Editor's Notes

Even if you’re not into cars, you’ve got to be impressed with Tim Wallace’s dramatic cover photo this month. It’s always a fun if difficult task trying to pick a cover image for Shutterbug because there are so many good photos to choose from. In Wallace’s case, we created several different cover mock-ups using his distinctive car photos and while they all looked great, the image we picked with the mountains in the background and the hard-charging Shelby Mustang GT tearing it up below, just spoke to what this issue is all about.

Multimedia usually means a device that does a lot of things for you; experience shows that in such devices some are done better than others. We are seeing more and more multimedia coming to photography. Sony, for example, just announced a digicam that you can use to connect to the web, and not just an online storage server. Epson, HP, Canon, and other printer companies tout...

While we plunge ahead into the digital world, and continue to buy cameras, printers, and scanners at record pace, there remain some issues that need resolution before everyone can feel comfortable with the digital thing. We do get letters, and your concerns are of paramount interest to us, that raise issues we have often addressed. But the tone of many letters express doubts about...

Process and technique are tied together. If you take the time to do something from beginning to end you often realize what it takes to do it right. Practice makes perfect. Those clichés apply as much to photography as any other art or craft, and describe what more and...

The issues surrounding the archival keeping qualities of photographic materials have always dogged us. During the development of the photographic process in the 19th century the problem was not capturing a moment but keeping it from fading once it was again exposed to light...

As this issue is dedicated to digital photography I thought it would be a good time to share some thoughts on where we stand in the midst of this incredible change that has taken place in photography over the past 10 or so years. These days, it seems like if you support film...

For those who worked in the confines of the amber-lit chemical darkroom and experienced the wonder of an image emerging from paper after being dipped in a tray of liquid, the changeover to the digital darkroom, as it has come to be known, has been radical. No longer dealing with dye and density, we are now confronted with changeable codes that are handled by graphic interfaces...