A Short Introduction to Photography and Some Things to Consider When Purchasing a Digital Camera

Author: Chad M

Photography is the art of taking photographs of objects or people, which are then processed into an image by placing special chemicals onto photosensitive paper resulting in a photograph or an image to be captured on paper.

Some people enjoy photography as a hobby while others make their living from it. Many photographers use both traditional film cameras and digital cameras and some still tend to process their own images. What they like to photograph is a matter of individual interest since some people enjoy taking pictures of nature, while others prefer portraits of people, pets, still life and so on.

The Camera Is The Most Important Consideration

Among the best ultra zoom cameras in the market are the Panasonic Lumix cameras. Equipped with a superb lens, they take high quality pictures with accurate colors and exposure. There is no problem with purple fringing, (AKA ghosting), like other ultra zoom cameras.

Ah yes, and the perfect accessory for any camera is a photo light box, which is a controlled lighting environment. With their uniform lighting environments, anyone can come up with professional looking color accurate photos without shadows to upload on websites, online auctions or catalogs.

Many photo opportunities only last for seconds, if your digital camera is too busy writing the last shot you took to the memory card you might miss the next shot. So make sure the camera you choose has a fast recovery time.

What If You Delete A File

And what if you delete an image file by mistake from your digital camera's flash card? Flash file recovery can recover any previously deleted image file. This is an application that every photographer should be aware of. It can also salvage pictures from damaged or corrupted flash drives (including camera's built-in memory) and memory sticks. While camera or storage media failure is a rather rare event, compact flash memory cards (CF for short) are slim, lightweight easy to change out when full.

Great photos need great frames

Many people frame pictures and use them as a great gift idea. We get different types and styles in picture frame moldings.

Before cutting any stock, photo matting should be done because it helps you get an estimate about the size of the completed frame. Most photography or frame shops sell pre-cut photo matting, but you can save money using your own mat cutting system. This is particularly relevant when you are making frames for a lot of family and friends on a regular basis.

Medical Photography

Photographic recording plays an important role in medicine, especially photographic documentation for endoscopy. Photographic or video recording of diagnostic procedures is better than memory or drawing. Moreover, it is a legal safeguard as well as material for research and teaching.

Digital camera prices have fallen so much in the last couple years pretty much anyone can now get into photography. One of the latest trends has been the merging of cell phones and digital cameras, the size of image is still pretty small but technology is advancing and within a couple years I think we may be quite surprised at what our little phones will be capable of.

Article Source: http://www.articlesbase.com/digital-photography-articles/a-short-introduction-to-photography-and-some-things-to-consider-when-purchasing-a-digital-camera-48423.html

Beginning Photography Tips, Buying A Digital Camera

By: Mick Legg

The different variety of cameras that are in use these days, range from the normal manual camera, to the automatic camera and to the digital camera. And the best place to find all of these is in the range of Canon digital camera models which are available on the market today. .

Canon is constantly updating its products and you have a wide range of styles and features available when you go in for a Canon digital camera. These features can be found in many different digital cameras like that of the Canon Digital SD550, the Canon Digital PowerShot S2, and others of its ilk.

The features to be found on the different canon digital cameras can range from a larger than average LCD display, to stereo sound recording, to low image noise resolution and others. To see what the various features are for the different camera models you might have to compare them as you go when you shop around.

For instance you will find that the Canon digital camera PowerShot S2 has a 5 Mega pixel CCD, and a new Night Display which allows your LCD and EVH to become brighter in low light. You will also find movie options in this Canon digital camera like mic level, and a wind filter which you will not find on the earlier models.

With the Canon digital camera SD500 features like a continuous shooting mode can be found, as well as a redeye reduction option which has been designed into the camera via a built-in illuminator. This Canon digital camera also has a 1.8 low temperature LCD, a Flash Exposure Lock function to help you in your photography.

Some of the features to be found in these more expensive Canon digital cameras can also be found in the less expensive digital compact cameras. This diversity in features and models is also reflected in the price of the many Canon Digital cameras as they can start from about $100 and go upwards.

The actual price of the cameras should be looked into at the time you are thinking of buying your camera, as the prices will be subject to fluctuation and advances in technology.

When you’re looking at the range of Canon digital cameras besides finding out what are the various functions and features you might also want to find out what accessories are part of the camera, and which ones you’ll have to buy separately.

These accessories for the Canon digital cameras include things like a telephoto lens, a wide angle lens, a battery charger or kit, an A/C power adaptor, external flash, and a carrying case amongst other things.

As you can see from the number of options available to you, buying a camera isn’t what it used to be fifty years ago, there are a number of things that you will want to look into first before buying your camera. But with the Canon digital camera range the world can be at your fingertips as you can choose the perfect camera to suit you.

Beginning Photography Tips, A Few Basic Tips For Taking Digital Photography

By: Mick Legg

My first tip for taking digital photography for anyone whether they are beginning, or have some degree of experience is “don’t be frightened of your camera”. Get used to handling your camera so that you feel comfortable with it. Make sure you know where all the controls are, and familiarise yourself with their functions. This is one of the basic beginning photography tips that often gets overlooked as it is such an obvious one.

Once you are comfortable handling your digital camera and have learnt how to use all the controls and functions, my next tip for taking digital photography is to take lots and lots of pictures. The beauty of digital photography is that you do not need to keep every picture that you take. You are not paying for a long processing sequence like you would be if you were using a camera that uses rolls of film, so you can be a lot more extravagant when it comes to taking pictures. Plus you may just take a prize winning photo purely by chance, and any photos you don’t want you can simply delete.

Another of the basic beginning photography tips that people often forget is to hold the camera steady. Again this may sound pretty obvious but it’s surprising just how many of us forget this simple little tip when we rush to get a good photo. It is important to actually practice holding the camera so that you automatically steady it for every picture that you take. How often have you seen the chance of a great picture only to rush it and ruin the shot? It’s far better to get one or two great pictures than dozens of blurred or poor quality ones.

My next tip is to always make sure that you have enough memory capacity on your digital camera. There is nothing worse than coming across something that would make a great picture only to find that you have no more room on your camera. Get into the habit of going through the photos stored on your camera on a regular basis, and deleting the ones you don’t want, and downloading and storing the ones you do want onto your computer, or have them printed off. Also buy a second card for your camera so that you always have a spare one with you just in case you need it.

Once you have got this far you should have loads of photos that you have taken, now is the time to study these and see if there is room for improvement. Maybe some of them are still coming out slightly blurred, so you will need to pay attention to your focusing. Remember that a digital camera has a tendency to take a little longer to focus when compared to a camera that uses roll film.

Maybe you are not happy with the lighting on some of your pictures, so try practising using the flash. The flash on a camera is not only designed to be used when taking photos indoors, it is also great for getting good sharp pictures outside as well, especially if the subject is in shade or if the natural light is low, like in the late evening.

I suppose that one of the most important beginning photography tips that I can give you is to “get out there and have some fun with your camera”. Take loads of photos and practice as you go. Use your camera as often and as much as you can. My last little tip would to be to get hold of a good book on digital photography, this way you will get all the tips for taking digital photography and learn all the usual mistakes to avoid right from the start.

Traditional Vs. Digital Photography: Which is Easiest?

Author: Roland Jefferson

If you were to have a discussion on any topic and invite a number of individuals, chances are that for each individual represented you would have the same number of varied opinions on that topic. For example, if you were to discuss the best place to live you would get a variety of answers and arguments as to why a person would select their particular choice. Their answer could be based on economic figures that reflect higher pay or a simple way of life which may appeal to their rearing of a family or they may choose a certain locale’s that is noted for its natural beauty.

Other differences of opinion that may occur could surround discussions based on the best film ever produced, best actor or actress, best sport, best hobby, etc.

One of the best hobbies that may be indicated is the hobby of photography and even in this category there may arise a difference in opinion regarding traditional vs. digital photography. One of the arguments between traditional vs. digital photography may include the ease of use and the ease of developing the picture.

Ease Of Use

When comparing traditional vs. digital photography one of the arguments may be the ease of use. In utilizing a digital camera it is simply a matter of pointing and shooting. The image is captured by the digital camera and imbedded on the memory stick contained within the digital camera.

Also, using the easy viewing screen on the camera, the photographer can instantly see whether the picture is what they wanted or if it needs to be taken again. In fact if the picture has movement or does not capture the image that the photographer wants, it is easy to delete the picture from the memory stick.

On the other hand the difference between traditional vs. digital photography makes the taking of pictures more difficult. One of those time consuming tasks is the changing of film and installing a new roll. Of course, the quality of the photo is greater than a digital camera.

Ease Of The Development Process

The next comparison of ease between the traditional vs. digital photography is how the picture is developed. The image on the memory stick can be downloaded onto software for easy viewing. In addition, the digital photo can be printed out or saved in a file within the computer.

With a traditional camera the film needs to be chemically developed in order for the image to be visualized. This process not only takes time, but requires the added expense of utilizing a film developing service or purchase the chemicals needed to develop the film in an individual’s own dark room.

Article Source: http://www.articlesbase.com/photography-articles/traditional-vs-digital-photography-which-is-easiest-196273.html

Digital Architectural Photography Services Record Wonderful Details

Author: Roland Jefferson

There are many ordinary buildings and interior designs in the world, but there are also some elegant architectural designs that should be shared with others. Digital architectural photography services produce images of these beautiful places and structures for many to appreciate. Many people travel to see great skyscrapers, but many other people do not have the means to see these structures in person. Digital architectural photography services capture the images of these beautiful sights for all to see. A massive building during the day and at night can be awe inspiring so the world is more interesting because of digital architectural photography services.

Digital architectural photography services provide images of many of the skyscrapers in New York City so people in China view these great buildings. On the other hand, there are many magnificent structures in China that most people in New York City do not get to see except for digital architectural photography services. The Taj Mahal in India is one of the most exquisite buildings in the world. Many people around the world visit, but these people are a small percentage of the world population. Digital architectural photography services have provided images of this wonderful structure for people around the world.

Digital Architectural Photography Services Display Interiors

Digital architectural photography services take many people into the interiors of beautiful buildings. Everyone loves to decorate their homes in special ways. They also like to see how others decorated their homes. Since people cannot get around to see all of the beautiful homes, digital architectural photography services provide them with pictures. There are many magazines and newspapers that use these images in their publications. They show the homes of stars and the rich people. Usually they show the most magnificent interiors available. The readers can enjoy an elegant lifestyle vicariously for a few moments.

Digital architectural photography services give people ideas to improve their own homes. Some of the digital pictures are too extravagant and expensive for the average person, but others are within their budget. People can view these places that are usually the work of experts to get some great ideas. There are many of these publications available so people can get many different ideas. Some of the ideas will also provide information where similar materials can be obtained. Photography has been used for hundreds of years for education, and digital photography has made education even easier than ever before.

Article Source: http://www.articlesbase.com/photography-articles/digital-architectural-photography-services-record-wonderful-details-196256.html

Taking Panoramic Digital Photography Workshops

Author: Roland Jefferson

There are many things that you can learn by going to workshops. Traditionally, workshops are time when you can work with an instructor and with other people who want to learn to do things in the same way that you do. You can all work together on the task at hand, and most of the time you can critique each others work as well as do work as a group. Going to panoramic digital photography workshops can be a great way to discuss your various panoramic photos, and to talk to others about the skills that you need to create them in even greater depth.

What You Can Do

There are many things that you can do at panoramic digital photography workshops. First of all, in the group of people there is going to be an instructor, someone who is probably very good at digital panoramic shots, who can give you tips about how to make your digitals even better, and what you can do to improve your technique.

There will also be many people in the panoramic digital photography workshops with you that can give you pointers and help you to get even better at your photography. There is a great thing that happens in most of the panoramic digital photography workshops, which is discussion of the work of others. You can bring in some of your panoramic shots, and the group can talk about the things that you did well, and the things that you should work on so that you can get even better at doing panoramic shots.

Where Can You Find Them

If you are interested in panoramic digital photography workshops you can usually find some adds for them in your local papers or in magazines that deal with arts and crafts like photography. If there is a college near you, you can look to see what kind of photography classes they are offering and see what it would take to do some panoramic digital photography workshops.

If you can find the right panoramic digital photography workshops for you to join with the right group of people, you can find that your skill as a photographer is going to get better and better because you’ll be able to take pictures that have real meaning and that really get the beauty of the panoramic shots across to the people who are looking at your photos. There is simply no end to the benefits of panoramic digital photography workshops.

Article Source: http://www.articlesbase.com/photography-articles/taking-panoramic-digital-photography-workshops-195946.html

Who Owns the Landscape? - Things the Landscape/travel Photographer Needs to Know About Property Releases

Author: David Stanley

I had a bit of a 'moment' the other day. It's ok, I'm over it now, but for a brief period my fledgling professional career flashed before my eyes. This momentary lapse of reason (one for the Pink Floyd fans there) was caused by a suggestion that the glorious panorama of the Scottish highlands that I submitted to the stock library a while back, or the stunning images of Rome that would one day grace the pages of some upmarket travel magazine (we can all dream), might be illegal. Why? Because I didn't have signed property releases. Visions of coach loads of corporate lawyers descending on my humble abode, having put aside all their other cases so that they could devote their entire careers to 'suing my ass', sprang to mind. Time for some frantic research. What I discovered was reassuring, to a degree, and certainly educating. I would save you the pain of having to do the same trawl so I have condensed my findings into a list of things that, as a landscape/travel photographer, you need to know.

Thing 1. I am not a lawyer.
This is important. Although everything you are about to read is correct to the best of my knowledge, it is none the less based on my understanding and interpretation. If you think you have a genuine problem with an impending release related lawsuit, my advice is speak to some one who did law at university, not economics like me.

Thing 2. If you are not planning on using your masterpieces to make money you don't need a release.
I thought I would get this one out of the way nice and early and save the possibility of you having to read through the rest of my inane ramblings without reason. If you take pictures for fun and only ever share them with friends and family, or maybe hang them in the privacy of your own home, you can hold your head high and snap away with a clear conscience. This does not absolve you from invading someone's privacy, trespass or any other civil liability but at least you won't need a signed property release to do it. Take note of the word 'planning' though. You may not have any intention of submitting your work for financial gain today, but at some point in the future that may change. If it does, and you raid your archives for suitable images, the fact that you took the picture 10 years ago means nothing in a court of law. If the nature of the subject matter and it's intended use means it needs a release, then it needs a release.

Thing 3. A 'model release' is different.
Well obviously. I merely mention this for the sake of clarification, as there may be times, especially on travel related images, where people and locations coincide. If that is the case then you may well need a property release, or releases, and individual model releases for every person who is identifiable in the image. Scary huh? But worry not, as I shall explain in a moment.

Thing 4. By the way, animals are property.
Ok, I know that you consider Rover a real and contributing member of the family and a person in his own right, but as far as commercial photography is concerned he is your possession and therefore your property. If he forms a significant element of a picture I am trying to sell, for example, 'Dog playing Frisbee in the park', then I need you to sign a property release. Not a model release by the way, I shall save that debate for another article. The same goes for Farmer Brown's cow, those racehorses that hang out in the fields down the lane etc, etc. You get the picture. Wild animals, however, are fine. You can take as many images of lions, tigers, leopards, elephants, whatever, as you like. Finding them of course is a separate issue.

Thing 5. There are situations when you absolutely, positively, unquestionably MUST have a property release.
Or, to put it another way, times when it may not be worth getting your camera out of your bag. If an image contains something obvious which carries a copyright or trademark or logo, it needs a release. Unless the image is used for editorial use. I'll explain why in a moment. Images which are of a logo and very little else are unlikely to be accepted for commercial or editorial use as they more than likely represent a breach of copyright. Now here's an interesting aside which just goes to show how complicated this whole release thing can be. The Eiffel Tower in Paris during the day is pretty much fair game. But come back at night when it is lit up, and arguably looks it's best, and you are into release territory because the light show is copyrighted. Not the tower. The light show. Weird huh?

Thing 6. There are actually situations when you don't need a property release.
Honestly. Now this is not an exact science, I am not an expert and I am not about to start advising on individual images or scenarios, real or hypothetical, (See thing 1) but the following is lifted from the FAQ pages of Alamy, a significant and respected commercial stock library, and for me provides a very useful rule of thumb. So, you don't need a property release for:

Public property - Government buildings, public schools, parks.
Private property (unidentifiable) - Locations with no identifiable features.
Private property viewed from publicly accessible locations - Building(s) in an image whose central focus is not those buildings. e.g. landscapes and skylines.
Famous locations or landmarks - Releases may be required unless the property is classified as being in the public domain. Rules vary from building to building and country to country so it is up to you to check your legal position with regards to such images.

Thing 7. All is not lost.
If you don't have property releases for images that, based on the above, you think you should have, you can still make money from them. This is due to the difference between 'commercial' use and 'editorial' use. In essence, commercial use is advertising or product/service promotion. To be used for such purposes an image must have accompanying releases. Editorial use is the newspaper, book or magazine illustration market where images are used to, pay attention here, 'educate or inform'. In the vast majority of cases images used in editorial areas do not need releases. Although book covers are a grey area, as it could be argued that the cover is promoting, or advertising, the content. The down side is that commercial use is where the money is. That's not to say you can't make a profit from editorial photography, it's just that the returns are generally less and you are unlikely to see the big money single sales that national advertising campaigns can generate.

So there you have it. A quick guide to the ins and outs of property releases in landscape and travel photography. I hope you found it useful and I hope it keeps you out of jail and a roof over your head.

Article Source:http://www.articlesbase.com/photography-articles/who-owns-the-landscape-things-the-landscapetravel-photographer-needs-to-know-about-property-releases-193992.html

The Secret of How to Find Cheap Accommodation Near Football Stadiums: Revealed

Author: lazysubmit

Chris, a friend of mine, is a huge Huddersfield Town fan and often travels to watch Town play in away games. I am a dot-com entrepreneur specialising in travel and I was interested to learn about the difficulties Chris faces when his team play away.

Chris lives in Halifax and drives to and from games in the local area on the same day. However when the game is a long way away, driving back the same day is often not possible. Bournemouth, where Huddersfield played on August 18th, is 260 miles from Huddersfield and is too far for a day trip! Instead it makes more sense to find accommodation near the football stadium, book a room and make a weekend of the trip.

Using the main search engines to find accommodation, hotels , bed and breakfasts and guesthouses near football stadiums was not an easy task. There are lots of web sites offering thousands of hotels all over the country but none of them presented the information in a manner suitable for a football fan. Information and maps showing hotel and stadium locations relative to the city centre did not exist. Chris also wanted cheap hotel deals – he was travelling with his mates not his girlfriend and so there was no need for flashy accommodation! This is where I, the dot-com entrepreneur stepped in!

Looking at the problem, I realised that hundreds of thousands of football fans travel up and down the UK every week to watch their teams play. They type in keywords like football hotels, football hotel, hotels near football stadiums into Google but web sites do not offer the information the football fan needs to book hotels. I therefore mixed up Google maps technology with a new hotel price comparison system and created www.MATCHhotels.com

This new site shows football supporters exactly where hotels are relative to footballs stadium on a Google map. Users enter a match date to see prices from several leading hotel websites. Multiple prices are shown for each hotel so fans can find cheap deals and book hotels online.

Hotels near football stadiums are now easy to find and book online.

Article Source: http://www.articlesbase.com/photography-articles/the-secret-of-how-to-find-cheap-accommodation-near-football-stadiums-revealed-213373.html

Five Tips on Promoting and Marketing your Portrait Photography Website

Author: Jesse Chatham

The portrait photography business is a competitive industry filled with a wide variety of portrait photographers with skill levels of all ranges. Unfortunately, being a quality portrait photographer doesn’t always mean that your business will be booming. There are hundreds if not thousands of talented professional portrait photographers in the United States who are not getting the results they want or the business they need to meet their financial goals.

Please consider the following marketing and promotional tips for your portrait photography website. The fact of the matter is that marketing is the most important aspect of having a successful portrait photography business. If you want to make succeed as a portrait photographer, the following tips should be very helpful.

Tip #1: Website!

Since the dawn of the Internet age, websites have become the most powerful and effective strategy for photographers to showcase their respective portfolios. If you don’t have a website by now then you might as well forget about increasing your business. Even for the photographers who have been in business for 30 plus years, a website is an essential thing to have. Not having one is akin to not having a telephone number: it’s that important!

Tip #2: Your website must be impressive!

Your website is you. That is, your website is a virtual you. When potential clients visit your website, they are looking at something that is an extension of who you are. It is imperative that they are impressed with the look and feel of your website as well as the presentation of your images and content. It never ceases to amaze me at how many portrait photographers have websites that look sloppy, unprofessional and downright ugly! If you want to gain business as a result of your presence on the Internet, you absolutely must have a professionally designed, easily navigable and aesthetically pleasing website. If your website is missing any of these elements, I would advise you to remove it from the Internet. It’s better to leave no impression at all rather than a poor impression!

Tip #3: Finding a qualified web designer

Be sure to do your homework before plunking down thousands of dollars for your new website. Be sure to carefully review your prospective web designer’s portfolio. Find out whether the website they will build for you is a custom, one of a kind website or a template website. Although custom websites cost more, they are usually worth the money as they will set you apart from the competition. It’s never a good thing for a photographer to have an identical website as another photographer in the industry.

Be sure to find out exactly what is included in the price they quote you for the new website and review the contract carefully to ensure there are no surprises.

Tip #4: Marketing your website

Just having a good looking website isn’t enough these days. Getting found on the search engines for high value keywords is one of the most effective ways in increasing your portrait inquiries. A well-known portrait photographer in Denver, Colorado – Julie Harris—estimates that 80 – 90% of her portrait inquiries can be directly attributed to her high search engine rankings on Google, Yahoo and MSN. “Without the traffic to my website, I don’t know where my business would be,” says Ms. Harris.

The effectiveness Search Engine Optimization and Search Marketing cannot be overstated. The Internet is full of free articles that will help you figure out how to go about implementing a successful website marketing and promotion campaign. You may also want to consider hiring a professional SEO consultant to help you with your website marketing strategies.

Tip #5: Maintaining and updating your website

Keeping your website up do date and fresh is extremely important. Try to get into the habit of uploading new work to your portfolio on a monthly or bimonthly basis. If you have a great portrait session, replace some of your older stuff with the new images. This will ensure that you’re always showing off your best work and it will encourage people to keep visiting your website to see your new work.

Article Source: http://www.articlesbase.com/photography-articles/five-tips-on-promoting-and-marketing-your-portrait-photography-website-86101.html

Hire a Professional for Wedding Photography

Author: lazysubmit

Wedding photography is a major commercial endeavor that supports the bulk of the efforts for many photography studios or independent photographers.

With the advent of the digital revolution in photography, today’s contemporary wedding photographer needs to stay abreast of all the latest developments in the industry.

Depending upon the demands of the client, a contemporary wedding photographer will usually need to provide some or all of the following:

* Formal portraiture in the studio (for either the wedding and/or the engagement photos).

* Outdoor photography (often at a park, beach or scenic location on the day of the wedding and/or for engagement photos).

* Indoor photography at a church, temple or other private venue during the ceremony and reception.

* Both posed and candid (photojournalistic) shots of the wedding couple and their guests at the religious or civil ceremony and the reception that follows.

* Digital services such as digital prints or slides shows.

* Albums (either traditional or the more contemporary flush mount type of album).

During the film era, practitioners favored color negative film and medium-format cameras, especially by Hasselblad.

Today, many more weddings are photographed with digital SLR cameras as the digital convenience provides quick detection of lighting mistakes and allows creative approaches to be reviewed immediately.
www.PasadenaPhotography.net

Article Source: http://www.articlesbase.com/photography-articles/hire-a-professional-for-wedding-photography-212852.html

Depth-of-field in Photography

Author: Robert Meeks

Depth-of-Field in Photography

by Robert Meeks

One subject which can definitely engender any number of opinions in trying to present an appropriate definition is certainly depth-of-field. Whether defined as a zone where objects are in focus or a zone before objects fall out of focus, other than for the sake of argument, these variances in opinion do nothing to change the phenomenon itself. The objective of this article is to offer an understanding of depth-of-field, but certainly not the definitive, and to offer ways to take advantage of it to effect creativity within our photos.

When we focus a lens on an object, any point of light (any part of the object which is visible), which is at that point of focus is brought into focus as a point of light on the film plane (or digital sensor). Any object which is not within that point of focus forms as a point of light before or after (would theoretically form) the film plane. When the latter happens, a corresponding but larger point of light is formed on the film plane. These points of light are called circles of confusion (and what an appropriate name).

The circles of confusion are conversely out-of-focus and larger than the points of light which are in-focus. If, however, we reduce the size of the circles of confusion, the resultant image appears to be sharper. In order to reduce the size, we need to reduce the diameter of the light reaching the film. This is done by reducing the aperture (the diameter of the lens opening) which causes the circles of confusion to effectively shrink in size, thus making them sharper. As we reduce our aperture, we can improve the sharpness of these circles further from our point of focus.

Although it would appear as though the more we close down the aperture, the sharper the pictures will be, this is not the case as we reach a point when we close down the aperture that light begins to deflect off the blades themselves. When this happens, the light which deflects is formed as more circles of confusion on the film plane reducing sharpness at all ranges. Even though we still effectively have our depth of field, sharpness has been noticeably reduced throughout the image.

We have an interesting effect at the other end of the aperture range. As we open the aperture, a larger diameter, the circles of confusion become larger and lose even more sharpness. This has the effect of isolating the image which is in-focus by throwing any objects outside of the focus range further out-of-focus. This also causes an interesting play on contrast as the contrast in the in-focus area is maintained but in the out-of-focus area contrast is reduced as well color saturation. This adds to the effect of isolating an image and using it to its advantage is called selective focus.

The opposite of selective focus is the hyperfocal distance. This is the setting on a lens when we want most everything in a scene, from close to far, to be acceptably sharp. If we set the lens to focus at infinity the objects closer to the lens will be out of focus and vice versa if we focus on objects close to the lens. We can accomplish getting everything (most everything) near and far acceptably sharp by using the hyperfocal distance.

If our lens has DOF marks on the barrel, it is relatively easy to determine hyperfocal distance. Set infinity at the aperture at which we are shooting. If we are shooting at an f/11, set infinity at the f/11 on the DOF scale of our lens. The opposite side of the DOF scale will now show the closest focusing distance at the f/11 mark. The actual hyperfocal distance will be at the focus mark on our lens.

If there is no such scale on the lens, then we can resort to a standard rule of thumb (which is a lot better than the algebra required to calculate this). Since our depth of field will fall 1/3 before our point of focus and 2/3 behind it, we want to set our focus to twice the range of our closest subject while using a small aperture like f/16. If our closest subject is 15ft, then we want to set the focus at 30ft which will put everything within the depth of field from 15ft to infinity. This is working with a lens which is 50mm or shorter (for 35mm film) and a subject no closer than 7ft with which this rule of thumb mostly works.

This has been a short introduction to some of the basics of depth-of-field. There is a lot more which can be studied about depth-of-field and which I could have written. Being, however, that I do not care for algebraic equations when I am using my camera, rules of thumb work for me just fine.

-Bob

This article is copyrighted 2005 by Robert Meeks. All rights reserved. Webmasters are allowed to use this article on their site so long as the content and copyright information stays intact and a link is provided, on the same page as the article, to Zhorkow's CargoShip.

Article Source: http://www.articlesbase.com/photography-articles/depthoffield-in-photography-75126.html

The Great Things About Photography

Author: Fran Black

Are you thinking about taking up the hobby of photography? Many who have already discovered this exciting and fulfilling hobby can tell you the top ten reasons why photography is so great. Maybe you will be captivated by this compelling and diverse art as well.

1. The Challenge of Getting the Perfect Picture
If at first you don't succeed, try, try again. Sometimes a hundred shots have to be taken and you have to try for several days to get just the picture you want. An individual must have patience, but at the end of the day a great sense of accomplishment is felt from capturing the best part.

2. Tell A Story
From beginning to end of a snowball fight, with people throwing their first snowball and eventually rolling in the snow and then dusting off, you can see the event and it tells the story of friendship, fun and joy of life. Looking at pictures of an old family farm from its humble beginnings to the growth and increase over a hundred years it tells a story of family, hard work and sacrifice. Everyone has a story, photos can share that story and bring it to life.

3. Express Individuality
A photographer subject matter will reflect their interests, likes and preferences. A photo can also reflect the individuality of a subject. The clothes they choose to wear and the location they want the pictures shot all show who they are and their personality.

4. Joy and Laughter Increase
Anyone who looks at their first grade picture can attest to this fact. What is more fun than looking back at your younger years or seeing the awkwardness of adolescence? In your later years of life, seeing a picture of your family working or playing together warms your heart and lets you remember good times and better health. A photo lets us travel over the decades and brings back moments that make us laugh and carries us through the hard times.

5. See Things Truly As They Are
Somethings are so perfect- the petals of a flower, the height of a Redwood, the still calm of the lake at dawn. They draw you in to the grace of nature and life in purity and simplicity. The sweet smile of a child reflects the goodness of life and all the hope for what we can become and achieve. This is what life is and who we are in it.

6. Solitude of the Dark Room
The magical atmosphere of the dark room leads you to discover the potential of the photograph. Lightness, darkness, shadows all are in the control of the photographer. It is a work done alone with your ideas and skills combined to bring out the story of the photo before you.

7. Understand the Emotions of Others
As you look over the events of history and witness the faces of those who endured the depression or see victims of the Holocaust you can see in their eyes what they have endured. Their faces portray their hearts and hurts and although you were not there, you understand what they carry with them a little more.

8. A Gift to Others of Their Most Precious Moments
After the couple returns from the honeymoon one of the first priorities is to get the wedding photos. One of the happiest days of their lives is recorded forever. When someone does something for you that you can't do for yourself you feel indebted and forever grateful. It is a special gift to give someone their special memories and most cherished events.

9. Once You Capture a Moment You Can Display it
From the famous to the personal, photographs reveal lives of people. Some are placed in history books, some on the walls of a museum and some in the home. When they are displayed they are able to reach into the lives of others and stir emotion and thought. Photos are meant to be shared and seen.

10. The Only Way You Can Freeze Time
A photo is a moment frozen in time for a person to enjoy and remember whenever they want. The look, the expression, the emotion only happen for an instant. Although someone might carry it in their heart, with time the memory fades. If a photo is taken a child is able to see the happiness of their parents on their wedding day, a parent can see how small their child was the day they brought them home for the first time and all the years after as they grew to adulthood. All the birthdays, first days of school, vacations and friends can be captured and with you always. Time and space do not take a loved one from us when we can see them and the moments we share together, always.

Article Source: http://www.articlesbase.com/photography-articles/the-great-things-about-photography-211931.html

Photographing Lightning

Author: Robert Meeks

Photographing Lightning

by Robert Meeks

Lightning can be both a beautiful and yet frightening part of nature. Many of us find awe in watching the momentary bolts of lightning and have seen photographs which seem to have captured more bolts of lightning than are possible in a split second.

When dealing with lightning, as with any unpredictable subject, the ability to capture that one fleeting moment is something we do not have the luxury of doing. Yet, what we can capture is quite impressive when we use the proper techniques. With lightning, the key is to let it do its show for us, and not to attempt to capture a momentary bolt.

As lightning is a split second event, and often lightning bolts come in groups, we can use the lightning for our source of light. We do this by using a slow speed film (a low ISO on digital cameras), a small aperture, and a long exposure time at a point when the lightning's activity has increased. This exposure can be from 1 second to many seconds depending on the amount of lightning activity, and if we are taking the shot during the day or night. Even if we are taking the exposure during the day, often lighting conditions are very reduced during a storm; by as much as 7 stops or more from sunny conditions.

The idea is for us to pick our spot from which we are going to shoot during the storm; such as a cityscape, farm, church, or any other area we feel would make a good background (or subject) for the lightning. We can select areas from which we would like to shoot during a non-storm period and go to those locations when a storm is brewing.

If we are to set up the camera in an outside location, we need a sturdy tripod with some additional weight to hold it down during potentially high winds, and some waterproof cover for the camera. The use of a cable release is a must, for the sake of safety, and the best type to use is an air-bulb release as it does not use metal in the tube; not giving a source of continuity back to us in case the camera is struck by lightning. We need to set the camera to the bulb (B) setting for shutter speed, and probably an f/16 with the lens set to infinity, or a pre-determined hyperfocal distance. We then need to get to our safe place from where we are to trip the shutter.

An alternative to setting up the camera in an outdoor location is to use a windowpod we can attach to our car windows and attach the camera to it. The window should be rolled up as much as possible and the camera still needs to have a cover for protection. For those of us lucky enough to have a good view from our home, we can position the camera at a window, either opening the window or pushing the lens up against the window glass, making certain that any interior lights for the room we are using are turned off.

Taking pictures is a matter of holding the shutter open for a few seconds so we can capture one or more bolts of lightning. For the best results, we need to do this several times as we cannot pre-measure the exposure value of the lightning. We should plan to kill of a full roll of film (here, digital cameras have an advantage) doing this for different exposure times and various lightning effects. The end result will be several successful exposures with some really neat lightning effects.

A lesson on taking pictures of lightning cannot be closed without mentioning the potential danger in doing such. Lightning is electricity with an equivalency of thousands of volts of potential delivering enough joules to make the electric company salivate. Capital punishment by electrocution uses less power than what a lightning bolt can potentially deliver.

Safety during a lightning storm involves keeping yourself in a protected place such as a shelter where you are not exposed to an opening or a vehicle which is well protected from lightning due to it not being grounded, as lightning is attracted to portions of the earth which have an imbalance in their electrical state. Being separated from the ground breaks the continuity and prevents you from becoming an attractor for the lightning.

If you find yourself outside during a lightning storm and you feel the hair on the back of your neck and limbs stand up, quickly get away from the area as this is a precursor of a lightning strike. Wearing protective clothing such as a rubber raincoat and boots with rubber galoshes over them can add protection, but it is not a cure. Staying away from trees during a lightning storm is advised, not due to making you a better target (as it does not), but if the tree is hit and the ground is moist enough, you can still be struck due to continuity of the electrical charge or the splitting of the bolt; not to mention having a tree fall on you.

The effects on someone from being struck by lightning can range from the loss of fingernails and toenails, loss of hearing, severe burns, loss of sight, loss of all body hair, organ and tissue damage, organ failure, brain damage, fusion of skin, to outright death which is not uncommon from lightning strikes.

I hope my warnings about the dangers of lightning have not fallen on deaf ears. Taking photos of lightning can be quite a rewarding experience. Being alive to share those photos can be an even more rewarding experience. You do not want to end up being the butt of the old photographer joke where their last picture was a beauty.

Bob

This article is copyrighted 2005 by Robert Meeks. All rights reserved. Webmasters are allowed to use this article on their site so long as the content and copyright information stays intact and a link is provided, on the same page as the article, to Zhorkow's CargoShip.

Article Source: http://www.articlesbase.com/photography-articles/photographing-lightning-75125.html

VICTORIAN VISIONS 19th century photography at the Lady Lever Art Gallery

Image: 'May Day' by JM Cameron. V&A Images, Victoria and Albert Museum

VICTORIAN VISIONS
19th century photography at the Lady Lever Art Gallery

An age of creativity, experimentation and romance is on display in Victorian Visions 19th century photography at the Lady Lever Art Gallery from 1 December to 16 March 2008.
The exhibition contains around 40 original photographs and offers a fascinating insight into the Victorian view of the world.
The images, from the V&A’s collection, include those by major names such as Julia Margaret Cameron, Lady Hawarden, Roger Fenton, Francis Frith, Robert Howlett and B.B. Turner.
National Museums Liverpool curators have selected images that complement the Lady Lever Art Gallery’s outstanding collection of Victorian art. The photographs provide interesting points of comparison to many of the paintings on display.

Sandra Penketh, head of the Lady Lever Art Gallery, said: ‘Some of these images record the Victorian world and people, others are more reminiscent of paintings. All of the images are incredibly beautiful and powerful. The achievement of these early photographers is quite amazing when you consider that the whole process was still experimental. It’s easy to forget the often arduous and time-consuming nature of photography in the Victorian period when you are faced with the sheer brilliance of these pictures’.

The exhibition is divided into five sections - early works, landscape, documentary, women photographers and portraits.
Highlights include:
• Arresting photographs by female artists who did not allow the restrictions of Victorian society to prevent them staking out new perimeters in photography. Julia Margaret Cameron’s works echo the Lady Lever Art Gallery’s Pre-Raphaelite paintings in their romantic subject matter. Lady Hawarden’s intense photographs of female sitters, often her own daughters, make use of natural light, reflections and a careful choice of viewpoint and props.
more…

• B. B Turners’ and Fenton’s arresting landscapes that follow in the tradition of British landscape painting much loved by Lord Lever and represented in his collection.
• A selection of carte de visite (small portrait photographs exchanged between friends and stuck into albums) of various eminent Victorians such as Charles Dickens and Liverpool-born Prime Minister William Gladstone.
• Powerful documentary style images that record the desolation of the Crimea War, the groundbreaking nature of Victorian engineering, and the growth of the tourist industry.
• A delightful selection of photographs of people enjoying the beach at Yarmouth Sands by Paul Martin. A trip to the coast was a popular leisure time for all sections of Victorian society. Martin’s images are a nostalgic reminder of traditional past times.

www.liverpoolmuseums.org.uk

Photography Basics: Exposure

Author: Robert Meeks

Photography Basics: Exposure

by Robert Meeks

I had originally written an article on exposure intended to provide a foundation of the basics for novice photographers. Someone had pointed out that it was perhaps a bit too complex for absolute beginners not familiar with some of the terms used in photography; hence, I wrote this simpler introduction to exposure in photography.

One of the most common terms someone will encounter when getting into photography is the term 'stop'. Aside from jokes about paparazzi being told this several times, a stop is actually referring to exposure.

A stop originally was a reference to the aperture in a lens. In the early days of lens development, even before photography, a lens was often a single or double element (piece of glass) which did not provide a very sharp image due to the center of the lens providing a sharper image than the surrounding portion of the lens. Since the lower sharpness of the outer portion of the lens would reduce the sharpness of the image produced by the lens, someone came up with the idea of blocking or 'stopping' the light which would pass through the outer portion of the lens by placing a metal disk with a hole in it between the lens elements. This metal disk was called a 'stop'. Since a 'stop' also reduces the amount of light which passes through the lens in a given amount of time, it also requires more time to expose film as the size of the stop decreases.

We now use the term 'stop' as a reference for exposure differences.

Exposure differences can be caused by adjusting the amount of time the film is exposed (shutter speed) or by varying the size of the opening in the lens (aperture).

Cameras and lenses use shutter speeds and apertures which have a difference of 2. Either twice as much or half as much. This is also the same value ascribed to a stop.

For shutter speed, we are adjusting the amount of time which the film is exposed to light. If we, for example, are using a shutter speed of 1 second, then we decide to use a shutter speed of 2 seconds, we have increased the exposure by 1 stop; meaning that we doubled the amount of time we were exposing the film. If we were using a shutter speed of 1 second, then we decided to use a shutter speed of 1/2 second, we have decreased the exposure by 1 stop; meaning that we cut the amount of time we were exposing the film in half.

Shutter speeds on a camera which can be selected manually have a difference of one stop between them. You can see this in the amount of time of each shutter speed: 1 second, 1/2 second 1/4 second, 1/8 second, and so on.

Aperture is a little more difficult as the numbers are a relation of the opening in the aperture blades to the focal length of the lens, but the aperture number on each lens means the same thing, regardless of the focal length of the lens; so we can completely forget about focal length when it comes to exposure.

Since the aperture marks on a lens are a difference of one stop of exposure, a larger number meaning less light reaches the film, we can adjust the aperture to control the amount of light which reaches the film. If we are shooting with the lens set at 5.6, then we decide to shoot with the lens set a 8, we are allowing one stop less light to reach the film; meaning half as much. If we are shooting with the lens set at 5.6, then we decide to shoot with the lens set at 4, we are allowing one stop more light to reach the film; meaning twice as much light.

*The numbers representing the aperture on a lens barrel are actually fractions. Hence, a larger number on the barrel is actually a smaller opening in the aperture. An f/8 is smaller than an f/5.6; if the numbers confuse you, just put a '1' in front of the number and it will be easier to remember that 1/5.6 is larger than 1/8. The standard scale of aperture on lenses can range, from largest opening to smallest, as follows: 1.4, 2, 2.8, 4, 5.6, 8, 11, 16, 22, and 32. Each difference in one number position (e.g. from a 4 to a 5.6) is one stop.

We can see that adjusting the shutter speed and aperture can both control the amount of light which reaches the film. We can use these in combination to control the amount of light which reaches the film. By decreasing the aperture from 5.6 to 8, and the shutter speed from 1/125 to 1/60, we have decreased the exposure by a total of two stops; as we dropped the aperture and the shutter speed each by one stop.

Do keep in mind that stops is a measure of how we can manually adjust the exposure we are providing for the film and not a measure of the amount of exposure which is required by the film for a particular lighting condition. We get the amount of exposure required from the built in meter on our camera or an eternal meter which tells us where we can set our shutter speed and aperture.

Knowing that each adjustment in aperture or shutter speed decreases or increases the exposure by the same amount, we can use this to adjust the exposure if necessary. If we have set our camera, according to our meter reading, for an exposure of 1/60 second at f/11 (1/60 second shutter speed, f/11 or 11 aperture) and we decide that we need a faster shutter speed to capture an action shot, we can increase the shutter speed by one stop for each stop we adjust the aperture. Being that we know that each increase in shutter speed reduces the exposure by 1/2 (1 stop) (example: 1/125 second gives us half as much time as 1/60 second), then to compensate, we need the increase the amount of light which passes through the lens by by twice as much (1 stop) (example: an f/4 aperture allows twice as much light through the lens as an f/5.6). For our example above, where we have our camera set at 1/60 second at f/11, we can get the same exposure value by setting the camera at 1/125 second at f/8, 1/250 second at f/5.6, 1/500 second at f/4, 1/1000 second at f/2.8, and 1/2000 second at f/2.

Film speed also has an equivalent difference of one stop between film speeds when there is a difference of 2 in the film speed. a 200 speed film is twice as fast as a 100 speed film; meaning that a 200 speed film would allow us one stop more exposure with which to play. Conversely, a 400 speed film is 4 times faster than a 100 speed film which gives us 2 stops more exposure with which to play. This becomes important when we may need extra exposure capabilities due to the lighting conditions. Say that we are shooting indoors with lighting conditions which would give us an exposure of 1/15 second at f/2 (providing that is the maximum aperture at which we can set the lens) using a 100 speed film, we would be challenged to get a sharp image if we had to handhold the camera. If we used a 400 speed film instead, this would give us 2 stops more exposure allowing us to use a faster shutter speed of 1/60 second (1/15 to 1/30 is one stop, and 1/30 to 1/60 is one more stop. Hence, we have decreased the shutter speed by 2 stops, which is the same amount of increase the film has given us.

I hope this has provided some understanding for you with regard to exposure in photography. It is the basic knowledge upon which we can build. Having an understanding of exposure provides us with a base upon which we can add. You should be able to take these basic steps and adjust them according to the needs of the moment to get a proper exposure. Beyond that, you can even develop your own techniques by playing with the exposure.

Have fun with your photography; and remember that your primary goal is not only for your enjoyment of photography, but also to make certain that everyone involved with your photography can share in your enjoyment.

Bob

This article is copyrighted 2006 by Robert Meeks. All rights reserved. Webmasters are allowed to use this article on their site so long as the content and copyright information stays intact and a link is provided, on the same page as the article, to Zhorkow's CargoShip.

Article Source: http://www.articlesbase.com/photography-articles/photography-basics-exposure-74319.html

How to Compose Landscapes

Author: Jeffrey Haber

There really are no effective formulas for composing good landscapes. Nonetheless, the general suggestions that follow can probably help you get bet-ter ones.

1. Every landscape should have a focal point. This is the center of interest, the part of the picture your eye is drawn to. It can be a distant moun-tain, the facade of a building, or a clump of trees. Without a focal point, your landscape will likely fall flat.

2. Make sure the subject is big enough. If you use a wide-angle lens, a distant focal point such as a mountain may be too small or the sea may seem to trail off into nothing but water. Your eye seeks a center of interest. If there is none, it will simply wander off to infinity because there is noth-ing in the picture to hold your attention.
A small main subject can express the vastness and grandeur of a scene, but if this isn't your aim, move closer to the main subject and reframe the shot. If the main subject is still too far away or you can't get closer, use a longer lens.

3. Let the subject guide your approach. If the main subject area contains people, experi-ment with placing them nearer or farther from the camera to achieve different-sized images. Some images can be more effective if they look large and overpowering. Small figures emphasize the vastness of a woodland area.

4. Pay attention to subject placement. Impressive or dynamic subjects (for exam-ple, the plant in picture on left) can often be centrally placed. Medium-sized land-scape images are usually more effective when placed off-cen-ter (such as leaves and tree trunks in picture above).

5. Consider framing your subject. Dramatic central sub-jects generally don't require framing, but other landscape subjects are usually improved by framing. Without some framing, the main subject at a distance appears lost in the enlarged print or projection.
The foremost framing device is foliage. An arch, doorway, or natural rock for-mation can also serve as a use-ful frame to lead the viewer's eye.

6. Keep the frame in focus. In landscape photography, it's important that both the frame and the subject be sharp. Visually, an out-of-focus frame is usually disturbing and draws attention away from the main subject. If depth of field is insufficient, shift the focus point or stop the lens down.

7. Create the illusion of depth. Giving the feeling of three-dimensional space enhances landscapes. Placing different subjects or framing elements at different planes helps the picture hold the viewer.

8. Use contrasting colors. A subject wearing a bright red, blue, or yellow jacket that's carefully placed within a land-scape can perk up a dullish scene. Usually, such subjects should be kept at a sufficient distance within the picture frame or they will tend to take over and dominate the entire picture.

9. Keep your camera level. Almost all good landscapes are made with the camera held as level as possible. Don't be tempted to point your lens up too far. If you do, you will cre-ate apparent perspective dis-tortion, and objects will appear to be falling over back-ward. The closer you are to your main subject, the more important this is. Use a shoe-mounted bubble level.

Article Source: http://www.articlesbase.com/photography-articles/how-to-compose-landscapes-68294.html

A Brief History of Victorian Erotic Photography

Author: Irene Forde

The exposure of the body through images of the nude was one of the most controversial issues in Victorian art.

Nudes were presented not only in painting and sculpture, but also popular illustration, and photography, fuelling intense debates about the relationship between art and public morals.

Pictures of nude women prior to 1835 generally consisted of paintings and drawings which were displayed in all respectability on the walls of art galleries and in country houses.

When the new technology of photography appeared around 1835 it was quickly taken up by artists, eager for new ways to illustrate the undraped feminine form.In the moral climate of the 19th century the only officially sanctioned photography of the body was for the production of artist's studies.

Erotica in the 19th and early 20th century took the form of literature, photography, sculpture and paintings, which dealt substantively with erotically stimulating or arousing descriptions.

Some photographers often hired burlesque actresses as models for nude and semi-nude photographs. The French did a roaring trade selling erotic 'postcards' to American tourists. These would now be termed soft-core, but they were quite shocking for the time.

The Victorian pornographic tradition in Britain had three main elements: French photographs, erotic prints (sold in shops in Holywell Street, a long vanished London thoroughfare, swept away by the Aldwych), and printed literature.

The ability to reproduce photographs in bulk assisted the rise of a new business individual, the porn dealer. Many of these dealers took advantage of the postal system to send out photographic cards in plain wrappings to their subscribers.

Later on publications masquerading as "art magazines" celebrated the new cult of naturism, with titles such as Photo Bits, Body in Art, Figure Photography, Nude Living and Modern Art for Men.

In truth,these Victorian photographic images of nudes are beautiful and have an innocence about them which could not really be claimed of today's Playboy centre-fold.

Article Source: http://www.articlesbase.com/photography-articles/a-brief-history-of-victorian-erotic-photography-219163.html

Digital Photography - What's So Great About It?

Author: Carol Miller

I admit it - I've been slow to embrace the digital photography phenomenon. As a hobbyist, I have two film cameras, an old manual focus Nikon and a newer autofocus Canon Rebel, and I resisted the temptation to indulge in a digital camera up until recently, even though each of my children had them for years now. But recently my father gave me his mid-priced Olympus (he didn't like the menus), and I've been giving it a try. And, to my surprise, I even like it.
My favorite thing about the camera is pretty obvious - no film. My father gave me two (bless him) substantial memory cards, and I just don't run out of film. I don't pay to develop photos that I don't really want now that I've seen them (I don't pay to develop photos period), and since I can actually see how they look on the spot, I can delete bad shots to save the space for more. Taking lots of shots helps me improve, and improves the chances of a better than average photograph as well, and now it's free. My camera has settings on it that allow me to pretend I have film - I can set film speed and worry about aperture/shutter speed combinations just like with my other cameras, so I can still use what I already know about photography, which I really like. And I love not having to wait to see how the pictures came out.
The other really cool thing about digital photography is photo editing. I haven't invested in Photoshop yet, but I have my eye on the Elements program for next year. I just use Google's free Picasa and sometimes my PhotoDeluxe editor (came free with my scanner), and even then I can do an incredible amount of really exciting things with my pictures. The best is being able to correct poor exposures (I admit, I often don't notice backlighting). With a couple of adjustments, what would have been a throwaway photo can become a keeper! I remove red-eye easily, sharpen focus, adjust contrast, warm up colors, and remove excessive unwanted tint (such as from lamplight). Cropping is my favorite - those lucky few who have their own darkroom crop their photos routinely, but us regular folks used to have to take what we got - no longer! We can pick and choose, and glory in removing unwanted background, excess sky - we can even remove most of the shot and make it a close-up. Resizing is a snap - want some wallets? No sweat. 8x10, 5x7, some oddball size - just a simple selection will do it. And don't forget special effects. Depending on the editor, you can turn your photo into a painting, add glow, filters, neon - your imagination can go wild!
When you have your masterpiece ready to go, you can print it on photo paper at home, or you can send it out for processing. Through Picasa, you can click and send it to a processor via the internet, and get your professionally printed photos in the mail - but only the ones you have decided you want. You can upload your photos to a web page, email them, use them in a blog or on MySpace - they are easy to share.
So, as you can see, I am a digital photography convert. There is so much fun in having this kind of control over your work that it has actually rejuvenated my love of photography. If you haven't already converted too, think about it. It really is a blast.

Article Source: http://www.articlesbase.com/photography-articles/digital-photography-whats-so-great-about-it-64737.html

The Best Camera Lens to Take On your Safari

Author: Bruce Whittaker

So you've booked your once in a lifetime safari trip to Africa and now your thoughts turn towards photographing all the wildlife you are going to encounter on your adventure.

It would be a great shame to come across your first African pride of lions and not have some decent pictures of the memorable event to show your friends and family back home.

Unfortunately many people who go on safari don't realize that the camera lens you take with you will be the deciding factor between getting wildlife photos where the subject is an unrecognizable blob in a sea of vegetation compared to a crisp, tightly framed image of that black maned leader of the lion pride.

I've been practicing wildlife photography on safari for over twenty years now and I've learnt which are the best lenses to arm yourself with when you go into the African bush to capture lasting, quality images you will be proud to display to anyone.

My recommendations here are for the occasional wildlife photographer such as someone going on an African safari and not for professional wildlife photographers as they have different needs when it comes to camera lenses because they take photographs for a living.

To help you choose a lens to take with you on safari, here is a list of the factors you need to take into account before putting your money down...

1. Size Of The Lens

Anything less than a 300mm lens for the big game you will encounter on safari like lion, rhino, elephant etc will be too small. A 400mm lens will allow you to get good pictures of the smaller animals like bushbuck, vervet monkey and the like. If you are aiming for bird photographs then a 600 mm lens will do the trick.

2. Your Budget

It's very easy to find lenses that cost thousands of dollars but if you are primarily going to be using it for your safari trip and maybe a smattering of wildlife photography after that, you shouldn't be spending more than a few hundred dollars. It is possible to get a lens of high enough quality for your purpose in that price range.

3. Image Stabilization

It's not imperative but if you can get a lens with an image stabilizer it's a huge advantage on a safari because you can handhold the lens without too much fear of blurring in good light which is especially useful if you are not next to a window in the safari vehicle or don't have enough space to position your beanbag or tripod.

4. Zoom Ability

On safari one lens is better than two because of the nature of your subject. When you come across a leopard you won't have time to switch lenses on your camera body because they tend not to stick around for too long so one lens with a good zoom is a big advantage to capture the very shy wildlife you will encounter. Another reason not to change lenses is that dust that is prevalent on an African safari can cause the camera mechanisms to clog up.

So keep these four factors in mind before you make your purchase and if you can find a lens that conforms to all the above requirements than you have a winner.

Article Source: http://www.articlesbase.com/photography-articles/the-best-camera-lens-to-take-on-your-safari-62014.html