lenses and optical quality as these things apply to digital cameras, a chapter
on high-quality (fine-art) printing techniques and an expanded series of
chapters looking at techniques that are appropriate for specific areas of digi-
tal photography. This book’s coverage of digital imaging software has also
been increased, to the extent that there is now one chapter on image manip-
ulation techniques and another that looks at other types of software, includ-
ing programs for enlarging, cataloguing and watermarking images.
I have tried to keep references to items of equipment as generic as pos-
sible while at the same time providing pointers to useful types of equip-
ment and suggested suppliers when this is appropriate. That said, specific
references are sometimes useful to help put markers in the sand (and it
definitely is sand, not stone) to indicate the developing state of digital
camera technology. To that end I have concluded this book with a brief
and largely personal view of some of the landmarks that exist in what is
still the very short history of digital cameras. I have also included discus-
sion of some topics that may or may not remain important in the future
but which are certainly of concern right now. One of these is the move to
have a universal raw format for digital camera files instead of different
formats from each camera manufacturer: another is the still-persistent
debate about the relative quality of images captured on film then scanned
versus those captured digitally at the outset.
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