For digital SLR owners, the megapixel war is over. Six megapixel is the magic number for most consumers who want “big prints” (ie. 8×10) and ten megapixel is the magic number for publication. Anything more is gravy.

Much more, and you could be running into alternate problems. When you cram more pixels onto a sensor of the same size, you’re making the pixels smaller, and smaller pixels have less capacity to handle light. » MORE

Nick Didlick is a professional photographer who not only shoots, but teaches the art as well. You could easily be persuaded to title Nick as a photojournalist, due to the tremendous work he’s done in that area all over the world since the late 70’s. He’s shot journalistic work for all sorts of publications, including the International Herald Tribune, The New York Times, The Times of London, The Sydney Morning Herald and Stern, Time, Newsweek, Vanity Fair and Rolling Stone Magazines. While these are certainly in that vein, Nick has expanded his interests to encompass more than that, and has most recently delved into the fields of editorial and commercial work.

He’s become one of my favorite people to listen to when it comes to photography, and so it was a great pleasure to be able to fire off a few questions to him and get some insight into his view of the world of modern photography, with its abundance of changes and permutations thanks to the digital revolution. Here is that interview. » MORE

Every week, we round up a bunch of the best and most interesting links we’ve found in the online photography world, and deliver them to your doorstep. So, as promised, here is your regularly scheduled link snapshot for the week.

• A new patent, described in detail over at Gizmodo, would allow DSLR cameras to shoot video like their point-and-shoot cousins.
• DPReview has a review of the new Olympus E-3 EVOLT.
• There are 38 days left to contribute to issue 16 of JPG Magazine.

Today we’re talking about color spaces. There isn’t a good general understanding of color spaces and their limits, and because of that - there is a lot of confusion and bickering about what to use. These are shark infested waters we’re wading into. If we’re not back in 30 minutes, call the authorities.

While there are plenty of color spaces available out there, the two that are most often available on digital SLR’s are Adobe and sRGB. While you can convert these to any other space in post processing, there’s typically not much benefit, so the question is - sRGB versus RGB (or Adobe RGB)… what’s better? What are they? » MORE

You remember Radiopopper - the RF piggyback units that are designed to extend your range beyond that you can get with existing systems inside the Nikon or Canon flashes. There were a few different units, set to be released in a staggered schedule - but the news of them has been received with suspicion amongst many pro shooters who already use similar systems. Many claim they are vaporware - hardware that will never be approved for use in North America and thus, never see the light of day.

Radiopopper might beg to differ - and has several new images posted that show off the design of the little unit.

Engadget reported earlier this week that Canon had an “eye-based biometric photo watermarking system” patent pending. That is, the camera will have a sensor which will read the user’s iris and will record a registration code embedded in the image at the moment of power-off. » MORE

In the photography post processing software world, Adobe reigns supreme. There aren’t many competitors to Photoshop, and Lightroom - but Apple’s Aperture is one of them, and it’s giving Lightroom a run for it’s money with a brand new update.

The Apple Store has been down for a little bit, but when it came back up… it had Aperture 2 details, with a lower price point at $199 plus a redesigned interface with some new shortcuts. Let us know your impressions if you get a chance to use it.

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The “magic lens” is Adobe’s first crack at manufacturing camera hardware. The company is well known and respected as a software developer, but this could signal a shift towards gear, or it could end up being a one-off experiment for Adobe.

The lens (video of it after the jump) is actually 19 lenses piled together and aimed at slightly different angles. The result is an image that lets you control the perspective (a little bit) and the depth of field in post processing. » MORE