Digital Photography Takes Off
Salas has had so much success using the T2 that he began using a second digital camera, the single-shot S2, and finally purchased the new S3, both also from MegaVision. One advantage the S2 has over the T2, Salas notes, is mobility. He recalls the awkwardness of shooting on location with the T2: It needs its own computer and monitor to go along with it. However, for the S2—and soon for the S3—MegaVision offers the BatPack image storage/power pack accessory (shown to the left), designed to give digital photographers mobility and set them free from the studio. However, Salas warns that while the BatPack is handy, it may prove disastrous if the operator is not accustomed to photography by the numbers.
The Human Element
Indeed, all of this technology means nothing without appropriately skilled operators. A hybrid specialist—skilled with both prepress and conventional photography— is key. “You can have the same equipment and four different photographers, and they will come out with four different results,” Salas states.
Orgill underscores that color management lighting issues are two of the most important lessons for new digital shooters to learn. “One of the biggest issues is just making the conversion from RGB to CMYK for printing,” he notes. “There’s a lot of confusion out there.”
“If (an operator) is a real neophyte, ... the first (thing he’ll) blame is the ... technology.,” Akis opines. “In the wrong hands, (digital photography) is a disaster waiting to happen.”
It’s Up to You
“Any photographer who does not get into digital is going to be losing business,” Salas opines. Given the increased turnover rate of the new generation of digital cameras, the currents of change are growing stronger. Before you pull up your anchor, consider the nature of your catalog and the products it displays. If it features mostly people or extensive location work, film-based image capture may still be best. However, if your catalog is mostly studio-based, still items, then what are you waiting for?