So You Want To Make Money With Photography

Sony Digital Camera

2010-07-02T01:51:00.000-07:00

Sony Cyber-shot DSC-S950

Unfortunately, detailed information was not available on the Sony S950 at press time, although we do know that the latest in the company's S-series will be based around a 1/2.33" SuperHAD CCD image sensor with 10.1 megapixel resolution, coupled to a 4x optical zoom lens. Equivalent focal lengths will range from 33 to 132mm, while the maximum aperture varies from f/2.5 to f/5.6 across the zoom range. Macro focusing will be possible down to a minimum of five centimeters. The S950 will forgo any optical viewfinder in favor of a 2.7" LCD display with 230,000 dot resolution.

The Sony Cybershot S950 will be limited to a maximum ISO sensitivity of 3,200 equivalent, and will not offer true mechanical image stabilization, instead opting only for Digital Image Stabilization which functions by raising the camera's sensitivity (and along with it, the noise levels) so as to achieve a higher shutter speed and reduce motion blurring. The Sony S950 will also include face detection capable of identifying eight faces simultaneously, and will take into account the locations of detected faces when calculating autoexposure and autofocus variables.

Other features of the Sony DSC-S950 will include six scene modes, Motion JPEG AVI video, in-camera red-eye correction and image cropping, and a multi-function terminal that will cater for both USB / video output and DC input connections. The S950's 25.9mm thick body will be available in three colors - silver, pink and black. Pricing is expected to be in the region of $130, and availability has not been disclosed at this time.

Canon Handycam

2009-10-18T05:51:00.000-07:00

Canon Australia today strengthened its Standard Definition video camera offering with the announcement of two new models - the Canon MD225 and DC310. Both models boast advanced features, solid performance and comfortable compact design, transforming family moments into long-lasting memories. The Canon MD225 records to Mini DV and the Canon DC310 records to Dual Layer DVD, offering users the opportunity to select their preferred format.

"Canon's versatile Standard Definition range is designed to be appealing and user friendly for families or first-time video camera users, seeking a high-quality video camera at an accessible price point," said Tamara Hohnberg, DV Product Manager, Consumer Imaging Products Group, Canon Australia. "The MD225 and DC310 incorporate the Canon trifecta - high-quality lens, advanced image sensor and powerful DiG!C DV II processor - to ensure excellent results every time."

Superior Canon Technology
Both the Canon MD225 and Canon DC310 feature a 41x Advanced Zoom Lens - Canon's longest optical zoom on a video camera to date - enabling users to achieve increased magnification of their subject without reducing image quality. The long optical zoom couples with Canon's unique Image Stabilizer technology to allow even distant subjects to be captured clearly and accurately.

Powered by the intuitive DiG!C DV II, Canon's most powerful video image processor, the new models capture superb videos for long-lasting memories that can be played back in years to come.

Quality Features
Ultra-fast QuickStart delivers start-up in less than 0.7 seconds, so users never miss a moment. Additionally, this function switches the camera to standby mode and automatically shuts off to preserve battery-life. The LCD Video Light is also a great new feature made available for the first time in entry-level video cameras.

Novices can easily become experts with the Canon MD225 and DC310 digital video cameras. Canon has incorporated various modes from Easy mode to Sunset mode and level markers so anyone can film like a pro. The new models feature a 2.7-inch widescreen LCD for dramatic playback and viewing, joystick navigation of menus, plus a large colour viewfinder. Recording in high-resolution Real Widescreen (16:9) means families can watch picture-perfect movies on their widescreen TV.

The DV cameras feature Canon's ergonomic design, are sleek in appearance and fit comfortably in the hand with all key buttons within easy reach. The joystick is positioned beside the LCD display to make menu selection more intuitive and to aid steady filming while operating controls.

Both video cameras come with additional features such as still photo shooting to card and extended recording time with dual layer DVD available in the DC310. The MD225 incorporates a microphone jack, resulting in greater flexibility and choice for the consumer.

Garansi	: PT Datascrip
Ukuran CCD	: 1/6-inch CCD In "
Optical	: 41 x
Battery	: Lithium
LCD	: 2.7 "
Rp. 2,000,000

Flash Meter Sekonic L-358

2009-05-01T00:25:00.001-07:00

Full-Featured Flash Measurements
1. Cord Flash Mode
2. Cordless Flash Mode
3. Multiple Exposure, Cumulative Flash Mode
4. Radio Triggering Mode
Optional Plug-in Radio Transmitter Module

Electronic flash units and/or cameras can be triggered wirelessly from either the L-358 or L-558 CINE meter’s optional plug-in, multi-channel digital radio transmitter. No more tripping over synch cords, or fumbling with PC connectors. Compatible with all PocketWizard Digital Radio Receivers, these meters can simultaneously trigger and measure your electronic flash units up to 100 feet away. You can also select through the meter’s software, “Quad Triggering mode” which provides you with up to four zones of lighting control remotely. Now you can individually measure several flash units wirelessly with the touch of the meter’s measuring button, without walking over to each light and turning them on or off. You can even trigger motor driven cameras from the meter. Part of the Digital Wireless Freedom system, the L-608, L-608CINE and L-358 are wireless exposure meters and exposure makers.

Optional Spot View Finders Parallax-free 1°, 5° or 10° (angle of acceptance) precise spot metering viewfinders attach quickly and easily to the meter's receptor head.

Full compatibility with PocketWizard
PocketWizard is an established manufacturer of the most reliable digital wireless triggering systems in the industry. They offer two different radio-triggering systems, the PocketWizard Plus (an affordable and reliable 4 channel Transmitter and Receiver system) and the PocketWizard MultiMAX Transceiver (an advanced 32 channel Transceiver radio triggering system with Trigger Time Control software). Both systems are completely compatible with the optional Sekonic digital radio module. Previous PocketWizard radios are also fully compatible (Classic 10 and 16 channel, and PocketWizard MAX). All PocketWizard units offer the greatest operating range, reliable triggering and sophisticated advanced features.

Optional Accessories
Radio Triggering Module RT-32 - The Radio Transmitter Module plugs directly into a built-in compartment behind the battery door. Compatible with both the L-358 and L-608 (also L-608CINE), the Transmitter module triggers the electronic flash units wirelessly as the meter takes a measurement. Channel ID’s are easily selected through the meter’s built-in software. (CH 1-16 Single Remote Triggering, CH 17-32 Remote control “Quad Triggering”), compatible with PocketWizard Digital Radio Slaves.

Sony Handycam

2009-04-15T05:56:00.000-07:00

Superb results from advanced Sony technology. With a ClearVid™ CMOS sensor (with Exmor™ technology) and BIONZ™ image processor, the DCR-SR220 Handycam® camcorder captures vibrant, high resolution video and still images that please the senses. Its dual record mode even lets you take 4 megapixel photos while recording video directly to your choice of either the built-in 60GB hard disk or removable Memory Stick Duo™ or Memory Stick PRO Duo™ media.

2.3 Megapixel ClearVid™ CMOS Sensor (with Exmor™ Technology) and BIONZ™ Image Processor

Sony`s newly designed CMOS image sensor with delivers bright, vivid, and spectacularly detailed 2.3 megapixel (effective) video footage, as well as 4 megapixel still images -- all with prolonged battery life. Exmor™ technology captures images with high resolution and high sensitivity. In addition, the advanced Sony BIONZ™ image processor improves camera response time and screens out noise so the signal from each pixel is as pure as possible.

BIONZ™ Image Processor

The advanced Sony BIONZ™ Image Processor uses hardware-based Large Scale Integrated (LSI) circuitry that improves camera response time, screens out noise before RAW data conversion, handles Dynamic Range Optimization processing, and prolongs battery life.

Exmor™ Imaging Sensor

Exmor™ technology captures video and still photo images with high resolution, high sensitivity, and exceptional detail. Advanced on-sensor A/D conversion yields rich tonal reproduction with high signal-to-noise ratio.

Face Detection for Video Footage and Digital Still Photos

Made possible by the BIONZ™ image processing engine, Face Detection technology recognizes up to 8 faces anywhere in the frame and automatically controls focus, exposure, and color to help capture smiling faces brightly and clearly. Face Detection also helps make skin tones look natural without affecting other colors in the image.

15X Optical / 180X Digital Zoom

The optical zoom helps to bring the action close up from far away. In addition, Digital Zoom Interpolation means that extreme digital zooming is clearer, with less distortion than previous types of digital zoom.

2.7` Wide¹ (16:9) Touch Panel Clear Photo LCD Plus™ Display (211K Pixels)

The 2.7` Wide¹ (16:9) LCD screen provides exceptional viewing clarity with improved resolution (211K pixels). The display rotates up to 270 degrees for multiple viewing angles, as well as provides sharp, detailed images for monitoring or playback. The widescreen format makes shooting in 16:9 mode and composing shots even easier.

Hybrid Recording to Hard Disk Drive or Memory Stick® Media

Hybrid recording technology delivers a new level of flexibility for transferring your video footage and digital photos from the camcorder to compatible viewing devices. Record to the camcorder`s internal hard disk drive, or choose instead to record to removable Memory Stick Duo™ media or Memory Stick PRO Duo™ media. You can even select from various dubbing functions to easily copy video or still images from the hard disk drive to Memory Stick media -- without using a PC. Images recorded or transferred to Memory Stick media can then be played directly on a PS3 or PC to share your memories with friends and family.

Dual Record-2

While recording video in High Definition you have the ability to capture still images directly to Memory Stick Duo™ media (sold separately).

Memory Stick PRO Duo™ Media Slot

Capture still images directly onto Memory Stick PRO Duo™ media (sold separately) for easy transfer to PCs for emailing, printing, or sharing with other compatible Memory Stick® devices (sold separately).

Quick On-2

Missing an important scene can be frustrating, especially if the reason is because your camcorder is turned off. With the Quick On feature, the touch of a single button places that camcorder in Sleep mode. Another push instantly wakes the camcorder, so you`ll always be ready to capture special moments.

Built-in zoom microphone with 5.1ch recording

Featuring Dolby® Ditigal 5.1 Creator, the built-in zoom microphone focuses audio recording on your subjects in sync with the camera`s zoom lens, helping memories ring true with clear dialogue and crisp, discrete sounds.

Dolby® Digital 5.1ch Recording

Record in Dolby Digital 5.1ch surround sound with the camcorder`s built-in microphone. Recording in 5.1 channel surround sound allows you to experience your home movies with active sounds coming from all directions, so you can enjoy your personal home movies the way you experienced them while recording.

Dynamic Range Optimizer-2

Powered by the exclusive Sony`s BIONZ™ high-speed processing engine, D-Range Optimization preserves image data in bright highlights, such as suppressing `whiteout` in skies. When shooting in backlit settings, D-Range Optimization reveals more detail in shadows, preventing `blackout.` As a result, the captured image appears as natural as the original scene.

Easy Handycam Button

Using a camcorder can be intimidating for some people. With a press of the Easy Handycam Button, most of the advanced features of the camcorder are `locked out,` letting you focus only the buttons essential for recording.

Professional Quality Carl Zeiss® Vario-Tessar® Lens

Carl Zeiss® Vario-Tessar lenses are designed specifically for compact camcorders, and utilize precision ground optics to maintain the sharpness and contrast found with larger lenses.

Active Interface Shoe-2

Sony`s proprietary hot shoe makes it easy to use Intelligent Accessories, such as external lights and microphones, by providing power and on/off capability directly from the camcorder.

USB 2.0 Interface⁶

The USB 2.0 interface⁶ provides an easy way to connect your camcorder to a PC for fast transfer of video and still images for editing.

InfoLITHIUM® Battery with AccuPower™ Meter System

Unlike NiCad (Nickel Cadmium) batteries, Sony`s rechargeable Lithium Ion batteries are not subjected to a life shortening `Memory Effect,` so you`re free to charge the battery at any time. Additionally, Sony`s exclusive AccuPower™ meter displays the battery time remaining in minutes, in either the viewfinder or on the LCD screen.

Stamina® Battery Power Management System

When using the Sony InfoLITHIUM® Battery, the Stamina® Battery Power Management System helps the camcorder prolong battery life for extra long continuous recording times from a single charge.⁷

Battery Information

At the touch of a button, battery information is displayed on the LCD screen when charging and when the camcorder is turned off. When using the LCD screen or viewfinder, the display will show how much the battery is charged -- in 10% increments -- and the recordable time left.

Fader Effects

Enhance your personal videos by adding professional looking fader effects. Choose from Black and White.

Scene Selection Modes

Scene Selection modes make recording easy even when filming in challenging situations. Choose from Beach, Candle, Fireworks, Landscape, Portrait, Sports Lesson, Spotlight, and Sunrise & Sunset.

Picture Effects

Get creative when recording or playing back your videos with Sony`s Picture Effect Modes. Effects available in Camera mode: Monotone, Pastel and Sepia. Effects available in Playback mode: Monotone, Pastel and Sepia.

Face Index-2

Face Index makes it easier than ever to find and play back the right video scene. Using Face Detection technology, Face Index indexes your video footage according to the faces detected in each scene. When it`s time to play back video, simply search for what you want by selecting from among the detected faces displayed in the index.

Film Roll Index-2

Like chapters in a book, Film Roll Index helps you easily find desired scenes in video footage. When using this feature, the camcorder previews the beginning of scenes and can create scene indexes set at specified display intervals (3, 6, or 12 seconds and 1 or 5 minutes).

Manual Focus

Manually adjust the focus of the camcorder using the touch panel. Manual focusing also allows the user to control the focus in difficult situations where either the environment or the subject does not allow the camcorder`s auto focus to perform optimally, such as when shooting through a window or in a crowded environment.

One Touch Disc Burn

Easily burn a DVD copy of your footage using the supplied software. Simply connect the camcorder to your PC via a USB cable and press the One Touch Disc Burn Button.

On Screen Zoom and Record Buttons

For additional control of the camcorder, Zoom and Record buttons are features on the frame of the LCD screen. This allows for more flexibility when holding the camcorder, especially in overhead or low angle shots.

Progressive Shutter System

A mechanical shutter system that provides progressive scan performance while utilizing an interlaced scanning system. Digital still images will be sharp and clear with excellent definition.

Super NightShot® Infrared System

With the Super NightShot Infrared System, you can capture video in total darkness (0 lux) up to 10 feet away.

Multi-Language Menu

Change the menu display from English to English (Simplified), Canadian French, Latin American Spanish, or Brazilian Portuguese

Sony Alpha A200 User Report

2009-03-16T01:57:00.000-07:00

Sony's Alpha line got off to a slow start until late Summer of 2007, when the company introduced the Sony A700, their camera for intermediate photographers. This year, things sped up. In January 2008 Sony introduced the A200, and less than a month later they followed up with the A300 and A350 in the same body style with a few more features than the A200. All three of the digital SLR cameras introduced this year are aimed at the consumer SLR market, and are surprisingly simple to use.

Omitting the Function dial/button combination has done a lot to make setting the Sony A200 and its brothers easier to use. Most settings are available via a button, with the drive and ISO buttons on the top deck, and less commonly changed items nested in the Function button on the back.

The Alpha A200 is smaller and lighter than the A100, though still a little larger than the Canon Rebel XTi. It's really not that different from the A100 in look or feel, with dimensions of 5.2 x 3.7 x 2.8 inches (133 x 95 x 71mm), and weighing 22 ounces (625g) with a battery and card loaded.

Look and feel.

There's really only one major physical change from the A100 that affects both the top and the back of the Sony A200, but it makes a big difference. Here on the back, there's a new Function button that brings up a simply worded Function menu for easier access to commonly changed items. The A100 had a Function dial on the top deck that was a little more difficult to use. To change ISO, for example, you had to look at the top deck so you could turn the Function dial to ISO and press the Fn button nestled in the center of the dial, then tilt the camera forward to look at the LCD, and use the Controller or Main dial to select the ISO. Having the Fn button on the back makes more sense, because your main interface to the camera is the LCD.

The 2.7-inch LCD is a little wider to accommodate the 3:2 aspect ratio of the Sony A200's sensor. The images still don't fit exactly in the frame, slightly letterboxed with a black bar top and bottom. Note the new battery indicator icon with the numerical percent-remaining display.

Another minor change is the left-right orientation of the Super SteadyShot switch on the back, and the deletion of the Remote connector, which has been moved to the left side of the Sony A200, under the rubber door, a much better location.

With the Function dial now replaced by software, the Mode dial has room to move to the left side of the pentamirror housing, making the top deck very clean. The Drive button has been moved left to make room for the ISO button. This used to reside on the Function dial, but I think ISO is important enough to warrant its own button. I use both of these buttons quite often. Note the addition of something that was missing on the Sony A100: the Focal plane indicator just right of the ISO button.

There's one additional icon on the Mode dial: the No-flash Full-Auto mode, for when you don't want the Sony A200 to exercise its new ability to pop up the flash.

Missing from the front of the Sony A200 is the depth-of-field preview button, which was present on the A100. Sony might have thought it wasn't worth the extra cost for a feature that most consumers won't know how to use. Frankly, I seldom use the feature myself on other SLRs. It's hard to see much difference in such a small viewfinder, and it's easier to just snap a shot and zoom in on the larger LCD screen. Whatever the reason, it's good to consider if optical depth-of-field preview is important to you. Though that begs for such a feature with the Live View mode, I doubt the tiny secondary sensor would do much better than my eye with the lens stopped down.

Sony A200 Overview

2009-03-08T16:45:00.000-07:00

by Shawn Barnett and

Siegfried Weidelich
Preview Date: 01/06/08
Full Review: 03/13/08

Sony's Alpha A200 is a relatively minor revamp to the electronics giant's first digital SLR, the A100, which itself was a more significant step up from the Konica Minolta 5D. The Sony A200 is lighter and smaller than the A100, and a good deal easier to use.

Sony claims improvements to the Sony A200's AF system that will make focus acquisition 1.7 times faster, thanks to the high-torque AF motor and improved AF sequence borrowed from the A700, and our test results do indicate a significant improvement.

Sony's Alpha-mount lens system is the oldest SLR autofocus system in the business, going back 28 years, so there's a broad and growing selection of lenses to choose from.

The Sony A200's 10.2-megapixel sensor is the same resolution as its predecessor, but it's said to let more light reach each pixel for lower noise and more detail.

Shaped to better match the sensor's 3:2 aspect ratio, the Sony A200's 2.7-inch "Clear Photo" LCD has an anti-reflective coating for easy viewing in the sun, and 230,000 pixels.

A new LCD-based function menu replaces the old dial-based function menu on the A100, and many of the menu functions and systems from the Sony A700 have made their way into the Sony A200.

New to the Sony A200

is a pop-up flash, rather than the old "pull-up" type. Now this consumer camera can deploy the flash in auto modes when necessary. Like most other digital SLRs, the user deploys the flash with a button on the left side of the lens mount housing, by the Sony A200's big orange Alpha logo.

The old battery icon has been augmented with a "percent remaining" indicator on the Sony A200, which reads "100%," in addition to displaying four bars to indicate battery status. Sony has created a new vertical battery grip (VG-B30AM) for the Sony A200 that duplicates many of the controls necessary for vertical shooting, and holds two InfoLITHIUM batteries, making the camera capable of shooting up to 1,500 shots.

Eye-start Autofocus, also from the A100, starts up the autofocus system so the Sony A200 is ready before you even match your eye up to the frame in most cases. Super SteadyShot sensor-based stabilization reduces blurry images with any lens mounted. Sony claims up to 3.5 stops of extra exposure with their body-based image stabilization system. Anti-dust is also built in, with a static-free coating on the CCD's filter that is shaken each time the camera is powered off.

The Sony A200 kit (DSLR-A200K) comes with a DT 18-70mm (3.9x) f/3.5-5.6 zoom lens for an estimated US$600.

A separate Sony A200 kit (DSLR-A200W) includes two lenses: the DT 18-70mm mentioned above, and a 75-300mm f/4.6-5.6 telephoto zoom for an estimated US$800.

Sony Cyber-shot DSC-H20

2009-03-02T16:38:00.000-08:00

Following in the footsteps of last year's H10 model, the compact, high-zoom Sony H20 adds more resolution, a 720p movie mode, and an array of intelligent capabilities that were lacking in the previous model. Based around a 1/2.3" SuperHAD CCD image sensor with 10.1 megapixel resolution coupled to a Carl Zeiss Vario-Tessar branded 10x optical zoom lens, the Sony H20 offers equivalent focal lengths that range from a rather tight 38mm wide angle to a powerful 380mm telephoto. Maximum aperture varies from f/3.5 to f/4.4 across the zoom range, and macro focusing is possible down to a minimum of two centimeters. The H20 forgoes any optical viewfinder in favor of a 3.0" LCD display with 230,000 dot resolution. The Sony Cybershot H20 offers ISO sensitivity ranging from 80 to 3,200 equivalent, and includes both true mechanical image stabilization - a must for a lens with this kind of reach - as well as Digital Image Stabilization which functions by raising the camera's sensitivity (and along with it, the noise levels) so as to achieve a higher shutter speed and reduce motion blurring.

The Sony H20 also offers face detection capable of differentiating between children and adults, recognizing and prioritizing one specific individual's face whenever they're present in a scene, and detecting when your subject blinks during an exposure. The H20 takes into account the locations of detected faces when calculating autoexposure and autofocus variables. The Sony Cyber-shot H20 also features in-camera retouching capabilities, with soft focus, fish eye effect, cross filter, partial color, retro, radiation, red-eye correction, trimming, unsharp masking and smile effects on offer. There's also ten scene modes plus an Intelligent Scene Recognition mode which automatically chooses between a subset of these modes. All of these intelligent features were absent in the previous H10 model, and should make the H20 a much more approachable camera.

Other features of the Sony DSC-H20 include 720p MPEG-4 high-definition video with mono audio, a Dynamic Range Optimizer function, and both USB / video output connections. TheH20's body is only available in black, and pricing is expected to be in the region of $280. Availability is expected to be April 2009.

Introduction To Fashion Photography

2009-03-01T06:36:00.000-08:00

This was my first lone fashion shoot. I had taken fashion workshops and classes where an instructor and other students were there to assure my ideas and thoughts as well as lend a hand to make sure everything attempted was successful. In this instance I was working with an agency for the first time and I had only met my model, makeup artist and hair stylist that morning when I came in.

Having been blessed with a model that is open to being creative and feels comfortable with you and the rest of the team is the only was to getting great shots.

Models who are timid or unfamiliar with you or your work will be less willing to try different ideas and the way they are feeling comes through in the photos loud and clear.

When doing a shoot I always start with a self check. Am I ready? Do I know what I want to achieve? Is my equipment ready? Do I know where I want the shoot to go? If you are unsure of what you want, or are doing, then the rest of the team who look to you for direction will also be very unsure of what they are doing. This leads to confusion and a loss of time and money, not to mention bad work.

I try and get the team together before the shoot or at least in one place at the start of the shooting day. The best time is while the model is in the chair getting ready for hair and makeup. I like to discuss the shoot and know my team’s ideas and input as well as what they want to achieve with the shoot.

In the case of this photo - the model was trying to get some creative shots for her portfolio and the makeup artist was trying to expand the types of looks she had already in her book. The model was very outgoing and open to trying different locations, poses and even was happy to play with creative wardrobe, since there was no stylist on board that day.

I usually also like to carry different props and accessories with me on all my shoots. Lots of shots can go from ordinary to amazing with the help of a fan, a hat or other items. I also bring things such as plastic fruit, ribbons, hair bows, clips pins, rub on tattoos, anything to make a shot extraordinary. Always try to push the envelope a bit. You always want your work to stand out from the crowd, not blend right in. I like to check and see what other photographers are doing; I then go as far away from it as I can.

This shot was taken in a small meeting room that had a tan painted wall. I turn out all the lights and used one medium soft box with a modeling light. I turn on my fan and just let the model do the movements she felt comfortable with.

The makeup we chose was very fresh and dewy using soft tones with lots of shimmer on her arms and body. Her hair was left long and loose to work with fan.

The model was not afraid to move and tried different things like jumping, hopping laughing, using her arms and legs, bending over and using her head and neck to make different angles for the camera.

Sometime models tend to get caught up in only use their eyes with the camera. They try to hard to connect with the photographer and the shots become boring. A models film should have a huge variety of movement and angels and a yes there will be some really bad shots hopefully mixed in with some really good ones.

This shoot was one of my most successful yet as another shot taken an hour after this one also landed me my second cover with another one of the shots used on a full page inside the magazine.

Teamwork, feeling confident and being creative are the most important keys to getting a good shot.

Travel photography

2009-02-22T08:15:00.000-08:00

Welcome to the section of PhotographyTips.com that deals with the exciting world of travel photography.

TIPS FROM PREPARING FOR DEPARTURE TO RETURN

Whether going on vacation, traveling for business, just passing through or living on the road, the information, pointers and hints provided here will help to get you started right, with the right equipment properly packed, and will have you taking great travel pictures. We even tell you how to get them and your camera safely home, avoiding theft and film-fogging caused by harmful x-rays in airports.

GOT A HOT TRAVEL PHOTOGRAPHY TIP OF YOUR OWN?

We hope you enjoy and benefit from your visit to this section. Itâ€™s full of useful travel photography tips. But, with such a wide-ranging topic and so many places in the world to take pictures, we canâ€™t have listed everything there is to know.
So, we invite you to send us your tips on travel photography. If you can include a picture that illustrates the tip, so much the better. If we use the information or your picture on the site, we will be happy to list your name as the provider of the tip and give you a photo credit. Ah, the fame and the glory!
Bon voyage, and happy picture-taking.

Olympus E-520 SLR Digital Camera with Olympus 14-42mm Zuiko ED Lens

2009-02-16T01:46:00.000-08:00

The Olympus E-520 SLR Digital Camera combines the versatility, performance, and image quality of a professional SLR, with the simplicity, compact size and ease-of-use of a consumer point-and-shoot digital camera - making it an ideal camera for photo hobbyists and serious digital photographers alike. The high resolution 10-megapixel Live-MOS image sensor combined with the TruePic III processor gives you better color and quality with true-to-life skin tones, brilliant blue skies, precise color transitions, more detail and less image noise - plus the high resolution provides you with the flexibility to crop your images and still produce large, detailed prints.

The 2.7" HyperCrystal II LCD enables images to be beautifully displayed in vivid color, even from 176-degree viewing angles or in bright sunlight, and the Autofocus Live View feature provides users with the choice of framing images with the viewfinder or on the LCD Display, making it simple to preview and review your images, and is the perfect tool for macro, portrait or even landscape shooting. The ergonomic and lightweight design of the camera body means that the camera will be comfortable to hold even after a long day of sightseeing, and the E-520 makes it easy to shoot like a pro with 20 intuitive Scene Select Modes like Fireworks, Night Scene, Portraits and even underwater modes.

The E-520's industry-leading Image Stabilization technology, which is built into the camera body, compensates for movement so you can capture blur-free shots with any lens -- even at slow shutter speeds. It uses a gyro sensor to track the movement of the camera and automatically compensates for it by moving the image sensor so blurriness is minimized or even eliminated. The image stabilization system can also be activated to assist you in low light settings. Furthermore, the Professional quality Zuiko lenses that Olympus has developed for the Evolt SLR Cameras are designed to work perfectly with all of the camera's digital technology so your pictures will have exceptional color and clarity, and a broad selection of lenses is available. The E-520 also solves the dust problem commonly found with SLR Cameras by providing a proven anti-dust system so your pictures will be spotless - every time.

Special Price- $ 649.99 + Free Shipping

Quick Photoshop Effect Tutorial

2009-02-12T07:25:00.000-08:00

In modern photography, dyes where used to dip the printed black and white photo and recreate that “aged” look. The age looked is still popular and much simpler and less messy to accomplish in digital photography using photo editing software such as Adobe Photoshop.

While there are several techniques and third party plug-ins you can use and purchase to accomplish the sepia toned look in a digital photograph, the technique I explain below is quick and simple and doesn’t require fussing with duotones or quadtones. I picked this technique up from a digital photo lab I use and this is basically how they convert their images to sepia tone.

My directions will be for Photoshop CS2, however, this will work in any Photoshop version on a PC or Mac. Additionally, other image editing software that has a color balance option will work as well.

Step 1

Open your color image in Photoshop. FILE>OPEN (see Image 1)

Step 2

You will need to convert your image to Black and White. I use image editing plug-ins to accomplish this, however, for simplicity, you can use Photoshops “Desaturate” option: IMAGE>ADJUST>DESATURATE . This will provide you with a grey scale version of your color image. See image 2:

Step 3

You’re now ready to create your sepia toned photo. From your Photoshop menu, select: IMAGE>ADJUST>COLOR BALANCE:
You now should see your dialog box at teh top of your dialog box, there are 3 small input boxes where you will input the following information (see image 3):

First box, place the number 30

Second box, leave it at “0″

Third box, place a -20 (that’s minus) in the box

You will notice that the sliders below the input boxes will move toward the Red channel and the Yellow channel. You should now see that your image has transformed from a black and white photo to a sepia toned photo. You can experiment with the tone by adjusting the numbers or sliders, but the combination I have provided makes for a mild sepia toned image.

I have found that the best images to convert to sepia tone are those with good highlights in them and images that are not heavy in vegetation or have lots of dark areas. While any image can be converted, not every image will look good as a sepia toned image.

Shooting Light at Night

2009-02-10T07:01:00.000-08:00

At night a host of different exposures can give a myriad of different and impressive results. Anything can happen, and that's the beauty and excitement of shooting at night. Each shot is unique. The hour after sunset is usually the best time to shoot. City lights start to dot the landscape, yet enough light from the setting sun remains, enough to soften harsh contrast on subject matter. I use high speed film when I shoot at night, Fuji 400 to 800 ASA or Kodak 400 to 800 ASA. High-speed daylight color film intensifys warm city lights and deepens the deepest blues of the twilight sky.

When I shoot in low light, I travel light. I get by with a tri-pod, my wide angle lens, and cable release. Shooting at night is a whole new way to paint with light on film. I find my subject and open up the aperature and slow down the shutter speed. I usually shoot at 1/60 sec. or slower with aperature set to the largest f/stop allowed. Colors remain rich and adding a flash to the mix can bring out some unique results.

If you're looking for exact or correct exposure of your subject, move in close enough to meter the lighted area of the subject. Avoid any stray light that may directly enter your lens. Stray light will throw off your reading. Often shooting at twi-light or into the night is educated guess work. I like to bracket my exposures. I leave the f/stop fixed and alter my shutter speed one stop on either side of the metered exposure. If I want to increase the effect I'll extend the exposure by two shutter speed stops. If your shooting with slower film or have set your ASA/ISO reading to 200 to 125 on your digital, doubling your exposure time is suggested.

The photo of this office building was shot at 1/30 sec. at f2 using Kodak 400 ASA film. This shot was taken within 30 minutes of sunset.

Eye Examination Photograph - Slit Lamp

2009-02-08T07:19:00.000-08:00

This is a photograph shot inside an operating room. There was no operation in progress during or after the image was photographed. However, an examination is quite a daunting process for an ophthalmologist, when the patient is an infant. Infants obviously tend to get scared of lights being shined into their eyes by strangers!

Anyway, as a photographer in an OR, it is a very different experience from shooting in your own studio. For one thing, a medical photographer has to come to terms with the fact that his assignment is NOT the most important work going on at any given minute, and the photographer does have to take the backseat. By this, I do not mean to imply an ego hassle. The fact is, that a photographer needs to understand that he does not have the freedom to set up lighting conditions to his preference. Also, the photographer rarely gets the opportunity to get a posed shot. To put it in a nutshell, a medical photographer needs to have a quick mind, a good versatile on camera flash and an adjusting attitude.

The attached image shows the slit lamp examination of the eye of an infant. The child is sedated before the examination, so as to allow the ophthalmologist enough freedom to perform tests. When the doctor focused the slit lamp on the eye, it provided the right opportunity to shoot an image that would depict the procedure. The slit lamp light on the eye could easily have been lost if a fast shutter speed was used. Of course, a flash WAS used to shoot the image. However, it was bounced off a wall so as to soften the light. Also, the image was slightly underexposed to allow for the slit lamp light to come through. The flash lasts for a fraction of a second, and speeds as high as 1/250 second are enough to sync the shutter with the flash. The flash duration is less than 1/1000 of a second by the way. Now, balancing flash light with ambient light is the mark of a good photographer, be it medical imaging or any other indoor/outdoor photograph. In this case, a slow shutter speed was used to be able to capture the light on the eye.

It is very important for a photographer to keep a cool head in a situation as this. The infant was anesthetized just for a few minutes, so the doctors work deftly on their tests. There are not many second chances if you miss a good image in a place like this, so knowing your equipment like the back of your hand does help. You wouldn’t want to use a new camera/flash model in an OR, just as a good hunter wouldn’t go after the prize catch with a new rifle! Lastly, when in doubt, shoot extra. That goes in terms of number of shits as well as the composition. You can always crop later!

Children in the Studio

2009-02-06T07:11:00.000-08:00

Photographing children, as in most people, has a lot less to do with my equipment, lighting and props, than with my rapport with my subjects and the environment I provide or seek out for them. The environment has just as much to do with the subject’s comfort and demeanor as it’s actual presence in the shot.

For example, these girls are sisters, they were rolling around a platform of down and pillows, ribbons and bows, frolicking together, like they might on their own bedroom floor. As is ideal, I was eventually just a guest to their fun, instead of a photographer trying to illicit some trained response from them. Their smiles are genuine because they are smiling for one another, not for me. The pillows and ribbons are never seen in the shot, but are as important as the girls themselves.

On the viewer’s left is the older of the two sisters, not looking at the camera. In traditional photography, the subject’s lack of eye contact with the lens could have been seen as a flaw and this print may have ended up on the darkroom floor. Modern photography is much more in tune with seeing people as they are, as natural as possible, which is most often captured when they are not intently staring at the camera. I would say my best portraits are those where my subject is looking elsewhere. No where is this as evident than with children. If a child is looking at me, they are thinking of me and what I am doing. There is nothing endearing about that. If they are looking somewhere else, we are more likely to catch wonder and curiosity or if we’re very lucky, happiness. Children grow and change daily and parents are always taken with a photo that really shows them as they are everyday, an image they want to capture. It so happens this older sister is also the shy one, the one who “looks away.” True to her personality, the younger sister is not only more outgoing, but more affectionate as well. The older sister’s hand reaching up to touch her shoulder might seem a distraction, but in fact, it was her trying to politely distance herself from her baby sister, who was all too happy to snuggle up. She actually said to me; “She’s touching me.” Naturally, we laymen wouldn’t know this by looking at this picture, but we must always remember who the client is. Their mother knows these things instinctively and she was the client.

Most of all, when shooting children, no tool is as important as time. You may even have to convince parents to accept a larger appointment block, but be sure to point out their stress will be less if they know that time is not an issue. Children will photograph best when they have had a chance to warm up to the photographer, adjust to the environment and really be themselves. Once this has been achieved you’ll want plenty of time to enjoy their comfort zone and have a safety net for unexpected surprises. Children are after all, delightfully full of those.

Shooting Light at Night

2009-02-04T07:05:00.000-08:00

At night a host of different exposures can give a myriad of different and impressive results. Anything can happen, and that's the beauty and excitement of shooting at night. Each shot is unique.

The hour after sunset is usually the best time to shoot. City lights start to dot the landscape, yet enough light from the setting sun remains, enough to soften harsh contrast on subject matter. I use high speed film when I shoot at night, Fuji 400 to 800 ASA or Kodak 400 to 800 ASA. High-speed daylight color film intensifys warm city lights and deepens the deepest blues of the twilight sky.

When I shoot in low light, I travel light. I get by with a tri-pod, my wide angle lens, and cable release. Shooting at night is a whole new way to

paint with light on film. I find my subject and open up the aperature and slow down the shutter speed. I usually shoot at 1/60 sec. or slower with aperature set to the largest f/stop allowed. Colors remain rich and adding a flash to the mix can bring out some unique results.

If you're looking for exact or correct exposure of your subject, move in close enough to meter the lighted area of the subject. Avoid any stray light that may directly enter your lens. Stray light will throw off your reading. Often shooting at twi-light or into the night is educated guess work. I like to bracket my exposures. I leave the f/stop fixed and alter my shutter speed one stop on either side of the metered exposure. If I want to increase the effect I'll extend the exposure by two shutter speed stops. If your shooting with slower film or have set your ASA/ISO reading to 200 to 125 on your digital, doubling your exposure time is suggested.

The photo of this office building was shot at 1/30 sec. at f2 using Kodak 400 ASA film. This shot was taken within 30 minutes of sunset.

Design Principles in Abstract Art Creation

2009-02-01T06:44:00.000-08:00

Any type of design today must look good aesthetically and be functional. What do we mean by "look good"? It simply means that the design cannot be too common and boring. Functional means that it must be easily understood and usable. This article is a description of my attempt to try to combine chaos and pattern into a piece of artwork.

"House of Colours" is a personal project I did a few years ago during my free time. I wanted to combine the ideas of water flow, mountain and earth into an abstract piece of art. Created using Crayon, Color Pencil, Gouache, Paper Cutouts and Magic Ink, the final work is A3 mounted and measures 32cm by 32cm. The concept and design principles covered in this article should be helpful in designing web pages as well.

Other than using mother nature as the main theme, I also used different design principles and mediums to make the design unique.

I used a variation of blue, brown and green to represent nature. A curvy line is drawn around the square to represent completeness and unity of land. There are also isolated islands around the pool of colourful waters. The white square with a thick black border in the middle represents a change in the design. Using only black and white, the house in the middle stands out strongly, giving the design a focal point.

Different Graphic Design Principles are used to strengthen the visuals. As you can see, figure ground is used extensively to provide a contrast of colors and shapes. Collages are also used to enhanced the complexity of the design. I purposely coloured parts of the water with inconsistent strokes of crayon so that it looks abit like kid's work.This is to represent the imperfection of nature and I want to convey that idea in this design. Other than the magic inked house in the middle, the rest of my gauche strokes were imperfect as well.

Lines and curves are used extensively in the design. To me, straight lines represent princples, rigidity and logic while curves represent creativity and flexibility. I feel that to be successful in what ever we do, we need to follow strict routines or discipline (lines) but yet able to inject creativity, humour and make flexible changes (Curves). This is like trying to unite "Form" and "Function" in the art of web design.

Symmetry is everywhere in the universe. As you can see, I used alot of symmetry in this work to prevent the art from becoming too abstract. People want to know what is going on with things around them and symmetry provides a recognizable clue.

To me, a strong design combines creativity and logic. In other words, there should be observable pattern in chaos and vice versa. If something is too abstract, people do not understand it and lose interest easily. On the other hand, if something is too easily recognized, people do not feel challenged and will not probed further. I feel that "House of Colours" is somewhere in between and should be able to entertain people visually, I hoped.

Animal & Wildlife Photography

2009-01-25T08:05:00.000-08:00

KNOW YOUR SUBJECT
Photographing animals, whether your cat at home or a cougar in the great outdoors, requires patience, perseverance and an understanding of animal behaviour so you can predict how they will be likely to act or react, and anticipate the moment for a good photograph.
If you consider an animal's character in the same way you do when photographing people, and try to capture it on film, you won't go far wrong. Make sure you know what you want your images to say about the animal before you start clicking away, and then put your knowledge of composition, lighting and angles to work to get the pictures you want.

YOU ARE MORE IMPORTANT THAN ANY PICTURE
No shot is worth risking your safety when dealing with animals. Stay in the car if there is a bear or a buffalo on the road. A wild animal's reaction to your presence is unpredictable and even if they look so docile you feel you could walk up and pet them, remember, they can hurt and even kill you. Don't ever follow a dangerous animal into the woods because you didn't get its picture. You wouldn't dive into an alligator pool, and for the same reason, you shouldn't follow behind a cougar or a moose. And please don't pet a porcupine.

PATIENCE

After the word "safety," the next three important words that govern animal photography are patience, patience and patience. Photography is like fishing in this regard. You often have to wait a long time in the right place to catch the best ones.
Patience applies equally when photographing pets and domestic animals. They sometimes seem to have a knack for being uncooperative when you bring out your camera. Keeping calm and taking things one step at a time often helps the animal to relax.

PRACTICE BEFOREHAND
If you are planning your first trip into the wilds to take pictures of the furry, scaled or feathered residents there, it is a good idea to practice first.
The zoo is an ideal place, because you will usually find the same kinds of creatures there. Study their behaviour and you will have an idea of what to expect when you confront them in a natural setting. No zoo nearby? Visit a farm or ranch, and take some pictures of the animals there. It may sound silly if you live in the country, but for someone with absolutely no experience with large animals, a farm is a good place to get your feet wet.
The library and the internet are good places, too. Read up about the specific animals you may come across so you will be armed with knowledge, and of course read our tips under this heading about photographing wild animals.

TIPS FOR PHOTOGRAPHING ALL KINDS OF ANIMALS

2009-01-23T07:58:00.000-08:00

This section deals with more than shooting animals in the wild. There are tips and hints for photographing your pets, shooting at the zoo, making images of insects and other tiny creatures, photographing birds, livestock and so on. We hope you find them informative and useful.
Choose where you'd like to go next by selecting one of the links in the column at left (scroll up first).

SEND US YOUR ANIMAL PICTURES

You may have some excellent animal pictures, probably as good or better than many you find on this site. If you would like to share them with our many viewers, scan and send them in via email and we will post the best or most representative ones on our site.
You may even have a tip or hint on Animal Photography that we haven't included here, and we would be happy to receive it so it can be shared with others. If you have a picture that illustrates the tip, all the better. We will be happy to give you a credit for the picture and information.

Humor in photography

2009-01-21T04:28:00.000-08:00

People are always doing funny things, often where you least expect them. Being ready to capture them on film means you won't have your friends looking skeptically at you when you describe the scene. A picture can tell the story for you.

You may set up your own funny situation and take a picture of it. It can provide a lot of laughs when you do so, and even more laughter afterwards when everyone looks at the pictures.

This section of photographytips.com features a selection of images from both areas - "found" humorous pictures and staged pictures that were set up to be funny.

We hope you enjoy them, and they inspire you to either become creative in making your own fun pictures, or to keep your eyes peeled for humorous situations around you.

SEND US YOUR FUNNY PICTURES

We invite you to share your funny pictures with our viewers, whether they are scenes you caught as something humorous was occurring or something you created to be funny. If it makes you smile or break out in laughter, send it in.

If it's your image and we put it up on the site, we'll be sure to credit you with taking it. If it needs a few words of description in order to better understand it, please include them.

The photographer's canvas

2009-01-19T04:19:00.000-08:00

Who hasnât overheard a customer in a camera shop say I like a roll of film, please, followed by the inevitable â€œCertainly. What kind?â€ which can cause a puzzled look to appear on the shopperâ€™s face. Some people just arenâ€™t aware that film comes in a wide variety of sizes and types, and assume that a roll of film - any film - will fit their camera and suit their photographic purposes.

Most of us at least know that we must use a specific size (or format) of film for our camera, but a lot of folks donâ€™t realize they have a tremendous choice of film, donâ€™t know what the differences among their choices are, and have no idea when to use one film over another.

FILM SELECTION

The principle factor that determines selection of film is the subject to be photographed. Since there is a huge variance in scenes and subjects, a film that is ideal for one subject may be completely unsuitable for another. Other factors include the type of camera to be used, how a photographer wishes to photograph the subject to achieve the kind of images he or she wishes to capture, the subjectâ€™s illumination, whether the final image will be a black and white or color print, or a slide, and so on.
FILM IS YOUR CANVAS

Just like an artist applying paint to a canvas, the photographer introduces light to film to make a picture. A good photographer is a kind of artist and, like the painter, must understand the fundamentals of his or her tools and materials, including film, in order to make better pictures.

This section of Photographytips.com deals with film and its differing characteristics and applications. We hope it will provide you with answers to your questions about film, serve as a guide to you in the selection and use of film, and help you to make better images.

BASIC DIFFERENCES IN FILMS

The fundamental ways in which films differ from one another are:

1. Format (principally roll and sheet film),
2. Size,
3. Sensitivity to color,
4. Film speed,
5. Graininess, and
6. Gradation (contrast).

We invite you to click on the headings in the left-hand column to learn the significance of these differences and for in-depth information on film. Or, in the case of Digital photography, to find out about taking pictures without film.

Photography Equipment & Accessories

2009-01-17T04:12:00.000-08:00

A remarkably-wide range of accessories for cameras and photographic applications is available to todayâ€™s photographer. Knowing what is generally available, what purposes the items serve and what your accessory needs are likely to be - based on the kinds of photography you intend to do - will help you to determine which ones you should consider acquiring.

Some accessories, like a solid tripod or a good camera bag, are considered essential for just about all serious photographers, while others, like a wireless remote, are for such specialized applications that most camera users will never have a need for them.

The beginning photographer who fills a shopping bag with a variety of gadgets and gizmos the day he or she buys a camera is likely to find that some items may sit on the shelf, gathering dust. You are better off to use your new camera for a while, assessing your needs as you come across situations in which a particular accessory would be useful. Then, do some research, studying the various characteristics of different makes of the accessory you have decided you need, and choose the one that is right for you, based on its quality, durability, suitability to your personal budget and how well it does what you need it to do.

Some accessory manufacturers are known for the consistently-high quality of their products while others are known for their low prices. Generally-speaking, if you plan on using an accessory a good deal, you should buy a top-of-the-line brand name, one that is known to perform well in a variety of conditions and that is built to last. Your cameraâ€™s manufacturer may make a particular accessory itself, which, if you acquire it, will probably be a good match with your camera, at the same level of quality.

This section of photographytips.com deals with equipment and accessories, providing tips and hints for their selection, use and care. We hope you find the information to be helpful.

GOT A TIP OF YOUR OWN?

You may have an equipment or accessory tip of your own or you may know of an important one that we neglected to provide, in which case, we invite you to send it in, preferably along with a picture to illustrate its application. Click here to submit your tip or use the link on the left side of this page to send in your information. We will be sure to credit you with both the tip and the image if we use them on the site.

SCANNED IMAGES

2009-01-15T04:03:00.000-08:00

A scanner connected to a computer converts images into digital data that becomes stored on the computer.
Flatbed scanners are typically used to copy photographic prints, while film scanners copy images from negatives or slides. Some flatbed and film scanner models can be set to copy all three formats.

VIEWING IMAGES STORED AS DIGITAL DATA

To display an image that is digitally stored on your computer, your computer needs to have software that can read and display the image file. Such software is usually supplied when you purchase a digital camera or scanner, enabling you to not only digitally copy and save an image in your computer, but also to view the image on your computer monitor. Windows 95, 98, NT, 2000, XP and Vista also come standard with built-in image viewers such as Kodak imaging for Windows, the popular Internet Explorer browser and MSPaint.

A tremendous variety of image-viewing and manipulation software is also available as stand-alone applications that function independently from the scannerâ€™s software. The best-known and the most versatile is Adobe PhotoShop, which is commonly used by graphic artists and professional photographers around the world. There are several less-expensive programs that can provide most photographers with their image-editing needs.

Some printers are designed for direct connection of a digital camera or a memory card without going through a computer, but most images need â€œcleaning upâ€ (cropping, adjustment of brightness and contrast, sharpness, color, etc.) before they are considered to look their best for printing on paper or other use.

THIS SECTION HAS MANY HELPFUL POINTERS, TIPS AND HINTS

This section of photographytips.com is intended to help you make good digital pictures, either from your digital camera or from photographs that you digitize using a scanner. To begin exploring it, scroll down to click the links to sub-sections. Or click here to start with the first heading, "Digital Photography's Popularity."

Help us to keep you up-dated.

Digital imagery is the fastest-growing area of photography, with changes and improvements in products and techniques occurring almost daily. You may come across information in this section that should be up-dated or you may have digital photography tips and hints of your own that we have overlooked.

We invite you to send in any corrections or pointers you may wish to share with our viewers. We will be sure to credit you with the information if we use it. If you include an image of your own to illustrate the information, we will acknowledge you with a photo credit.

Digital Photography

2009-01-13T03:41:00.000-08:00

Most digital cameras function in much the same way as a traditional camera that uses film to record images, except that in place of the film, images are captured and preserved in the cameraâ€™s digital memory, which may be built-in or which may be on a removable memory card.

The number of images the cameraâ€™s memory or memory card holds varies dependent on image quality and type (i.e. black and white, color or sepia-toned), the quality of the camera and the memory capacity. New technology for digital imaging is emerging rapidly and multi mega-pixel image storage capacity is quickly becoming affordable with each new generation of cameras.

In traditional photography, when you have taken the last frame on a roll of film, you rewind the roll, remove it from the camera and replace it with a fresh, unexposed roll in order to continue taking pictures. In digital photography, a similar process must occur when the memory is full. If you are familiar with the operation of a computer (and you probably are or you wouldn't be reading this now), you will know that a document or image can be saved in memory as a file. A digital camera saves its images in a similar manner, and the image file can be transferred (downloaded) from your cameraâ€™s memory or your memory card to a computerâ€™s hard drive, floppy drive, zip drive, external drive, CD-ROM or DVD. You can also download images onto a portable storage device. When the cameraâ€™s memory is full, you either download the images or, if using a memory card, you can replace it with a fresh, blank memory card, permitting you to download at a later time.

A great advantage of many digital cameras that have an LCD viewfinder (a mini monitor screen) is the ability to review images stored in the camera's memory at any time and to delete any unwanted images at the photographer's convenience, thus freeing up storage space for new images, while retaining only the best images for later retrieval and downloading.

Composition the image in the viewfinder

2009-01-11T03:32:00.000-08:00

Composition, the act of composing the image in the viewfinder, is a visual process of organizing the elements and individual details of a scene into a balanced and pleasing arrangement. Because what one person finds pleasing, someone else will not, composition is largely a matter of personal taste.

In this section, we take that into account. There is no right or wrong composition in photography. A composition that conveys a photographer's intended meaning is an effective one. A composition that doesn't or that confuses the viewer is not.

A photograph that communicates its message - that says what you want it to say, says it clearly, and that interests its viewer - is an effecive composition.

How you arrange a scene's elements in your camera's viewfinder will not only determine the effectiveness of your picture's graphic design, but will also contribute to how well its message is conveyed. There is more to good composition, though, than the placement of elements. Lighting, shutter speed, depth of field and other considerations contribute to a picture's mood and clarity of what the picture is saying, and therefore the effectiveness of its composition.

TREAT THE RULES OF COMPOSITION AS GUIDELINES

Some of the so-called "rules" of composition presented here should be considered as guidelines. They are based on recreating similarities in the make-up of many different images that many people have found to be esthetically-pleasing. We do not intend that a rule of composition or a design concept be taken as a hard and fast rule that must be observed. Besides, some renowned photographs violate all the rules of composition and are still excellent pictures. This doesn't mean that the rules are without value. They are tremendously valuable. They are time-proven, and provide great guidelines for photographers at any level. We use them all the time.

ORIGIN OF THE RULES OF COMPOSITION

Years ago, artists who had been born with an innate sense of design created works that were perceived, by other skilled artists, as having good composition. Not only that, but their works were very popular with the general public and art afficionados. Analysis of such works showed patterns and trends in the organization and inter-relationships of lines, shapes, forms and colors that were recognized as contributing to the effectiveness of the works. It was found that others could employ these patterns as techniques in improving their own works. When they were defined, they became known as the rules of composition.

FOLLOW THE RULES UNTIL YOU KNOW WHEN TO BREAK THEM

We hope in this section to help everyone to compose better pictures, but especially the person who has no idea of composition - the photographer for whom taking a picture means just picking up a camera to point it and shoot it with little thought for the arrangement of the elements in a scene. Such a person would rarely be pleased with the results of his or her normal photography, and could benefit enormously from an understanding of the elements of composition.

Anyone who has an interest in improving their pictures would do well to go through this section and use the tips and hints it contains in their photography to see if their pictures improve.

By religiously observing the principles of composition, they will become firmly cemented in your mind. Employing them will become second nature to you. If you donâ€™t find there is an improvement in your pictures and people arenâ€™t commenting on how great they look, we will be greatly surprised.

Once you have the rules of composition down pat, experiment and break a rule here or there when you feel the image will work better without it. Thatâ€™s called individual style, and the creativity that stems from it produces some great images. The point is that you will know when to break a rule of composition once you know what the rules are and how they work.

SEND US AN EXAMPLE OF YOUR BEST COMPOSITION

If you have an image that you feel is particularly well-composed, email us a copy and, if we agree, we will place it here on the PhotographyTips.com site for the world to see, and give you a photo credit. If you have any composition tips of your own, send them too, and we will be sure to name you as the source when we use them.

You can see some of the fine images submitted by our talented viewers by clicking here or on the "Viewers' pictures" link in the left-hand column.

Flying with a Digital Camera

2009-01-02T01:48:00.000-08:00

Know the Regulations for Flying with a Digital Camera

Technically, most airlines allow camera bags as carry-on items and cameras are not prohibited from entering airports by the FAA. That sounds great on paper. In reality, any airport security or airline can force you to check your camera bag. They might ask to inspect it. If you have an especially large camera bag with lots of lenses, you may have to check it. Checking it is probably the worst thing you can do, and unfortunately you can't predict whether this will happen. Be prepared by having your camera as secure, protected and perhaps as insured as you need to

Get a Hard Case for Your Camera

Since you have to be prepared to check your camera, you should be sure you have a hard case that will best protect it from baggage handlers. A soft case really could leave your camera too vulnerable. Look for a hard case that can hold everything that is delicate, like the camera and lenses, and features dividers and foam to secure your camera and accessories as tightly as possible. Of course, the best camera case in the world can't protect your camera from loss or theft while in the hands of other people.

Consider Insuring Your Camera

If you just have a little $200 point and shoot, this probably isn't necessary. If you have an advanced digital camera or a digital SLR camera, however, you might consider this. There are a few options. For one thing, you could check out a general travel insurance policy to see what coverage it provides for a lost, stolen or damaged camera (both in airport handling and while you're at your destination). You could also check your renters' insurance or homeowners' insurance to see what is covered. You will probably need to add scheduled coverage for your camera.

Protect Your Camera When You Get There

Even if your camera survives the flight, it isn't safe yet. While at your destination, it could get stolen from your hotel room or even from you while you're out sightseeing. It could get damaged in bad weather, or you could drop it. Be aware of these threats, and do what you can to protect your camera from accidents, thieves and the elements. You will also probably want another camera case better suited for walking around your destination, such as a soft backpack or waist pack camera bag.

Secure Your Travel Pictures

More than anything, you probably want to be sure you protect your pictures. Otherwise, you wouldn't bring that camera at all. It isn't always an easy proposition, especially when traveling overseas. The best way to do it is by bringing along a portable storage device to back your pictures up. Another option is bringing along a couple high-capacity memory cards that can hold all your pictures. If you will travel with a film camera, be sure you protect your film by enclosing it in a pouch designed to protect it from x-rays and ask airport security to hand-examine your film instead of running it through the x-ray.

Fujifilm FinePix F100fd Digital Camera

2008-12-15T01:44:00.000-08:00

The Fujifilm FinePix F100fd Digital Camera offers users an ultra-compact digital camera that takes beautiful shots with the most advanced features and technology available - missing great shots is no longer an option. Combining a 12-Megapixel, 8th Generation Super CCD with a 5x wide angle optical zoom and a 2.7" high-resolution 230,000 pixel wide angle view LCD, the FinePix F100fd is a compact powerhouse that incorporates all the features users have come to expect from Fujifilm's more advanced digital cameras.

With the addition of Dual Image Stabilization, Face Detection 3.0 Technology with Automatic Red Eye Removal function, and ISO settings of up to ISO 12800 (3MB or smaller image), the F100fd takes compact digital cameras to the next level, arming users with a host of features and enabling them to take pictures never before possible.

The beautiful slim-line outer-shell is less than 24mm deep, making the camera extremely pocketable, with a design that reflects the sophisticated technology within. The enhanced 2.7" LCD screen incorporates Fujifilm's wide view filter thereby expanding the viewing angle by as much as 25 degrees compared to earlier models. The intuitive Graphical User Interface (GUI) system provides pop-up prompts to guide you through the menu, and makes the camera incredibly easy to use.

The FinePix F100fd also features a number of convenience features such as a dual memory card slot (which accepts the xD-Picture Card and the popular Secure Digital (SD) card format), a Dual Shot mode that takes two pictures with one press of the shutter button, and a total of 19 special scene position making the camera ideally suited to any photo opportunity. Furthermore, when a still image isn't sufficient, the camera's movie mode, captures movie clips with sound that are of broadcast quality.

Special Price- $ 284.95 - $100 Mail-In Rebate+ Shipping

Canon EOS Rebel XSi with 18-55mm IS Lens

2008-12-04T01:40:00.000-08:00

The Canon EOS Rebel XSi Digital Camera incorporates a number of high-end functions and technology found in Canon's professional SLR models, including an improved autofocus sensor, enhanced 14-bit A/D conversion, and an advanced Live View function. Plus the proprietary DIGIC III image processor ensures that the fine details and natural colors of the images are optimally recorded, and also manages the camera's efficient energy consumption and high-speed signal processing performance.

The 12.2 megapixel APS-C size CMOS sensor employs large microlenses over each pixel to reduce noise and enhance sensitivity up to ISO 1600, while the 14-bit Analog-to-Digital (A/D) conversion process means the Rebel XSi camera records up to 16,384 colors per channel and allows the camera to produce images with finer and more accurate gradations of tones and colors. The camera also incorporates the Highlight Tone Priority and High-ISO Noise Reduction functions (previously found only on Canon's Professional Digital SLRs) and the camera is equipped with Canon's Auto Lighting Optimizer technology, which corrects image brightness and contrast automatically to prevent underexposure with backlit scenes.

The EOS Rebel XSi is fast - capable of continuously capturing 3.5 frames per second for bursts of up to 53 images. The faster frame rates and finer focusing capabilities of the Rebel XSi together with its impressive image burst rate will help photo enthusiasts capture split second action at just the right moment. Furthermore, the camera is equipped with a host of useful creative controls, including shutter speeds ranging from 1/4000 sec. to 30 sec. plus Bulb, a choice of four metering patterns including 4% spot metering, a wide range of exposure modes from fully automatic to fully manual, depth of field preview, mirror lock and much more.

The large, 3-inch, 230,000 pixel LCD monitor makes it easier for users to review images and scroll through the menus, and also features a broadened color gamut and a wide viewing perspective in all directions. Furthermore the EOS Rebel XSi camera features Live View - which allows users to frame shots through the LCD screen rather than the viewfinder - this is particularly useful when shooting at odd angles or in situations when looking through the viewfinder is impractical.

The Rebel XSi DSLR utilizes Canon's EOS Integrated Cleaning system. This involves a Self-Cleaning Sensor Unit that shakes dust particles off of the low-pass filter in front of the sensor, along with post processing with the supplied Digital Photo Professional software. Here the camera maps any spots that may remain on the sensor and subsequently subtracting dust spots from the final image during post processing.

In a departure from previous EOS Digital Rebel models, which accommodated CF type memory cards, the EOS Rebel XSi camera utilizes SD and SDHC memory cards including those with capacities higher than 2GB, making it the perfect upgrade for users already equipped with SD cards from point-and-shoot model cameras. In addition, it is fully compatible with all Canon EF and EF-S lenses, as well as EX-series Speedlites, an optional Battery Grip, and remote control and viewfinder accessories. In regards to its overall design, the EOS Rebel XSi camera features a substantial yet streamlined profile, with curved edges, contoured surfaces, conveniently placed controls and comfortably constructed rubber grip and thumb rest that all contribute to fatigue-reducing hand fit. The camera body is constructed of a rugged yet lightweight combination of stainless steel and polycarbonate embedded with glass fiber, and the chassis exterior is enrobed in a durable ABS and Polycarbonate resin that is resistant to impact damage.

Special Price- $ 699.95 + Free Shipping

Photo book

2008-12-02T01:08:00.000-08:00

Photo Book Possibilities Are Endless!

Arts and Photography - Why is your photography stored on the computer? You should share your amazing photos with others today.
Babies & Children - The birth of a child to a high school graduation; they grow up so fast. But photo books can capture these priceless memories.
Business Development - From the boardroom to the business trips; we want to help you build your business.
Travel - Whether it's a weekend getaway or a trip of a lifetime, remember your travel adventures with a custom photo book.
Weddings - It's a fairy tale from the moment you meet to your walk down the aisle. Share your most important day with family and friends.
Portfolios - Follow projects from start to finish, record completed work, or document progress in a particular field. Portfolios help build your profile.

More Photo Book Ideas

- Anniversaries - Arts and Photography - Babies & Children - Biographies and Memoirs - Birthdays - Business Development - Collages - Cook Books - Couples - Family - Graduations - Grandparents - Hobbies emirates - Holidays - Invitations - Mother's Day - Father's Day - Pets - Poetry Books - Portfolios - Professional Photographers - Scrapbooks - Sports - Summer Camps - Tributes - Travel - Yearbooks - Weddings

Make a photo book today!

2008-11-30T01:09:00.000-08:00

So Yoy Want To Get Camera

Canon EOS 40D SLR Digital Camera (Camera Body)

The Canon EOS 40D SLR Digital Camera is a superb choice for advanced amateur photographers and entry-level professionals. It incorporates an enhanced, 10.1-megapixel CMOS imaging sensor with the proprietary and super-efficient DIGIC III image processor together with a completely redesigned auto-focus sensor.

Ideal for shooting - and actually capturing - speed-sensitive subjects such as wildlife-nature shots as well as a wide variety of action and sports scenes, the combination of Canon's latest processor, DDR SDRAM high-speed memory, four-channel-per-line sensor readout, and two separate motors for shutter and mirror operation provides a fast, 6.5 frame-per-second (fps) continuous shooting capability, a top shutter speed of 1/8000 seconds, a fast 0.15-second initial start-up, and nearly instantaneous shutter response. Even with all of this speed, the EOS 40D Digital SLR provides impressive image quality using a 10.1-megapixel CMOS APS-C size image sensor that utilizes large microlenses over each pixel to reduce noise and expand sensitivity up to ISO 3200. Furthermore, the 14-bit Analog-to-Digital (A/D) conversion process enables the camera to recognize 16,384 colors per pixel for finer and more accurate gradations of tones and colors. Canon's proprietary DIGIC III image processing engine then ensures that the fine details and natural colors of the images are optimally recorded and, as an added bonus, is also responsible for its efficient energy consumption.

The large three-inch 230,000-pixel LCD screen of the EOS 40D provides broad color gamut and a viewing angle of 140-degree perspective in all directions to increase viewing ease in conditions such as bright sunlight. An added advantage of the large display is the ability to use a larger font size for text, making it easier to read setting and menu options. More significantly, the Live View function uses the LCD display to provide an expanded and exceedingly convenient set of shooting options. By permitting the framing and capturing of subjects using the camera's LCD screen instead of the viewfinder, the shooter gains a 100 percent field view to more easily achieve the desired composition, and an added Custom Function allows auto-focus during Live View, and provides the user with the ability to magnify the image by five or ten times in order to ensure optimal focus. Live View is at its best during tripod shooting - particularly for close-up photography where precise focusing is imperative. The EOS 40D is also a boon to more traditional shooters as well with an upgraded viewfinder that has an optical magnification of 0.95x, a viewing angle of 264 degrees and an eye point of 22mm.

The enhanced durability of the EOS 40D is attributed to its magnesium alloy exterior with upgraded dust and weather resistant construction, particularly around the camera's connection ports, battery compartment and memory card door. Plus the camera incorporates an extremely durable shutter that has been rated up to 100,000 cycles, The camera also helps to secure it's data from the most common cause of data corruption problems; should the user inadvertently open the CompactFlash card door while the camera is writing to the card, a warning will pop up on the LCD screen and an "alarm" will sound, but the image(s) will continue writing to the memory card without interruption.

The EOS Integrated Cleaning System uses ultrasonic vibrations to literally shake dust particles off of the low-pass filter in front of the sensor each time the camera is powered up or shut down. Users also have the option of engaging the "clean now" function at will or bypassing it altogether. Additionally, the manual sensor cleaning function raises the mirror and allows users to clean dust that has stuck to the low-pass filter. The second part of the cleaning system is a software solution that maps the location of any spots that may remain on the sensor. Subsequently, the offending dust information is subtracted from the final image during post processing using the supplied Digital Photo Professional software.

The EOS 40D Digital SLR is compatible with the full line-up of Canon EF lenses as well as the expanding selection of high-quality, affordable EF-S lenses created specifically for Canon Digital SLRs with APS-C size image sensors. It is also compatible with any of the EX Speedlite line of flash units and supports the E-TTL II protocol that provides reliable flash output whether shooting fill-in flash pictures in sunlight, or using flash in total darkness. System accessories for the EOS 40D SLR include the redesigned high-capacity BG-E2N Battery Grip, which facilitates high-volume shooting, greater power options, and easier vertical shooting, and the WFT-E3A Wireless File Transmitter which permits wireless transfer and back-up, connection to a GPS receiver, or data transfer to a Hi-Speed USB 2.0 external storage devices as well as remote control of the camera in Live View mode. Furthermore, the EOS 40D is also the first camera in its class to offer two interchangeable focusing screens in addition to the standard precision matte screen.

So You Want To Make Money With Photography

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paint with light on film. I find my subject and open up the aperature and slow down the shutter speed. I usually shoot at 1/60 sec. or slower with aperature set to the largest f/stop allowed. Colors remain rich and adding a flash to the mix can bring out some unique results.

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Canon EOS Rebel XSi with 18-55mm IS Lens

Photo book

More Photo Book Ideas

Make a photo book today!

2.7` Wide¹ (16:9) Touch Panel Clear Photo LCD Plus™ Display (211K Pixels)

USB 2.0 Interface⁶