAAR has used a Phase One P25+ (a great way to update an aging Hasselblad ELX body with its excellent Zeiss lenses).

Camera resellers or manufacturers who wish to have their cameras, lenses, and backs included in this initiative are welcome to send their equipment for evaluation.

FLAAR is the de facto source of information because we have been university based, independent, blunt, and we are one of the few review sources that dares to review advertising specs, advertising claims, and advertising hype. We can afford to reveal all the pros and cons because FLAAR is a research institute. Photographers feel they can trust a university research professor who has devoted years to understanding the pros and cons of each aspect of a digital camera system and workflow.

Notice you are not blinded by blinking, flashing, or pesty ads for low-bid camera stores on a FLAAR photography review. I am always amused by a pseudo-review that obviously is simply paid to send you to a camera store.