As a young photographer, one of my photojournalist idols was W. Eugene Smith who worked for Life Magazine. I doted on every picture he took, was amazed at his perceptive eye and what seemed to be his almost superhuman patience to wait until just the right composition appeared. So imagine my rude awakening years later when I learned that, in the darkroom, Smith routinely added "improvements" that weren't present in the original picture...for instance, a workman's hand reaching for a saw in the foreground of a classic photograph he'd shot of Albert Schweitzer in Africa.

Now, I smile when the subject of photodigital imaging is described as somehow being dishonest. Is it any more honest to use a filters to falsify sky color? Or chemicals to bleach in highlights that weren't there? Or to sepia tone a print or burn or dodge or use any of the other manipulations routinely accepted in "traditional" photography? And what about using black and white film? I don't see things in black and white, do you?

Even the photographer's choice of lenses distorts reality, so it seems to me that most photography should be regarded as an art form. And art is usually a representation of reality...not reality itself. The artist paints or photographs and hopes that the viewer will be moved by his or her images, not by the method by which they were made.

Today there's a big smoke screen of nonsensical objections being laid down to hide the real reason many photographers are anti-digital. They resent the fact that computer imaging can, with a few clicks of a mouse, accomplish what it took them years to learn...and in most cases do it better. That same resentment surfaced when cameras with auto-metering and autofocus came along.

Then, I remember a friend who had spent years learning phototechnical skills saying: "Now any kid with a camera can take a good picture!" Well, yes and no. Any kid with a good eye could take a good picture a lot more easily because some of the techniques were becoming transparent. And that was a good thing. But those who wanted to go further would still have to learn technique or they'd never become good photographers.

If you can conceive or pre-conceive how an image should look, then it matters little how you get there, whether by hours of laborious darkroom work or just a few seconds of choosing options from the menu of digital imaging program. The viewer couldn't care less about how many years it took you to become technically proficient at either skill...it's the result that counts.

With that in mind, let's begin a short series I shall call "Digital Imaging on a Shoestring," in which I'll show you how, with very little, you can achieve a lot. In this column I'll suggest the minimum you need to get started. In future columns I'll go into easy-to-learn imaging programs, ways to import your pictures, and output options for making prints.

You're not alone, by the way, if you are bewildered by the plethora of software and hardware around or put off by the thought of wasting valuable time learning complicated programs. It's understandable if you're reluctant to gamble a small fortune on something you may not like.

But for less than the cost of a good lens, you can begin to digitally enhance your pictures and, in just a few hours, come up with results that will really amaze you. And I use the word "amaze" as an accurate description of how you'll feel...because this stuff is really easy...much easier than learning how to develop and print film or anything else you've ever done in photography.

Don't buy into the myth that nothing less than high-end programs and super-pricey computer equipment will do the trick­ that's like saying only an expensive camera can produce good pictures.

You probably already have the basic computer you need, whether it's a MAC or PC, so all you'll have to add is a small amount of additional memory, a CD ROM drive (if you don't already have one), and possibly a removable media external drive­ all of which are dirt cheap these days.

You'll also need some imaging programs and a decent printer. More than one program? Well, yes, because just as one camera (or a single lens) is usually not enough to give you the technical and creative versatility you need, one program may not do it either. But the good news is that the programs I'll suggest are all under $100 (one's under $40) and they will allow you to do everything you're used to doing as a photographer­ and more.

You'll be able to crop, get rid of dust marks and scratches, burn-in, dodge, bleach, sharpen, soften, split tone, retouch color, and perform dozens of other functions including perspective correction (without using a swing-and-tilt view camera) that neither you or a lab would even think of attempting the old-fashioned way.

First, let's talk about basic requirements. On the MAC side, you can squeak by with a 68020, or 68030 processor, but a 68040 would be better. Of course, if you have a Power Mac, you're blessed. You should have System Software 7.1 or later and at least 8MB of RAM for 68k machines and 12MB for Power Macs.

PCs need a 386 or later processor, Windows 3.1 or 95, and at least 12MB of RAM. Both MACs and PCs need at least 20MB of free hard drive space available (over and above what's required for your System and other programs). If you can afford it, buy more memory; you can now get 32MB of RAM which used to cost $1300 for under $100. To embellish an old saying: You can never be too rich or too thin... or have too much RAM.

You'll also need monitor that displays at least thousands of colors. Your computer may already be set up to display this number of colors; if not you'll need an inexpensive video card (PC) or some more V(ideo)RAM (MAC). Aside from your printer, the monitor is one of the most important elements in the digital chain, so if you're thinking of getting a new one, don't scrimp because the two of you are going to spend many hours face-to-face. Buy a 15-inch Sony for about $350 and be done with it. (MAC readers, don't forget to get an adapter, and if you get the Sony adapter, call their tech support to get the right settings if you experience flicker­ the instructions that came with mine were wrong...hey, nobody's perfect.

You'll also need a CD ROM drive for three reasons: First, most programs come on CD ROM today. Second, I'm going to suggest you have the negatives and/or slides you want to digitally work on transferred to PhotoCD so you won't have to buy an expensive slide scanner and go through the grief of learning how to use it. And third, you can play any audio CD on it while you work...a nice plus. You can get an 8x drive for about $130. You don't need anything faster. In fact, any old CD ROM drive that's gathering dust somewhere will do, as long as it's 2x or faster and can handle Multi-Session PhotoCD­ which most can. (More about that when we get to input.).

If you have an old, smaller, hard drive, you may need some extra storage space for the images you work on. Their file sizes can gobble up anywhere from 1MB-10MB (that's per picture) and they'll fill up your hard drive pretty fast. Two inexpensive options are the 100MB ZIP Drive from Iomega and the 230MB EZFlyer from Syquest. Each has removable disks, similar to floppies.

Both cost about $150 but the Syquest wins hands down. It's much faster, holds more per cartridge, and you can get to tech support when you need them. Iomega won't talk to you until you consent to a provisional credit card charge (even if the drive is under warranty), and then, if a repair is needed, they reduce the warranty period (even if the regular warranty has more time to run). Lately, Zip drive users have experienced failures in which the disks just clunk around in the drive and can't be read...or ejected. Zip disks cost about $20 for 100MB of storage while the Syquest disks holds 230MB for only $5 more...a much better deal.

Finally, you're going to need an Epson StylusPhoto, ink-jet printer, and that will set you back about $400. It's a superb trouble-free printer backed by a company that treats its customers right. Tech support is always free on a virtually no-waiting 800 number or by email, and the warranty period is a generous two years. But the absolute shocker is if your printer ever needs repair, Epson has it picked up and air-shipped to them and then gets it back to you pronto, the same way...and at their expense! Is that a great company, or what? Obviously, they have tremendous confidence in the quality of their printers.

You probably already have your favorite dealers, but just in case this is really new to you, the two most reputable sources I've found over the years are:

1. Mac or PC Connection: <www.macconnection.com> or <www.pcconnection.com>.
2. Mac or Micro Warehouse: <www.warehouse.com>.

If you're a teacher or have a school connection you can get an additional discount (even if the order is shipped to your home). Just ask for Educational Sales and be prepared to fax them some educational ID.

If by chance you're reading this at school or at a friend's and haven't yet bought your own computer, get a MAC. I work on both platforms but on a MAC everything works the first time out when it's connected, the learning curve is ridiculously short, and you'll be more productive, sooner. As a good analogy, I've flown a lot and I like jets better than prop planes. You can go faster in them, they're more user-friendly, and they don't crash as much.

The best part about the equipment choices I've suggested, is that even if you decide digital imaging is not for you, there's nothing -­except the programs, which you can donate to a school or charity­ that you wouldn't eventually buy anyway. So you don't have much to lose but you do have a whole new world of enjoyment and creative satisfaction to gain.

See you next time...and make sure you have all this stuff hooked up and ready to go!

Arthur Bleich