Creative Ways To Use For Your Engagment Photograpy Sessions

The proposal went off without a hitch and now your planning for your big day. You now have to convince your significant other to have pictures taken for your engagement announcement. Having your picture taken before your wedding doesn't seem like it should be part of your wedding preparation. However, it is as important as choosing your venue or picking out you cake flavor. If you are looking for a unique way of announcing your engagement to your friends and family, then having an engagement shoot is your best bet. Your engagement sessions photos are also great for sending out save the date cards. The process of deciding on where and who you want to take your engagement pictures should be your first steps.

You may or may not want to use your engagement photographer to shoot your actual wedding. However, this is a great way to make that decision. You'll get a chance to see if you have a connection with your photographer. That can be a personality connection or a creative connection. You will also get a chance to see if you like their work and if it fits the style you are looking for. It's one thing to look at their portfolio and make a decision off of that or seeing yourself in their work. There could be a benefit to selecting your photographer to shoot your wedding. Most photographers offer engagement photos as part of their wedding packages. This can often save you money that could be spent on other items for your wedding. It really depends on how certain you are that you want to go with the photographer.

You also may know ahead of time that you won't be using your engagement photographer to shoot your wedding. This would occur if you are having your engagement photos taken in an area that your wedding ceremony won't take place. You may have a place that's special to both of you that you want to have your engagement photos taken. This may be a different state or even country than you plan on getting married in. So, you would be hiring a photographer to just shoot your engagement photos. This is not uncommon and most photographers are willing to shoot you engagement photos for a single session. Ask your photographer to allow a few minutes for warm up shots. This will allow you to get comfortable of having the camera around.

Your location is either going to be a special place the two of you have picked out. This could be the first place you met or some other significant spot that signifies your relationship together. You can always leave your engagement shoot location up to your photographer. They may be more familiar with locations in their area. You can ask for several locations they may recommend and then research each one to see if it fits what you had in mind for your shoot.

You can inquire as to why they picked the specific locations that they have given you. Check to see if your photographer offers you to have multiple locations that you can take your engagement photos at. Check to see how much time you are paying for and what it includes as well. Some photographers may only be charging you for the photo shoot and may not include rights to the photos. You may have to pay separately for rights to the photos or a disk with a release letter to reprint.

Now that you have your photographer and your location it's on to the shoot itself. Now you can decide how creative you really want to be. Don't be too serious or it will show in your photos. You should focus and try to show your love during your shoot. If you stare at the camera you are not going to get great shots. Pretend the camera isn't there and just focus on each other. You may want to research other photographers and look at the engagement shoots for ideas of your own. Using a pose or prop that another couple used won't take away or show a lack of creativity on your part.

You could decide you want to have several shots with specific clothes and then have another set of clothes for other shots. You may need to let your photographer know that you want a wardrobe change though. You may want a romantic beach shot in bathing suits and then a serious formal shot in a field of flowers. Obviously, a wardrobe change would have to occur. You may want to incorporate props like the date of your wedding for your save the date cards.

You might even decide to get out of your comfort zone by having wigs or hats that show your goofy or funny side. It really is up to you how creative you are going to be in your shot. If you let you photographer help you with your posing and props. There's a chance you could be disappointed after you see your shots. It's your engagement session that should incorporate you and not what you r photographer thinks you are.

Picking the timing of when you shoot your engagement photos is very important as well. You shouldn't pick the time of day when the sun is full. You are not going to get great photos if you do because of the harsh lighting and shadows. You want to go out about an hour or so before sunset to take your engagement photos. It's also best to have your engagement photos take months in advance of your wedding. This will give your photographer time to edit the pictures and get them back to you for changes that you may want. You will also have time to pick out which shot or shots you want to add to your save the date cards.

Engagement photos are a way for you to capture a moment of your life together before you are actually married. Hopefully, you will make the most of it and look back on the pictures and relive a moment in time before you were married. Remember to have fun and enjoy your engagement shoot. There will be plenty of time to stress and worry in the coming months getting ready for your wedding day.

Chi Photography is one of the top Charleston Wedding Photographers located in Charleston, South Carolina.

Wedding Photography in Charleston SC


Original article

Continuing Education In Photography

One of the hallmarks of professional photographers is that you'll find them constantly going back to school. They'll also be involved in a local guild or professional association. In fact, they'll be involved in just about any activity that gets them involved with other photographers and out shooting pictures for assignments or group projects. Besides that, you'll find them participating in and leading photo walks on their day off.

The reasons behind that are complex, but the main reason is that photography tends to be kind of a lone wolf profession. Very few shops can support paid help, other than on a contract basis, so it tends to be an isolated profession.

If you stay isolated long enough in photography your work can become stale and routine. Working by yourself there's no one to challenge you, to inspire you, or show you some new lighting technique, or new way of shooting a particular shot.

Taking a photography class is something you'll find even pros do once in a while, even though they may sit through a class or online course that lasts for days in order to glean one or two new tricks. Professionals also understand the value of reviewing the basics of framing, like the Rule of Thirds, exposure and other photography fundamentals.

The more you grow in the profession, the more you know, the more time you have to put in to gain knowledge. Doesn't seem fair, does it? But that's really true in any profession. The higher you go up the ladder, the more time you have to put into education to move up. Photography is no different in that regard.

Beyond the purely educational aspects, photography is still much like a trade in many ways. Older photographers help those coming along in their careers and most people getting into the business do so by building up their portfolio as an apprentice or second shooter for someone more experienced. In situations where a photographer can't afford an apprentice or assistant, then classes, photo walks and arranged group shoots are the only way you'll get to network with other photographers to build your portfolio.

Photography is one of those trades that takes days to learn but a lifetime to master. The only way to really master the craft is to be constantly learning. Studying the technical aspects, learning the rules, then learning to write your own rule book.

The day you stop progressing in photography, pushing forward with learning, is the day you start sliding back into mediocrity. There are very few people who can keep their edge if they're not constantly out shooting. If you lose interest in going out every weekend for a shoot and getting together with other photographers, then you may want to consider whether photography is really your best option for a career field.

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Original article

Analyzing the Effect of Composition in Photography

The only possible general conclusion concerning composition in photography is that circumstances alter cases. Rules should act not as restrictions but as guides that will assist you more often than not. If there are good enough reasons to break them, you should do so without qualms. No rule should be followed without question. You should be looking for reasons to make exceptions even while applying rules.

There are three useful ways of testing the validity of any composition. They are all based on the assumption that a picture that looks right usually is right, regardless of how far it may seem to depart from conventional standards.

1. For the first method, cut out two L-shaped pieces of gray or white cardboard (if gray on one side and white on the other, their edges can be seen clearly against any sort of picture). Face them in opposite directions, overlaid to make a frame of adjustable proportions, on top of a full-negative print. Move it around so that it frames varying parts of the image, and vary its proportions as you go. If you can make a stronger composition by cropping the image, then reprint doing so. There is nothing sacred about the proportions of standard film dimensions. You can crop a side or bottom or top any time that a given image is thereby improved. There is also nothing immutable about how you composed while looking through the viewfinder. You may well find it better to print and display only a portion of the image on any given negative.

2. The second method of analysis is better suited to guiding your future work than to saving what you have already done. If you make a picture that just does not "look right," hold a thumb over the various major or minor picture elements one at a time. If the picture looks better without that element, it should not have been included. But if the picture looks weaker by its absence, that element can be considered necessary. If such deletion does not strengthen the picture, perhaps you had no potentially successful composition to start with. Although this is a post-mortem device (to see why the picture died), it may help to prevent a similar catastrophe in the future.

3. Finally, it is beneficial to allow time to affect your judgment. Reserve some wall space for hanging your best efforts for long-term examination. See how well you can live with an image. Should you become tired of it before long, try to analyze why. Is the picture dull? Do subtle flaws become obtrusive with time? Does the image have a posterlike "grab-the-eye" quality without sufficient complexity to engage the mind more than temporarily?

There is nothing like time to give you the answer to these questions, and others that will come to you. Sometimes, in fact, pictures that you had first thought to be rather slight develop staying power to a remarkable degree. (These are the really subtle ones.) Let time pass while you keep on looking and thinking.

Find out more things about Camera Photography and Tips To Take Photos. Check out Basic Camera Photography for more information.


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Beginners Guide to Editing Your Photos

Do you have digital images that just don't look right? Pictures often get faded, or gain a greenish or bluish hue. You can fix these imperfections simply using editing software like PaintShop Pro. After reading these steps, you should be a pro at applying simple editing effects to your own digital images.

1- Lets get your settings in place. Once you have opened up Paint Shop, you will see a gray bar that spans the width of your software window (under the choices for 'File', 'Edit', etc). Right click on this gray bar and scroll down to the option "Toolbars". To the left of "Toolbars" will be choices for which tools you want to have open in that gray space. Click on "photo", and those editing options should appear. To find out what each icon in the toolbar does, just hover your mouse over the icon.

2- Make sure your image is rotated correctly! It's really hard to edit a photo when you don't have the right perspective on what it is. The easiest way to do this is to open the image that needs to be rotated. On your top tool bar you will find three icons in a row containing blue and white shapes, with arrows directing which way they are being rotated. These are your rotation tools. Just click on the direction that your image needs to be rotated. You will keep your image open for the rest of the editing process.

3- Next, let's take a look at your contrast/brightness. No one wants a photo that looks faded or soft. To make you images look more crisp, you will want to adjust the Contrast/Brightness of your photo. The Contrast/Brightness tool takes the blacks and whites in your images and enhances them. The icon is of a triangle, where the top is a light blue, and the bottom of it is black. Click on the icon, and a window will pop up requiring you to fill in numbers for both the contrast level, and the brightness level. If your image is really dark, start out by setting your levels both to 10, then press 'OK'. Repeat until you get your desired results. If the brightness of your picture is fine, but you just want it to look a little more crisp, set your contrast number to 10, and your brightness number to 0. Again, you will want to press 'OK' and repeat until you attain your desired results. To preview what your effects are going to look like, just press the icon that looks like an eye, which is in the 'Contast/Brightness' window. If you like what you see, press 'OK'. If you don't like the selections you've made, simply press the eye again, which will hide the preview, and re-configure your settings.

4- Now we are going to focus on color. There are several ways to adjust the color on your images, but this technique is a manual tool where you can choose exactly what you want to be applied to your picture. The 'Adjust Color Balance' tool is a triangle that is light blue on top, and black on bottom, with a halo containing red and blue squares on the tip of the triangle. Click on this icon, and a window will pop up. Set your 'Tone Balance' to 'Midtones', and check the box beneath to 'Preserve luminance'. You will find that there are three scroll lines to adjust the color. You can either manually enter numbers in the white boxes, or you can manually move the cursor left or right to select how much you want to adjust a certain color. For instance, if your image has taken on a reddish hue, you will move the cursor between the choices 'cyan' and 'red' to the left, towards 'cyan'. This will add more cyan hues to your image, decreasing the amount of red that appears. A lot of color balancing is trial and error. To preview what your effects are going to look like, just press the icon that looks like an eye, which is in the 'Adjust Color Balance' window. If you like what you see, press 'OK'. If you don't like the selections you've made, simply press the eye again, which will hide the preview, and re-configure your settings.

Now your image looks as good as new. Have scratches, wrinkles, or writing on your images? You will need to use the 'cloning' tool to fix this, which is a whole other ball game! Check out tutorials on using the clone tool in PaintShop to make your editing skills complete.

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Original article

Tips For Panning

I would like to introduce one of the interesting techniques in photography --- "Panning". Many might wonder and ask:" What is panning?" "Using frying pan?" Answer is no.

Panning is very simple, just set shutter speed, aperture, hold your camera and pan along with moving subject. Guess what will you get? Bingo! A sharp subject with blurred background. Of course, you might think say is easy but do is difficult.

Let me share some tips with you on how to master "Panning" and discover the fun of using it.

1) Slower shutter speed

Set shutter speed slower than normal speed, but do remember not the slowest as you will end up with camera shake. For example, to pan a moving car, you may try speed of 1/60 second and play around till you get the best image. Start with 1/30 second for moving subject likes people walking or cycling. Faster the shutter speed, background will be clearer, motion would be greatly reduced.

2) Auto focus

Activate camera Auto focus function, half press shutter button to lock on, aim and pan moving subject. Let panning continue after fully press shutter, so smooth motion blur can be achieved from start till end of your shot. If auto focus of your camera is not fast enough, you may per-focus it at the spot end up with pressing shutter button.

3) Choose the right location

Select the right location to pan plays important role in getting a good image. The place should be safe and without obstacles for panning. You may also consider using 85mm telephoto lens to maintain a certain distance while shooting. Avoid having background which is messy or too bright in colour, as this will make your subject less attractive.

4) Same level with subject

Position your camera at same level of the subject you are going to shoot. This can help in focusing as to obtain clear subject in your image.

5) Leave sufficient space to subject

Another important factor you would consider is leaving more space to your subject. Insufficient space for subject will look constraint.

6) Using monopod/tripod

Try to use monopod or tripod during your shooting session as to avoid blurred subject appear in your final image.

Practice makes perfect

Now, pick up your camera, walk to street and start practicing "panning". After try a few rounds, you should be able to master this technique and get fantastic image. Sometime, a little bit blur on the subject could add on feeling of motion.

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Original article

Camera Phones Taking Over Market Segments

If you check the camera statistics on almost any photo sharing site these days, the top camera will inevitably be the iPhone 4S. People are taking more photos with their phones than any other type of camera.

In hindsight the trend makes perfect sense; people are more likely to use the camera they have with them and, for most people, that's the one in their phone. Even though the quality may not rival even the most basic point-and-shoot camera, the convenience factor covers a multitude of minor issues with the image quality.

The trend has made web sites like Instagram, which offers a selection of built-in effects to improve the quality of mobile phone pictures, an overnight sensation.

While the 8-megapixel camera in the iPhone 4S represents a major step forward for cell phone cameras, it's still anemic compared to even entry level point-and-shoot cameras. For some perspective consider that 8-megapixel is where digital cameras were nearly 10 years ago. Many professional photographers were still shooting film.

Another area where phone cameras suffer is the lens. There just isn't room in a cell phone for quality optics. What you can expect instead is a plastic, fixed focal length lens with a significant number of chromatic aberrations, particularly noticeable when the images are enlarged.

Since your lens is such a big part of photography the difference between even a cheap lens and the low end optics in cell phone cameras can be significant. Where it will be most apparent is in exposure latitude and highlights. Cell phone cameras have a tendency to blow out highlights, which you can see as kind of a washed out look to the face and lighter areas of the photo.

Another area where cell phone cameras fall down is exposure latitude and manual controls. For evenly lit scenes of average exposure, cell phone cameras can produce surprisingly good results. Unfortunately, very few scenes are lit that well. That means you have to live with the camera averaging exposure values, at least that was true until recently.

Today there are an explosion of applications for smart phone cameras that provide a wide range of picture controls from exposure and shutter speed to a bewildering array of special effects. Many of the vagaries of cell phone images can also be fixed in post-processing.

For better or worse it's likely the cell phone trend is here to stay. Never underestimate the power of convenience and cell phone cameras offer a compelling blend of photographic power and features.

Because the camera you're most likely to use in any situation, is the one you have with you.

Learn all about "how to digital photography" with Proud Photography - one of the best online photography schools.


Original article

Paid Talent Vs TFP

In case you're not familiar with the term, TFP stands for Time For Prints and it's generally the way up and coming models and up and coming photographers eek out a toe-hold in the marketplace. The model is donating his or her time and the photographer supplying prints they can use in their portfolio. It's an arrangement that's been around as long as photography.

It is a fluid and dynamic relationship. At a certain point models stop taking TFP jobs and change their status to PWO, Paid Work Only. Photographers that gain some standing in the profession will likewise eventually stop scheduling TFP work and start charging new models for portfolio shots.

There's also an expectation that if a model has done TFP work for a photographer in the past, that they will be considered first for paying jobs the photographer lands in the future. That's an unwritten rule to be certain, but it's a wise photographer who abides by it.

From the standpoint of the photographer, there's a definite downside to working with TFP talent. Since they're not being paid, there's not always a lot of motivation to show up. In fact, depending on who the photographer is, the show rate can be as low as 30 percent. That means either two out of three times you organize a TFP project your talent isn't going to show, or you have to invite three and hope to get one who actually shows up. That also means being prepared to shoot all three in the unlikely event they all show up.

That's the reality of TFP. For students in school, finding free talent is rarely a problem. Once you get out, then it becomes more of an issue. Everyone is so busy these days, time is the commodity in chronic shortage. With the expenses associated with even showing up for a TFP shoot, it may be time to consider paying your talent if you haven't done so before. You will be amazed at the difference it makes in attendance and punctuality.

A good rule of thumb is if you need a model release for commercial use, then pony up a little cash for consideration. It will also make a difference if the job is for a publication where new models might get something called a "tear sheet" for their portfolio. Tear sheet started out as models tearing out the pages from magazines with their photos and has since grown to include internet articles, so don't forget to print off a copy and send it to your talent.

Most name models have what's called a "day rate" and the really big names will have a laundry list of extras they need at the time of the shoot. That may fly in New York or Los Angeles, but in most areas it won't be that defined. You can post your jobs and the rate you're paying in some place like ModelMayhem and see if the responses you get meet your expectations. You can always go higher on the pay rate until you start attracting the kind of talent you're seeking.

Like with anything where other people are involved, there are going to be the occasional snub, personality conflict and difficult shoot. Consistent success will be easier if you pay a decent day rate, are clear about your expectations and insist on professionalism.

You'll learn even more with Proud Photography - one of the best photography courses available today.


Original article

How To Use A Light Meter

For many persons, making use of the light meter built-in their digital photographic camera models is acceptable enough. However whenever you wish to take your digital photography competencies to a new level, you may want to take into consideration working with a lightmeter that is hand-held.

You are going to understand 2 types of metering:

- The first kind is reflective metering. The actual meter within your digital camera is basically reflective metering. It calculates the quantity of light that will bounce off of from your subject into your camera lens. Your digital camera makes use of this info to find out variables such as the aperture, ISO and shutter speed if it is fixed on auto-mode.

- The 2nd kind of metering is often known as incident metering. Handheld light meters are mostly incident meters. The incident meters calculate the light shimmering on the subject. Simply because they are not relying on the reflective attributes of light to provide you with a reading, they are considerably more precise when compared with your camera interior meter. The dome that comes in reflective meter contains sensitive sensor that calculates the light entering it from all possible angles.

Working with a hand-held meter is easy and reasonably straightforward. When you become comfortable in making use of a light meter, you are likely to take enjoyment in the results you will get, and will not likely want to work without having it. All meters fundamentally function in a similar way so you're able to make use of these directions for just about any kind of light meter you may order.

Enter in your digital SLR ISO setting into your meter as well as the shutter speed. Now hold the meter up facing your subject. Should you be taking a photograph of a man or lady you will hold the meter, just right in front of the face of the individual along with the dome of the light meter facing in the direction away from them.

A handful of photography enthusiasts point the light meter towards the location the electronic camera is going to be in. Should you be working with a tripod this really is straightforward simply point the meter in the direction of where you photographic camera is going to sit on the tripod. Some other photographers point the light meter towards the source of light. These people point out that the reading created by the meter while directed on the light source is at any time considerably more precise and inhibits you from receiving highlights which might be blown out. You can take a look at the two approaches to determine which is best suited for you personally.

Immediately after the meter provides read how much light on the subject, it delivers you the f-stop or aperture number you should obtain as the suggested exposure for your image. Simply set the current aperture of your camera, and you can start taking images. However, if you are shooting pics inside a studio environment, with a number of source of light you will need to require a light meter reading for every light source that hits your subject.

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Original article

Manual Vs Automatic Shooting

Manual verses automatic shooting is a topic that burns brightly in photography with strongly held opinions both ways. The difficulty in this topic is that there is no right answer. Whether you shoot manual, automatic or some compromise setting in between, there will always be someone else telling you that what you're doing isn't right. It can be both confusing and frustrating for those new to photography, so lets look at both sides of the issue.

There seem to be fewer photographers these days claiming you have to shoot all manual all the time. The image processors and AF systems in cameras today are actually small computers with quite a lot of processing power. Over the years they have gotten better and better at reading a scene and calculating exposure. Multi-point AF systems allow the shooter to cycle through various focal points simply by repeatedly pressing the shutter button half-way down.

All the same, the one component of the camera that computers will not replace anytime soon is you. Your creative vision, your composition, your unique way of looking at a scene. While camera computers are fantastic at reading scenes and comparing them to an theoretical 18 percent gray card, what computers can't do is figure out when the best exposure is not always the most optimum. Sometimes the "best" exposure will be a stop or two above or below what the computer calculates. If you leave your camera on automatic all the time you will have pictures of average exposure and be limited to the changes you can make in post processing software.

While those shooting manual all the time will get very good at calculating exposure in their head, they will miss shots because they're fiddling with settings. The exception to that would be in the studio and other controlled shooting situations. There you have time to dial in the exposure with greater accuracy and usually a light meter to validate the lighting. Shooting outside is an entirely different animal.

If the majority of professional photographers were honest, most would admit to using the automatic or semi-automatic settings outdoors and in rapidly changing shooting environments. The common approach is setting either the shutter speed or aperture to the scene and letting the camera handle the other settings. At an automobile race, you would want to set the shutter speed and let the camera handle the ISO and aperture. For outdoor events you might want to control the Depth of Field (DoF) by selecting aperture priority mode and let the camera handle ISO and shutter speed. For very quickly changing shooting situations you might choose Program mode and let the camera handle all the details while you focus on framing the shot.

The right answer about manual verses automatic then is the one that balances out the demands of the job with the skills of the photographer. While it's good to experiment with manually adjusting the controls of your camera, it should not be an impediment to taking pictures and no one should make you feel bad because you choose automatic or some other setting that assists with one of the exposure calculations.

Understand that automatic settings are fluid and that technology is a moving target, so what's true today might be different with the next generation of cameras.

You'll learn even more with Proud Photography - one of the best online photography classes available today.


Original article

What Is a Polarizer Filter?

A polarizer filter is easily one of the best filters that you can buy for your camera. It is a filter that every serious camera person should have. These filters are made for most sorts of cameras. You can buy them for virtually all DSLR cameras, and even some point and shoot devices. Remember that an autofocus DSLR (which is what most modern DSLRs are) requires you to have a circular polarizer filter. This is a design where the front side of the filter is rotated so that you can see the polarizing effect gradually.

Effects of a Polarizer

The most important feature of this filter is that it cuts down on reflection from many surfaces that are non-metal. For example, it cuts down on the reflection of light in the sky off of the tiny water droplets that are always in the atmosphere. This means that the sky in your pictures is slightly darker and more saturated. Keep in mind that this effect does not work the same from every angle. It works the best when the sun is about 90 degrees from the position in which you are standing. This filter has little effect when the sun is straight in front of you.

The polarizer filter also cuts down on reflections from water and other surfaces that reflect light. The filter will tend to make the water in a shot more transparent. It also depends somewhat on the angle of the camera to the water. There will be little effect if you shoot a picture with the camera right above the water, for example.

The filter further will cut down on reflection from other surfaces, and will make tree leaves look more saturated in color. Also, shadows will look darker.

Also keep in mind that this product will absorb 1.5 f stops of light. This means the filter is not usually suitable for indoors or low light shooting.

Buying a Filter for Your Camera

On most DSLR cameras, you buy a filter that screws right into your lens. You need to make sure that the diameter of the filter fits your lens, of course. Remember that the wider your lens is, the pricier that filters will be for it. If you buy a filter for your wide angle lens, be careful that you do not get vignetting. This is where you get darker corners in some parts of the image.

Joseph Pickett is a web content writer for Focuscamerablog and Discountappliancesblog, a subdivision of Focuscamera.com and Asavings.com

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Original article

It's All About The Light

The video business has one issue in common with still photography in that one of the most important subjects is frequently the most neglected.

Professional videographer, Bill Pryor, says, "Ninety percent of great video is great lighting, and yet the online lighting forums are frequently the least utilized."

You could easily make the same case in professional photography, particularly these days when photographers and videographers are frequently using the same cameras.

Lighting is, unfortunately, one of the less interesting topics in photography. Most people want to focus on cameras because technology is sexy. They'll agonize over the difference between a 14-megapixel camera and a 16-megapixel camera, a difference which is essentially meaningless. Yet, when it comes to lighting, it's almost an afterthought.

Hobbyists agonize over cameras, while professionals agonize over lighting. That's because pros know you can take great pictures with almost any decent camera, but what makes the difference between a good shot and a great one is lighting.

Some specialities in photography attract people because they're addicted to lighting. Food photography is one example. It's a chicken and egg discussion about whether people fixated with lighting are drawn to food photography or sucked into it, but that's where they tend to end up. Their studios look like the lab of some evil genius in a comic book, full of every type of clamp, mirror, scrim, shade and flexible arm you can imagine. Their food sets could have been designed by Doctor Octopus from Spider-Man.

At a basic level the passion for great photography is really a passion for great lighting. The true hard-core photographers are the ones who hike back to their cars in the dark because the light is just so perfect at a time after they should leave to get back to the trail head while there's still daylight.

Master portrait photographers are masters at lighting the human face. While it may not look like they're doing much, it's because they've spent years learning just where to put their lights, the power settings and positioning the camera. To them Rembrandt lighting with a 1:3 ratio between the key and fill is automatic.

If you don't know the difference between Rembrandt and Butterfly lighting or understand key to fill lighting ratios, then it's time to pick up some books and start reading, or take a class in photography.

It's important because light is to photographers what paint and canvas were to Picasso. It's how you express your photographic vision. Anyone can push a button on a camera set to automatic and get a decent picture, but not everyone can light a portrait in a way that makes their subject come alive.

You'll learn even more with Proud Photography - one of the best online photography schools! How to digital photography.


Original article

Simple Ways To Remove Blemishes From Photo Portraits

Blemishes such as scars, pimples and acne will often be visible in portrait photos. You may want to keep them, but if not, we'll show you in this article just how easy it is to remove them.

Of course, it's better to prevent blemishes with clever lighting or camera tricks than rely on photo editing. For example, you could try a diffusion filter to smooth over and mask blemishes when you take the photo.
However, with the photo editing software that's available today, the simplest and most inexpensive way to deal with blemishes is by healing, cloning or, in some cases, both.

Healing
The healing tool is found in most photo editors and provides a very simple, and ultimately rewarding, technique for repairing flaws in portrait photography.

It works by blending a blemish with a texture that you choose from elsewhere in your photo. The photo editing software picks up the colour and brightness values of this texture and merges them with those of the original blemish.

The subtlety of this tool is what makes it perfect, not only for small areas such as pimples and scars, but for larger and more prevalent features too like wrinkles, where colours and textures are high in contrast.
Your chosen texture isn't just pasted straight over the top of the problem area, but it's blended with the surrounding pixels in the portrait, thus creating a seamless, unnoticeable result.

One important thing to remember when using a healing tool is that different areas of the face vary considerably. For example, the skin on the forehead differs greatly in its colour and texture when compared with the skin around the eyes.

Try to choose replacement textures from as close to the blemish as you can; this keeps your touch-ups as realistic as possible.

Cloning
Tools that enable you to clone parts of an image are also common in photo editors and, as with healing tools, they make professional results easy to achieve.

However, whereas healing tools blend two textures together, cloning tools simply copy and paste a chosen area of your portrait over a problem area.

The cloning tool is ideal for small fixes such as pimples or even for larger areas which are low in detail. On the other hand, more intricate problems are better left to a healing tool. Tackling such issues by cloning usually results in changes which are noticeable rather than blending into the photo.

Lines will be visible where the edges of the cloned area join the underlying photo. This can be reduced to some extent, by using a soft brush which creates some blurring between the two areas.

But cloning is best used for small fixes or for larger, plain areas. And it's important, no matter where you use it, to pick various parts of the portrait as your source. This reduces the likelihood of creating immediately noticeable, repeated patterns which is inevitable if you clone the same texture over and over again.

Healing + Cloning = Optimum Results
As you can see, there are instances where each of these tools performs admirably and there's no cast-iron rule to say which is better.

In fact, the best results are often achieved when healing and cloning are used together. Just keep in mind that moderation is the key; that way, you correct the blemish, but you retain natural skin tones and avoid a plastic, airbrushed feel.

Peter White is employed by Serif, a leading developer of software for home and small business use. Serif sells a range of software for photo editing, which includes PhotoPlus, a feature rich photo editing software package and PhotoPlus Starter Edition, a free photo editing software suite for novices.


Original article

How To Take Stunning Portraits

There are a few specific ways to discover how to take portraits of people, and I'm going to share some of those tips with you today. Lighting, composition, camera settings and your lens are the right places to start when you begin to take portraits of people. Lighting and your lens are the first two considerations.

Without good lighting and a specific portrait lens, your portrait photography can become less than stunning. It is important that you take note of this list I am about to give you so that your portrait photography lasts forever.

Photographing the eyes, skin tone and facial expression are the key essentials that make up a good portrait of somebody. The beauty about portrait photography is that you can do it as a candid photo as opposed to a portrait shot in a professional photography studio. Someone's cheery facial expression combined with high-quality lighting and a good lens can be a key ingredient in successful portrait shots.

You do not always require a studio to take high-quality portraiture. You can shoot portraits outdoors, or inside even if you do not have a professional photography studio. I have taken many photographs of clients in many assorted situations. They have all been slightly different portraiture photos but they are still portrait photography. A different place doesn't signify they are not portraits.

So what are these diverse places and situations? I have shot photos of people on the stage, collecting their citizenship certificates from the mayor, reading underneath a tree in a garden, celebrating their birthday, taking their vows of marriage and smiling at their loved one when they didn't think they were having their photograph taken. All these separate situations make up portrait photography. So let's begin...

What Is The Best Lighting for Portrait Photos?

Let's start with the most significant thing in portrait photography. If you want to discover how to take good portraits then this is where you begin. Lighting will either make or fracture your portrait photo. You need exactly the right amount of lighting to highlight the human being you're creating photos of.

Lighting also has an effect on mood and feeling. When you opt for lighting that is soft and dim this may create a more romantic feeling. When you go for lighting that is very bright and high in contrast, this is ideal for things like sports portrait photography. If you want to create a romantic sentiment in your shots then think about softening your light. Creating gentle light can make portrait photography more interesting.

Choose the lighting that is well-matched to the situation. Wedding photography that has filtered lighting can work very well. However if you are photographing some kids in the park, then you may want to choose a bright and colourful lighting effect. Something that is vivid and vibrant can represent happiness and liveliness. A sense of fun can be enhanced by the right lighting.

So what about situations where lighting is poor? I have been in many situations before where it has been almost no lighting and I have not been able to use the flash. In this situation you may want to turn your ISO up to the highest setting. If you can use your flash then do it.

Don't stand too close to the person you're photographing and fire the flash at the same time. Depending on what flash that is on your camera you may be able to have different intensities of flash light being fired. Or if you have flash built into the camera you may not be able to control the intensity of the light. This depends on the camera on the sort of flash you have. If you stand too close to the person you are going to overexpose the features on their face, produce small, vivid areas of light on their cheekbones and nose. No matter how hard you try you won't be able to remove it easily in Photoshop.

If you are creating photos of someone at a party at night-time, and the flash is the only source of lighting you have, then make sure you stand back from the person. Any closer than 3 meters may overexpose the person. You also don't want to blast them with an eye full of extreme, dazzling light. I prefer to shoot with a long telephoto lens and use the flash simultaneously. I like to stand back and zoom in, and increase my flash up to the maximum intensity. Whenever I've done this I have found that I have a nice light over the person's features.

Bouncing the flash is a great method to enhance portrait photography. When you bounce the flash you basically twist the head of the flash up to the ceiling, or towards a wall, and allow the light to reflect from that source back to the person. Bounced light is softer and a lot better for portraits. It is a wonderful way to get better portraits at weddings, birthdays and celebrations.

Always remember that your lighting must be well balanced. You need soft lighting over your person's face to create an appealing portrait photo. Even if you have the best lens and camera in the world, it won't help you at all unless you have the light spread evenly across the persons features. This emphasizes the eyes and smile.

Colour Portrait Photography

Colour portrait photography covers many things. Wedding photography is a classic example of this. As I have spoken about your lighting and things that you can do with your lighting, I will now cover colour.

The secrets and techniques to colour portrait photography are of course your lighting but is also colour matching. For example, if you want to generate a beautiful colour portrait then you would not only expose the light in a good way, but you would make sure that the colours match. This is a big secret that photographers have up our sleeves. Let me explain.

Colour portrait photography is successful when all the colours complement each other within the one image. If you want to create a colour portrait that is striking then choose colours that go well with the person's skin tone. Let's take the example of a woman with blond hair, light skin and green eyes. If you were to dress her in black it would not look good on her at all. However earthy Greens, light pink, blue and purple, will suit her complexion. Someone who has black hair, dark skin and brown eyes may be suited to other colours. They may look fantastic in white, black or other different colours.

The secret that portrait photographers use when creating beautiful portraits are "colour matching" when recommending what to wear. If you're photographing many people in your portrait photography then it always looks nice to dress people in either the same or very similar colours. A family photographed on the beach might look nice all dressed in white, blue and yellow. It doesn't have to be the same white, blue and yellow, but if you keep with the same colour theme then you will begin to create stunning portraits.

Camera Settings for Portraits- Accurate Camera Settings For Portraits Depends On Your Lighting.

It is rather tough to inform you what the ideal camera settings for portraits really are. You see digital camera settings are the way they are because of the lighting that you have to work with. If I advise you that F-14 and a shutter speed of 1/80 is the best setting then your portrait shot could be terribly misleading if you are photographing people at night time with the flash, for example.

However I can tell you that your aperture can have a huge impact on your portrait photography. If you are creating photos of someone up close and want to blur the background then I would support you to look at a big f stop. F 4 might be a better place to start. When you zoom into someone's face and you use a big aperture, you may see that the background is totally blurry. This works very well when there are distracting subjects in the environment that you want to remove. It works very well when you just want to capture on the person's eyes.

So what about shutter speed? Again it depends on the lighting you have to work with. It also depends on if you are taking candid portraits or whether you are shooting posed portraits. The difference will be the amount of speed and movement. Candid portraiture can at times be tricky in low light and this can create difficulty in getting the precise shutter speed. The camera may be telling you that it wants you to slow down the shutter speed. However, you know that if you do, you will completely blur the person. And that may not be ideal for the setting.

If you are photographing your portrait photo in studio lighting then these things are not going to be a big setback. You will however still need to watch your shutter speed because even the smallest movement at a slow shutter speed can create out of focus pictures. Decide on the shutter speed that is quite fast so that you will not have to be anxious about blur from any movement.

So as you can see camera settings of portraits is not a black-and-white topic, excuse the pun. You need to work out the right camera settings to your portraits based on the lights but you have to work with. As I mentioned portrait photography covers a wide range of areas and conditions so it is ideal that everything is well exposed and that you have the exact shutter speed to match the movement.

Which Is the Right Lens for Portrait Photography?

Being a professional photographer means I have many lenses to choose from. I have many lenses because it gives me the ability to be adaptable in each situation. This does not mean that you have to rush out and acquire different lenses yourself. I recommend trying out portraits with one lens so that you get comfortable with how your lens works with portrait shots.

Different lenses give different effects. A 50 mm fixed focal length lens is a good focal length for portrait photography. You can get up close to someone without making their nose look too huge as a wide angle can sometimes do. In fact I suggest staying away from wide-angle lenses for your portrait photography. You have to be able to get a good head and shoulders shot, medium crop or good vertical length shot. You can achieve this using a couple of lenses.

I guess I would have to admit that my favourite portrait lens is the 70 to 200 mm cannon telephoto lens. I am a Canon user however I have used Nikon in the past and found both of them excellent. Nikon also has a 70 to 200 mm telephoto lens that I found excellent. At this focal length you can take remarkable candid portraits and you can also use this lens to take clear studio shots too. You almost certainly don't need a focal length that is so long if you are working in the studio. Your 50 to 70 mm range will probably do quite fine.

Why do I like 70 to 200 mm? Basically because it gives me the versatility of zooming in quite close up to someone and it also gives me the flexibility to take candid shots in social situations. I find the flexibility and adaptability of this focal range very clever indeed. I know photographers that take a couple of cameras to a wedding because they have numerous lenses that they want to utilize. I find the 70 to 200 mm range does the job just fine.

These are pricey lenses. This is a professional capability lens so I propose becoming very familiar with the lens you have before buying something like this. I also have a 24 to 105 mm lens that works very skilfully for portrait photography too. I only prefer to use the 70 to 200 mm as many times I do candid shots. Having that additional focal length of 200 mm lets me to get a little bit closer than I could with a 105 mm.

I have also taken portraits with the 50 mm lens that have worked superbly. However I can't really do this in a candid situation. I simply can't get in directly enough without being noticed. When I have done animal portraits and ordinary human portraits, I found that the 50 mm prime lens was a clear lens to use. If someone knows they're going to have their picture taken then they will definitely sit still for you. The 50 mm prime lens is sharp and clear for posed portraits up close.

In a nutshell I guess I would have to say that it is dependent on the sort of portrait photography that you are doing, as to what lens to use. Try and acquire a lens that works perfectly for the type of portraits you take.

Creative Portrait Photography Ideas

There are lots of creative portrait photography ideas that you can use easily and swiftly. Here are a few ideas that you can use. I use them in my portrait photography so please feel free to use them as well.

Candid portraiture:

People talking over lunch or dinner

Watching boats at a Mariner

Playing with the cat, For example throwing the Ball

Feeding the ducks at the local creek or pong

Sitting on the riverbank waiting for a fish

Doing an activity they like, like perhaps painting, playing their sport etc

Posed portrait photography:

Leaning up alongside a beautiful old tree and looking at the camera

Relaxing on a park bench with stunning leaves behind them

Being photographed, tightly cropped, with nature on all sides of them

Sitting with their child, both looking at the camera

Don't forget to combine black and white into the mix. Black and white portraits can provide a beautiful, timeless look to your photos. And, in a basic sense, everybody looks great being photographed in black and white. When you come to your post processing, reduce a little of the mid tones, boost your contrast and you will have a good black and white photo.

These are just some ideas that you can use to produce lovely inventive portraiture. You will find the more you do it the more creative ideas come. It really is just a matter of preparation and application. You will be successful in no time.

Just remember that the key to taking sharp portraits is good lighting, knowing how to use your camera, being aware of the camera settings for the light and being proficient to work well with people.

You also need to be a people person when you specialise in portrait photography. Your clients want to feel comfortable and safe in your hands. Always treat them with respect and kindness and you will get better portrait photos every time!

Amy Renfrey is a professional photography and photography teacher. She shows you how to take the most breathtaking, brilliant and incredibly stunning photos every single time you press the shutter button, even if you know nothing about photography and have never used a digital camera before. To discover how to take good photos better than ever, visit her website today. http://www.digitalphotographysuccess.com/


Original article

Considering Photojournalism As a Career

Before I attended photography school, I spent a good deal of time perusing the photos in Life magazine. Some of you young photography school students may not have even heard of Life magazine, but at the time it was in existence, it contained some of the most powerful photojournalism out there, and it's what sent me on my way, young and wide-eyed, to photography school, to learn, as I phrased it, "how to take pictures like that."

Photography schools are an excellent way to explore different aspects of photography, and you may find after entering, that the aspect you came to pursue is not the one you leave with. For me, this wasn't the case. I was always very sure of my path in photography as a photojournalist. That's not to say I don't experiment with different kinds of photography, I do, but photojournalism has always remained my biggest passion.

If you're considering studying photojournalism on your own or in photography school, here are some things to give you a better grasp of what's behind it.

Photojournalism basically entails using images that are newsworthy. With any type of photojournalism, you'll be seeking publication, most likely that means through newspapers or magazines (whether online or print), so your photographs will focus on news-related events. But it goes beyond this as well. I once attended a seminar, where a famous photojournalist called the process of photojournalism, shooting verbs. Many in the audience were slightly perplexed by this definition, but as I thought about it further, I thought how perfect the comparison was. As a photojournalist, you need to be able to relay the story (sometimes without words) and give your audience a sense of the event and energy. You can't do this through regular photographic still shots. You need to convey the action of the event, in language, that would pretty much equate to using a verb.

Photojournalism usually encompasses two types. The first is when an image is used to illustrate (or accompany) a story. The second is when images are the primary source used to tell a story.

In the first instance, the most likely scenario is that you'll be hired by a publication or featured journalist to take photos that accompany their story. In the second, you'll be out looking for your own story. The benefit here, although a little less secure in getting published, is that you'll have much more freedom, and it's your images that will guide and convey the story. If you know how to write, this will be an extra benefit when you're pitching your photos to the media outlets. And as a photojournalist, at the very least, you'll want to be able to write captions that will accompany your story. You'll also need to find the news before or when it happens, and you should get a good grounding in what's going on in the world today.

If you're in photography school and considering becoming a photojournalist, you'll also need to prepare yourself for the relevant dangers that photojournalism can bring. At its most successful, it's a pretty dangerous profession. No doubt you've heard of the many photojournalists and photographers who've died while on assignment. You'll be photographing these types of situations, and you have to be someone who's prepared for this aspect. Most likely in photography school, you won't have to deal with these conditions, but upon graduation, it's something you'll need to consider. On the other hand, photojournalism is one of the most rewarding photography careers around.


Original article

Lighting and Lenses

It's one of the unfortunate ironies of the business of photography that the two most important elements in getting great photographs are, for most budding photographers, the least interesting.

The key to any good photo is lighting. Certainly in these days of Photoshop and Lightroom 4 you can take otherwise average pictures and make them better with high tech wizardry, but to consistently get great photos and to get consistently high enough quality to make money from photography, you have to be a lighting wizard.

For shooting outdoors and landscapes that means scouting locations and waiting, sometimes for hours, to get just the right light. It means hiking through the woods in the dark to get back to your car. For portraits and fashion it means never being satisfied with basic three or five point lighting, but constantly trying out new lighting setups to see what results you get.

Photographers use light the same way an artist uses paint, to bring out the subtle perfection in a subject. Good lighting is tedious and meticulous, two reasons few photographers rarely ever master it.

The other element of great photography is great glass. There's a reason many professional photographers will go to great lengths to ship lenses off to a lab somewhere that will fit them for a new camera. Camera bodies come and go but good glass will last a lifetime.

These days it's easier to get good glass without a second mortgage on your house. Computer controlled milling machines and advanced optical coatings mean fewer rejected lenses and less reliance on the skill of the person assembling them.

Sometimes you'll hear people bag on kit lenses, the lens that comes with a new camera. Keep in mind that camera manufacturers have an interest in making their cameras as compelling as possible to new users and the glass they select as the "kit" lens has improved a great deal over the years. Kit lenses are not usually as "fast" as more expensive lenses, meaning the higher priced lenses usually have a wider aperture, but in the middle of their aperture range most kit lenses are quite good.

Even at that the hunt for the perfect lens will be long and expensive and every photographer has bag of old lenses that didn't stand the test of time. That's just part of growing in the craft.

Focusing on those two elements, lighting and lenses, will separate you from 90 percent of the pack who want to be professional photographers but lack the discipline to get there.

You'll find a great many people agonize over the cameras, comparing this feature and that with different manufacturers; many people put less thought into who they marry. And yet the camera is really just the image recording device; lighting and the lens make the image.

Think about the last time you heard someone agonize over the differences between an Alien Bees and Bowens studio flash, and yet those are the people who go on to become professionals make a living.

You'll learn even more with Proud Photography - one of the best online photography courses available today.


Original article

Sales Of Mirrorless Cameras On The Rise

Most of you are familiar with the digital camera. Many people own this today and even kids know how to operate it. But surely, not many are knowledgeable about the mirrorless camera. Perhaps, some of you came to know about this only now.

So what really is a mirrorless camera? What is its difference from the standard digital camera?

Known as the compact system camera, this photographic gear was pioneered by Olympus and Panasonic. A look-alike of a mini DSLR, this features a micro four thirds system.

Being smaller in size compared to the standard DSLR, the mirrorless camera is easy to carry around and allows users to snap on their images without scaring them away particularly photographers who are into wildlife photography. The small size also means smaller lenses which translates to lighter baggage for the photography hobbyists when traveling and shooting outdoors.

Literally, a mirrorless camera is a digital single lens reflex or DSLR camera without its mirror box. This box is usually situated behind the lens and angles a mirror to allow users to get a view from a top-mounted eyepiece. With a DSLR unit, the shutter button normally causes a mirror to snap up thereby allowing light to hit the sensor located behind it.

This type of camera was introduced in 2008 and since then, it has gained much attention particularly from the photo enthusiasts. Olympus was the first to create this unit through its PEN E-P1 in the late part of 2008. Other camera manufacturers followed suit and made their own designs.

As of late, Olympus has already released its PEN E-PL2. For this model, the company teamed up with Panasonic to create the micro four-thirds sensor system of mirrorless cameras.

Sony has also come up with its Alpha NEX-7. This 24.3 megapixel camera costs as much as a DSLR and offers the highest resolution of a mirrorless model. It boasts of an magnesium alloy body, a three-inch LCD and a unique tri-navi control interface.

Canon could not be left behind as it is now in the process of creating its own mirrorless camera. No detailed information has been released but a patent application on a Japanese website Egami is said to provide an outline of Canon's non-reflex camera.

Other camera manufacturers that have joined the bandwagon are Samsung with its NX, Pentax with its Q and Nikon with its 1 system. Fujifilm is also being reported to release its own version this 2012.

Around the world today, sales of mirrorless cameras have gone up. Japan accounts for nearly half of these sales at 42 percent. The 2011 report from the Camera & Imaging Products Association (CIPA) showed that Japan leads in the use of the so-called non-reflex cameras. In fact, majority of camera sales from October to December 2011 were that of the mirrorless type.

The U.S., however, has not yet fully embraced this camera as shown in the 13 percent sales in the early part of 2011. Surprisingly, the trend improved towards the end of the year as sales rose to 22.1 percent.

For information about camera accessories, visit 42photo.com, New York's legendary camera store in business for over 40 years.


Original article

Why I Am Going Back to Film Photography

The problem is that digital photography is just too easy. A saying that often proves true is; "if it's free, it probably isn't worth having", and that's digital photography. Sure it has many benefits when used as a component of modern communications (emailing, web graphics, auction selling, etc), but the fun of photography for photography's sake has been lost. The technology of digital imaging has largely removed the need to think and plan ahead: we now blindly point our cameras and click as the mood take us, simply because we can.

We no longer need to hump bulky bags of lenses, and are not required to make any special effort to prepare our cameras for use (like buying and loading films), yet I seldom make the effort to take my digital camera on life's everyday adventures; as I once did habitually. Sadly, the consequence is that I have no snap-shots of the mundane events of recent times. There is nothing solid to supplement the memories in my mind.

Our digital photos are stored electronically, and only become "physical" if we commit to print. But this step involves cost, which is somewhat counter to the digital ethos, and not undertaken routinely. We can delete all that is imperfect or ephemeral at the click of a button, and the memories - once immortalised on film - are lost forever.

Looking at my old photos made me smile, and caused me to recall how I had used film to memorialise my day-to-day life. I made an effort to take a camera on trips, and to events. I took the time to record the places I had seen, the things I had done, and the people I was with. I carefully considered my shots, and strived not to waste the finite number of exposures available to me. Film photography presented an inbuilt driver to do a good job of shooting frames.

Waiting for films to be developed provided both anticipation and excitement. Picking-up your prints from the Chemist was an event. Sure there would inevitably be shots that were duds, but they were nevertheless a physical record of those moments. They didn't get deleted: just put away.

The ultimate irony of photography is that the imperfect pictures are often the ones that most evocatively capture a memory. They amuse us because they freeze stupid expressions on our faces. They delight us when we see our hideous dress sense, naff haircuts, or are reminded of the awful décor in our homes that we had long forgotten.

The really pleasant thing about returning to film photography is the low cost of equipment today. Those iconic cameras I once coveted, but could never afford, are available today for tiny prices.

So, my wife and I are now the proud owners of 35mm film cameras. From now on, our photography will be a planned event, and not an afterthought. We will take the effort to photograph our typical activities. We will take the time to study and think about the things we see through the lenses of our cameras. We will anticipate and look forward to the collection of prints, and keep each one - good or bad. We will collect memories of humdrum events, like a winter walk with the dog on the beach. We strive to again enjoy photography and photographs, as we did before digital imaging.


Original article

3 Reasons Why Buying a Used Digital Camera Is Better Than a New One

Digital cameras aren't new anymore. There was a time when this was a fresh technology and everyone traded their used cameras in just like they do their used cars. But this may no longer make sense anymore.

In 2001 I saw my first professional digital camera. It was a Canon 1D and I was in Edinburgh, Scotland. I thought it was the most amazing thing I had ever seen. Being an avid photographer but not pro yet, there was no need for me to have such an advanced machine, but I longed for one. And four years after it came out I bought one for a fraction of the price when new.

After using it for a while I realized that although it was an exceptional camera, it lacked quite a few features that I figured might be coming in future releases. So when the Canon 1D Mark II N came out I sold the 1D for a small loss and traded up.

Looking back on it now the 1D Mark II N was an phenomenal camera. It was quick, took great images and if the camera manufacturers turned around the next day and said we're never making another upgrade to a camera again, I would probably have been ok with that. But they didn't. They just kept coming out with new and updated cameras. About one every two years.

Digital cameras are in essence disposable cameras. We buy them for huge amounts of money, take however many photos we need and sell them. Usually for a substantial loss. I have literally lost thousands dollars on buying and selling my used camera equipment.

But it's my belief that we have reached a time in this still infant technology that we no longer need to trade up every two years. That to do so is just a waste of money.

In 2005 the top of the line camera (not including medium format backs, which cost about the same as a new Audi A4) was the Canon 1DS Mark II. It had 16.7 megapixels, more than most lenses could handle in 2005, a 2 inch screen and was hailed by most professionals and camera junkies as the single greatest thing to happen to cameras since the Kodak Brownie.

Seven years later and nobody talks about the Canon 1DS Mark II anymore, but they want the 21.1 megapixel, 3 inch screen of the Canon 1DS Mark III or the uber-cool, ultra luxurious Canon 1DX. I'm not trying to exclude Nikon, Sony, Leica or any other camera manufacturer, but being a Canon guy this is what I know best. It makes no difference as each manufacturer makes about the same product, but changes the body and slaps their own sticker on it. The point is the same throughout.

Just think about it, if you looked through the portfolio of some of the best photographers in the world in 2005 they would be shooting with what is now, a throwaway camera. But these cameras are perfectly capable of producing images that most of us will never even make in our entire lives. We don't need anything else.

Which is why I believe it's better to buy a used professional grade digital camera than any new consumer grade model. Here's why:

• Price - buying a used digital camera on an auction or classified site can save you thousands. Take the Canon 1DS Mark II for example. Currently they are selling on eBay for about $1,000-$1,800, depending on the shutter actuations (how many times the shutter has clicked) a fraction of the $8,000 it was new just seven years ago.

• Performance - how many of us really need 20+ megapixels? Why, when most of us only view our images on the computer, or TV screen and 72dpi is good enough? If you are one of those few that makes giant prints, there's no reason why you can't make giant prints from a 16.7 megapixel file. Remember, they were doing it in 2005 when the Canon 1DS Mark II was brand new. Many of the worlds best photographers used that camera. Annie Leibovitz for one. And I haven't ever heard her complaining that it just didn't make large enough prints.

• Reliability - you get a lot more camera for your money when you buy a professional DSLR. This is true whether it's new or used. The weather sealing is often much better, the shutter lasts longer and the body is a lot stronger and more solid. Why not buy one that is five to seven years old and save yourself a boat load of money?

What you must remember is that when we shot film we didn't have 3 inch LCD screens. We didn't have anything, really. If you shot film at any point just remember what you would have given to have a 1 inch preview of your image. All you wanted to check was if you got the exposure correct or not.

There's definitely something to be said for the new technology. I own and shoot professionally with a Canon 5D Mark II. One of the best cameras ever made. And when it came time to buy a second body as a back up I looked really hard at what it was I really needed in a camera. And weighing up all my options I saved myself a ton of money and went with a used Canon 1DS Mark II. And besides missing a larger, sharper LCD screen and the built-in sensor cleaner, the only way in which the 5D Mark II beats the 1DS Mark II is when high ISOs are needed. This doesn't really concern me as I shoot with fast glass and have a steady hand.

So why not give the older top of the range DSLRs a chance? You just might find that you saved yourself a lot of money and are taking better photos. If not, you can always sell it and you won't take nearly the loss the first owner took on it. Which is kind of a nice feeling too.

For more information, please visit my website: Passport Foodie and Taylor Young Photography


Original article

Canvas Prints Which You Make Yourself Are The Ideal Personal Gifts

When it comes to thinking of original mother's day gift ideas, the key lies in taking the time to think about what your mum really cares about. Chocolates, flowers and perfume may well be politely received, but there's not really anything very personal about them, and if ever there was a day which is all about demonstrating you've taken the time to stop and really think about somebody, then surely it's Mothers Day? The whole point of buying gifts for Mum is that it's an opportunity to show her that you appreciate just how much she's done for you. After all, she's been there, quite literally, from the first moment you were born, and, no matter how old you get, she's the first person you turn to in times of need or when you require a shoulder to cry on. That's why it pays to take a bit more time and trouble and use your own photographs to make unique gifts such as photo calendars. Selecting favorite images from your own collection will enable you to build a calendar which any mother will hold dear to her heart. Whereas, in years gone by, the thought of printing your own calendar was something which would only have occurred to professional artists or those with access to the best in printing technology, the flexibility offered by digital photography means that it is now possible for anyone with a digital camera to print their own.

The first part of the process involves selecting the images you wish to feature on the calendar - in the case of mother's day these will almost certainly be pictures of the children or grandchildren concerned. Once you've done this, you can upload them to the website involved and then use the software to plan and lay out every page of the calendar. No experience in graphic design or computing is required since it's been specially designed to be instinctive and logical in nature, and the finished result can be modified to completely match your requirements. Once printed, it will be more than a match for those which are commercially available, whilst featuring images of a totally personal nature.

The same standards apply to the canvas prints which area available, meaning that you can produce a gallery standard work of art printed on top quality canvas but featuring a photograph form your own collection. Canvas photo prints of family photographs match the quality of anything produced by a professional studio, whilst also capturing the warmth and spontaneity of family snapshots. Using the very best canvas and the latest techniques, these prints will be gifts which delight on the day and continue bringing pleasure for years to come.

When it comes to finding original mother's day gift ideas which will demonstrate just how much the woman who gave you life really means to you, photo gifts are the perfect blend of the luxury quality and the totally personal. From canvas prints to photo calendars, they'll clearly demonstrate just how much thought you've put into the day.

Albelli is a subsidiary of Albumprinter BV, one of the largest European photo books & canvas prints suppliers active in the Netherlands, Belgium, Germany, France and the United Kingdom.


Original article

Advice For Buying a Camcorder

There are many great digital camcorders on the market today; each allows you to capture digital film in varying modes and quality. When searching for a new camcorder there is a range of things to be considered to make sure you find the perfect one for you.

For many years families and individuals have used camcorders to capture special moments and events. They allow us to physically record and replay things that have happened and keep video memories of our lives. Years ago the equality of home made videos was very poor, and thanks to this there was a great decrease in sales and interest in Camcorders. However today there are ranges of many great digital camcorders that record high quality footage that is easy to use, upload and edit.

There are huge distinctions between digital camcorders today, you can pick a simple one up for less than £100 or you could get a high end one for over £500. It is important to read a range of Camera Reviews to make sure you find the camcorder that is best for you.

When you are first considering investing in a camcorder you should ask yourself how much you are willing to spend, to get a good range of features, extras and functions you should consider it will probably cost you around 300 for a high quality camera. You should also consider the equality of videos you wan to take as you can get a whole range of video recorders from standard to HD and even 3D recorders.

Most people today choose to invest in digital Camcorders and they are higher quality, easier to use and are easy to upload and edit. Although there are still analogue camcorders on sale, so consider if you will want digital or analogue recording.

When looking for a new camcorder it can be useful to use Camera Review sites to help guide you through your options. You can even find a whole host of information on comparison websites such as Big Camera Shop. Here you can compare a whole range of cameras all on one place. They have some of the most popular and functional camcorders here that you can compare prices and specifications of. They have popular brands such as Canon, Sony and Kodak.

To learn more about camcorders you could go into your local camera shop and speak to an advisor about your options. Much like a digital camera it is really important to test drive any camcorder before you buy it. It is extremely important you check its quality and ease of use before you part with your cash, as you don't want to be disappointed with your purchase.

If you spend a lot of time taking digital photographs too you should also consider the video recording options on modern digital SLR cameras as sometimes the results can be just as great as those recorded off a camcorder, but you get digital camera and video recorder in one. The Big Camera Shop also has comparison options for al of the most popular digital cameras and the latest releases.

For more information visit: http://www.bigcamerashop.co.uk/

You could find variety of companies in the market who offers Camcorders which allows you to record videos. But it is very difficult to choose the perfect camcorders which fulfil your requirements. Visit Bigcamerashop.co.uk online read Camera Review about various camcorders. For more information visit http://www.bigcamerashop.co.uk/


Original article

Black and White Photos With Your Digital Camera

Most digital cameras allow you to take your photos in black and white if you wish. Some digital cameras have such a feature built in that will allow you to convert photos to black and white within the camera. Also, most cameras now come with some sort of editing software. If you take the photo in color you can adjust it to black and white with that software. Doing it this way, you have the option to use the photo either way.

There is a huge difference in the quality of black and white that you can create depending on the quality of the software that you use. If you are serious about your photography but don't want to spring for Adobe Photo Shop then Adobe's Lightroom is an excellent choice. I find it very intuitive. Much less costly particularly if you are a student.

If you have come into photography in the digital age then you may never have worked with or used black and white images. A couple of clicks can transform a photo from a simple recording of a place or an event into a work of art. (If you have a friend that has an old film enlarger or the availability of one at a school or some such, try your hand. It is a lot more work but real magic.)

If you have been just taking color pictures it is time to take things up a notch:

Pick ten photos that you have taken in the last 2-3 months. Open your software editing program. You will likely have gotten one with your camera purchase. If you don't have it available or don't like it then there are several free programs online. One such is PhotoScape. Quite simple to use and has a few interesting filters. There are only three different 'black and white' settings that are available but it gets one started.

With whatever software that you are using take your first photo and convert it to black and white. Save it as a separate file. Now you can make it a little more interesting by using the Brightness/Contrast settings. Make a couple of adjustments and then save that one to a different file name again. Open both photos and the color one and compare.

Don't be afraid to experiment. As long as you save the photo to a different file name than the original then you will be OK. Try some with people/portraits so that you can see what happens with skin tones and then some with landscapes or even a beach or sunset shot. You will be amazed - hopefully, in a good way. This exercise will also help you to pay attention to certain things next time you are shooting that particular type of subject. For example, if you want more detail in a portrait shot, you will likely try to change the light or settings next time.

While you are experimenting play with the brightness and contrast buttons. Try some extremes to see the what effects that you can create. There are many sophisticated photo editing programs but something like PhotoScape will give you some experience to see what you like and don't like. From there you can research to see the best software for your purposes.

If you are going to take photos that you are intending to convert to black and white note that colors will come out various shades of grey. Ideally one wants the full range from white to black in most finished photos. If you are shooting in very bright sunlight, when you convert you may end up with just white and black. If that is your intention it can be accentuated by using the Brightness/Contrast buttons again.

The most useful thing to do as with anything is to try it out as you are learning. Keep that balance. Don't try to study it all first but take one thing at a time and try it.

M Glyn authors the website http://www.photo-photo.com/ A photo website with tips and tricks on photography.


Original article

How to Photograph Art

There are some principles that go into taking the perfect shots of art. Below are some good photography techniques that many beginner photographers wondering how to photograph art may find useful.

When it comes to lighting in photography, direct sunlight is your best bet for artworks that involve shape, color, texture and dimension. Direct sunlight is not only the best source of light, but it is also cheap and easy to work with than other natural or unnatural light sources.

Try as much as possible to use the mid-day sunlight that approximately lasts between 10am and 4pm in order to get precisely rendered colors. Avoid as much as possible shooting in the early morning, late afternoon or evening when sunlight is redder as this may not produce accurately photographed artworks. Colors are easier in images shot under the direct midday sunlight.

Always try to fill the frame as much as possible with the piece of art when taking your shot. The last thing you want to do is have to crop your image as this makes you lose resolution. Get as close as possible to the artwork such that it almost fills your viewfinder. This will enable you to make the most of your camera's resolution.

It is very important to get your image in focus before taking your shot. Be sure to check and even double check the apparent sharpness. If your digital camera allows for the magnification of images on the LCD at least 5 times, do this. This should give you a sharp enough image, even when working with an amateur camera that does not zoom far.

When shooting glossy or reflective art, you should take care to avoid glare. Remember that the artwork, if flat, will behave like a mirror. As such, you will need to angle the glare away from the lens and camera. For instance, if photographing in a gallery, shoot the piece of art straight on with all its reflections showing so as to let you know its exact proportions.

When photographing art behind glass, keep in mind that glass is not clear, but it reflects like a mirror. In fact, the best way to photograph art that is behind glass is by taking off the glass. If it's not possible to take off the glass, light the art obliquely from the side and through the glass. You may then photograph straight into the image while hiding the camera, with the exception of the lens, behind something black, soft and non-reflective.

For more information on photography, please visit: http://www.photography-tips-and-resources.com/.

Joan One is a freelance journalist and creative writer who immensely enjoys writing and researching into any topic under the Sun. She specializes in writing "green" eco-friendly topics aimed at enabling environmentally conscious readers to find simple ways to reduce their carbon footprint and help save our planet.


Original article

Photography in a Rainforest

The amazing thing about walking in a rainforest is how your eyes deceive you into thinking that the light levels in there are fairly comparable with a regular kind of daylight exterior location. Nothing could be farther from the truth.

As soon as you pull the camera out of its bag and check the exposure levels, you will be amazed at how little light there really is. Long exposures are the only way to work and a tripod is a must.

We are all so used to seeing rainforest shots that appear to be well lit with the light streaming through the canopy that we sub-consciously imagine this to be the reality.

My experience of this environment shows that in order to achieve a low ISO setting it is necessary to work with shutter speeds of several seconds duration. If noise or grain levels are not a problem for you, then you may be able to get away with something in the order of 1/8th of a second, but clearly a tripod is still a good idea for such long exposures.

The discipline of working with a tripod for every shot is a good one. As most of us are used to hand-holding, a tripod causes one to take a breath, slow down and consider the important matter of exactly where to place the camera for achieving the coverage of the particular subject we are after capturing. We will work much slower than we may be used to, but the rewards of taking our time can be enormous.

The Australian rainforests seem to be relatively safe places to be, though I found that one slightly distressing experience was my encounter with several little blood sucking leeches. These little guys hang around under leaves and when a possible host passes by they propel themselves in their general direction with a great deal of determination and precision. I found myself (after stalking some twisted vines in a particularly dark area just off the track) to have fallen victim just below my neck when I put my hand there and felt this soft squidgy little body attached to me. Not knowing what it was at first, I panicked in trying to persuade him to leave the vicinity immediately. Instead of this he fell down into my shirt and straightaway latched on to my tummy area and started another feed there! After successfully knocking him away I became I slightly paranoid about any other of his chums finding me irresistible too. Despite extreme care not to brush against the undergrowth, when I arrived back at my car 2 hours later, I was bleeding in 4 different places - and I hadn't even managed to exploit them in a similar way and get any shots of them. Maybe the answer would have been to take a companion to act as a model with the little blighters.

If you ever find yourself fortunate enough to be in a rainforest......in the rain, beware the blood suckers amongst the wildlife, but enjoy the experience!


Original article

How to Photograph Fireworks Displays

It's easy to shoot fireworks and achieve spectacular results. Below are some useful tips on how to photograph fireworks displays.

The most important tip to taking great shots of fireworks displays is to secure your digital camera to something that will ensure that it doesn't move while taking your shot. This is especially important while shooting fireworks because this involves the use of longer shutter speeds which not only capture the movement of the fireworks but also any movement of your camera. You can still your camera and prevent it from shaking by using a tripod.

To ensure that your camera remains completely still during fireworks shots, invest in a remote release device. Alternatively, you can still take a shot without touching your camera, simply by using the self timer. However, this will require that you anticipate your shots well and be ready for a lot of hits and misses.

When photographing fireworks, one of the most difficult things you will need to learn is where to aim your camera and frame your shot. This is challenging because you need to aim your camera before the fireworks that you will be shooting go off. This calls for anticipating the shot correctly, by first scoping out your location early enough. You will also need to watch the horizons and determine whether a vertical or horizontal shot is best.

When shooting fireworks, another challenge you may face is having your camera trained on the right section of the sky at the right time. This is especially tricky when photographing with a longer focal length and attempting to take shots that are more tightly cropped. When it comes to the right camera aperture settings, you should use apertures in the mid to small range because the light emitted by fireworks is rather bright. You therefore don't need a fast lens and can shoot somewhere in the range of f/8 to f/16.

To take a great shot of fireworks displays, you will need to get your shutter speed just right as well. Remember that a good photo of fireworks requires nice long exposure to be able to capture the movement in the moving display. Shoot fireworks at a low ISO as this is likely to provide you with the cleanest shots possible. The general rule of thumb is to stick to ISO 100. And always remember to switch off your flash before shooting fireworks displays.

For more information on photography, please visit: http://www.photography-tips-and-resources.com/.

Joan One is a freelance journalist and creative writer who immensely enjoys writing and researching into any topic under the Sun. She specializes in writing "green" eco-friendly topics aimed at enabling environmentally conscious readers to find simple ways to reduce their carbon footprint and help save our planet.


Original article

Practical Digital Stock Photography Tips

Here are some useful digital stock photography tips to enable you to begin or improve your photography.

· Concepts - It is important to take some time to think about your concept. Study images by other photographers in magazines, websites, adverts, newspapers etc to get an idea of what your competition is doing. While doing your research, be sure to jot down your findings. Look for inspiration in other's work, without copying it.

· Lighting - Before you begin to shoot, ensure that your lighting is just right. Even if you will be shooting in natural light, you may want to wait to achieve the right lighting conditions. Try various setups to find what works best for you and keep in mind that even lighting is more useful for those who will buy your stock photography.

· Colors and Look - In digital stock photography, aesthetics are of great importance, and as such colorful and attractive images always sell better. Stock imaging isn't just about showing how things are, but how they would ideally look like. As such, you should aim at images that portray the world in an improved version of reality.

· Composition - In terms of composition photography tips, you will find that photos are generally more interesting when shot from unusual view points.

· Camera Settings - Take your shots using the manual modes on your DSLR. To avoid noise, check your settings and use low ISO. Before you press the shutter button, ensure that the ISO, white balance, speed settings and aperture settings are correct. Before taking an image, determine the proper settings for instance for when freezing an action, showing motion or even isolating the subject from its background.

· Post Processing in RAW - In order to improve your images and make them pop, you may have to make a couple of adjustments. For instance, when you set your camera to Raw format, you are more likely to have a better outcome than having to improve a JPEG image that is already compressed. While in the Raw format, you get to enjoy more control because you can improve tint, contrast, alter the white balance, increase or decrease shadows, increase or reduce saturation and so much more.

· Consistency - Be consistent in order to improve your digital stock photography skills. And always keep in mind that as with any other craft, practice does make perfect in this field of photography. You should therefore set yourself some goals and shoot a couple of images each day.

For more information on photography, please visit: http://www.photography-tips-and-resources.com/.

Joan One is a freelance journalist and creative writer who immensely enjoys writing and researching into any topic under the Sun. She specializes in writing "green" eco-friendly topics aimed at enabling environmentally conscious readers to find simple ways to reduce their carbon footprint and help save our planet.


Original article

Tips For Organizing Your Camera Accessories

When you have accumulated a lot of digital camera accessories through the years, you need to find a way to organize them. This way, you will be able to find what you're looking for in a fast and easy manner. When you know where you keep them, you save time and effort in looking for the things that you want to use.

Storing your accessories in the drawer is a good idea but if you're the type of person who keeps forgetting and want to find items quickly, you should use organizers that have transparent materials. If you have lots of lenses, for instance, you can actually use a shoe organizer that can be hung on the wall or on your door. Get a clear shoe organizer where you can slip in your lenses and grab them easily when you need to use one. If you need to hang it on the door, make sure it does not swing and bang on it or on the wall. Hanging it on the closet door is ideal as this does not get slammed too often.

These clear shoe organizers normally come in different sizes and colors. So get one that fits your personality. If you're the creative type, however, you can create your own design using durable materials.

With regards to cables, there's also an easy way to organize them. Did you know that the toilet paper roll is very helpful? Yes, that's right.

This toilet paper roll that is often used in school and art projects can also be used to keep and protect your cables. If you have several cables to organize, just get a shoe box or any medium sized box and the appropriate number of paper rolls. To keep your cables intact, fold them according to the length of the toilet paper roll and simply put them inside. To make sure that they don't fall, you can tape the rolls together.

Another option is to buy a plastic box organizer of just the right size to store your cables. There are boxes that have a handle outside similar to a tool box and have divisions inside as well. You can check out online or in physical stores to be sure you're getting what you really want.

Having a good camera bag is also best. Find one that has various compartments to accommodate your digital camera accessories. There should be compartments for lenses and filters, batteries, memory cards and your camera. For the memory card, normally there's an inner pocket with a zipper that you can use to keep and protect your storage cards.

Being organized in your personal belongings is an admirable trait. It shows that you value your possessions and you want them to last long.

As owners of digital cameras, it is also your responsibility to find ways to store your device and accessories properly. This way, you eliminate the chances of getting them damaged. Keep in mind that when you care for your camera, it will also stay with you for a long time.

For information about camera stores, visit 42photo.com, New York's legendary camera store in business for over 40 years.


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