This category of software isn’t really well-defined, so you may very well not know what I mean by it. So I’m going to start by describing the “use case”.

Many photographers will come back from a shooting session with large numbers of very similar photographs. A sports photographer may be using full-speed continuous shooting (maybe 8 or even 10 frames a second) as he tracks the ball down the field. A wildlife photographer may shoot hundreds of images of a small bird as it hops around a few branches on a tree 50 feet away. I sometimes shoot 15 pictures of a particular view of a musician performing, in low light, at an inadequate shutter speed, hoping for one where the face is sharp enough to use. (more…)

This is mostly relevant to my snapshot album, since that’s much more active and much larger.

Time to consider the next major upgrade to photo gallery capabilities. Some of the things I want are on my end, and some are on your end. And I’m at least slightly interested in your thoughts on the “your end” capabilities. (more…)

Since Picture Window Pro and Photoshop have made it relatively easy for me, I’ve been sometimes making perspective corrections even in relatively casual snapshots. Mostly I just fixed keystone, but the example I have here from today uses all the controls, including lens distortion. I corrected this photo using the “lens correction” filter in Photoshop CS2 (it’s under “distortion” on the filter menu). (more…)

Workflow is one of the hot concepts in professional photography these days; most especially among event photographers, and also news photographers. The question of what you do with those 500 photos you just brought back from the Superbowl can be a pressing one. (more…)

JPEG uses a “lossy” compression algorithm. That’s basically the secret of why a JPEG version of an image can be so much smaller than a PNG or TIFF; it’s because the JPEG throws away some of the information. (more…)