Photography Zone

Panasonic Lumix DMC-LF1 Review

noreply@blogger.com (Anonymous) — Tue, 23 Jul 2013 01:13:00 +0000

Over the years I’ve owned a number of digicams just like this one and each has been damned useful. Pop in the pocket. Pull it out. Shoot. And enjoy.

However, in the last 2-3 years they have become really fearsome beasts with tech specs that ring with power.

Not only can these more recent arrivals shoot big, big stills but some have enormous zoom ranges and all can shoot Full HD video.

So who needs a DSLR or a MILC?

This little number from Panasonic is a good example of shooting power but with a certain finesse.

Panasonic Lumix DMC-LF1 Features

The lens in particular screams quality: an f2 Leica DC Vario-Summicron 7.1x zoom that equates to a 35 SLR optic of 28-200mm range. The only downer is that you cannot enjoy the full f2 all the way through the zoom range; it soon shrinks to f5.9. But it does mean you can enjoy limited focus effects at the f2 aperture.

This shot was made at full wide on the zoom and at f2. Notice the limited depth of field.

However, it would be easy to miss the standout feature of this diminutive picture maker: beside the large 7.6cm LCD screen at the camera’s rear, there is also an electronic screen tucked away on the camera’s left top corner (as viewed from the rear). This will win many hearts!

The LF1 offers Wi-Fi connectivity so that users can connect the camera to their smart phone or tablet with one touch to share an image. You can also use a smart phone or tablet as a remote shutter with a monitor.

The CMOS captures a maximum image size of 4000×3000 pixels, enough to make a 34x25cm print.

Video can be shot in either AVCHD or MEG4 formats at Full HD 1920×1080 pixel quality. You can shoot stills mid video recording at a reduced size. If you shoot in AVCHD the maximum recording time is 29 minutes and 59 seconds.

The control layout is very straightforward:

Top deck has the viewfinder mentioned earlier, with dioptric adjustment; then there’s the mode dial with positions for intelligent auto, PASM, two custom modes, panorama shooting, scene modes (16 in all) and creative control with 11 settings, including retro, old days, high and low key etc.

Panoramas can be shot laterally and vertically left to right, right to left, up or down and stitched in-camera. With the creative panorama function you can apply filter effects of retro, expressive, high or low key etc. The camera does not shoot horizontally panned panos with the camera held vertically, unlike some other cameras … notably Sony’s.

Next to the mode dial is the shutter button set within the lever for zooming; the power switch is at the extreme right end.

Rear: at the extreme left is the button to switch from rear screen to turret viewfinder; next is the WiFi button.

Beneath it is the video record button, shielded from accidental triggering by a protective slice of leatherette; adjacent is the Function and replay buttons.

Lower is the four way control dial with positions for macro shooting, exposure compensation, flash options and continuous/self timer. The menu button is central.

Lower still is a button for display options and one for trash.

Overall, a good layout but one that is badly let down by all the identifying text being too small, printed in off-white and almost impossible to read in dim light. Why not white text?

Tap the Function button and you gain access to a rather novel aid: a Composition Guide that makes it easy to shoot a photo with good composition, by choosing from a range of on screen examples: Rule of Thirds Offset, Diagonal Lines, Tunnel etc. A big help for those beset with poor visual acumen. It’s unlikely to prevent cut off heads or feet … but at least your shots will be visually balanced!

DistortionNo distortion evident at either the wide or tele ends of the zoom.

Start Up

In two seconds from startup you can shoot the first shot; follow-ons nearly as fast as you can hit the button.

Panasonic Lumix DMC-LF1 ISO Tests

Only at ISO 3200 did noise become apparent. At ISO 6400 overall quality declined while noise increased and odd artefacts appeared. Useable? Maybe.

At ISO 12800 the shot was unusable.

Panasonic Lumix DMC-LF1 Review Verdict

Quality: average.
Why you’d buy it: small, sufficient zoom range for most purposes; shoot RAW files.
Why you wouldn’t: LCD screen is not vari-angle.

A great little number for easy, high quality photography. Available in silver or black.

Panasonic Lumix DMC-LF1 Specifications

Image Sensor: 12.1 million effective pixels.
Metering: Multi zone, centre-weighted, spot.
Lens: Leica DC Vario-Summicron f2.0-5.9/6.0-42.8mm (28-200mm as 35 SLR equivalent).
Exposure Modes: Auto, Program AE, shutter and aperture priority, manual.
Sensor Size: 15mm CMOS.
Shutter Speed (stills): 60 to 1/4000 second.
Continuous Shooting: 10 fps.
Memory: SD/SDHC/SDXC plus 87MB internal memory.
Image Sizes (pixels): Stills: 4000×3000 to 640×360.
Movies: 1920×1080, 1280×720, 1440×1080 and 640×480.
Viewfinder: 7.6cm LCD screen (920,000 pixels).
File Formats: JPEG, RAW, JPEG+RAW, MPO (3D), AVCHD, MPEG4.
Colour Space: sRGB, Adobe RGB.
ISO Sensitivity: Auto, 80 to 12800 (with boost).
Interface: USB 2.0, HDMI mini, WiFi.
Power: Rechargeable lithium ion battery, DC input.
Dimensions: 103x62x28 WHDmm.
Weight: 192 g (inc battery).
Price: Get a price on the Panasonic Lumix DMC-LF1 12 MP Digital Camera (White) or Panasonic Lumix DMC-LF (Black).

source : http://digital-photography-school.com

11 Tips for Beginner Photographers

noreply@blogger.com (Anonymous) — Mon, 22 Jul 2013 00:58:00 +0000

1. Don’t go crazy buying the most expensive equipment right away.

It’s possible to get very nice photos with an inexpensive point and shoot. See these examples on Flickr. The more photos you take, the more you’ll know about what kind of camera to get when it’s time to upgrade.

2. Consider a tripod.

On the other hand, an inexpensive tripod is worth getting, especially if you have shaky hands like mine. When I got a tripod, my satisfaction with my shots skyrocketed. For even more stability, use your camera’s timer function with a tripod (read our introduction to tripods).

3. Keep your camera with you all the time.
Photo ops often come when you least expect it. If you can keep your equipment relatively simple – just a small camera bag and a tripod – you might be able to take advantage of some of those unexpected opportunities. Or, if your phone has a camera, use it to take “notes” on scenes you’d like to return to with your regular camera.

4. Make a list of shots you’d like to get.
For those times you can’t carry your camera around, keep a small notebook to jot down places you’d like to come back and photograph. Make sure to note any important details, like the lighting, so you can come back at the same time of day or when the weather’s right. If you don’t want to carry a notebook, send yourself an email using your cell phone with Jott.com.

5. Don’t overlook mundane subjects for photography.
You might not see anything interesting to photograph in your living room or your backyard, but try looking at familiar surroundings with fresh eyes. You might catch an interesting trick of the light or find some unexpected wildflowers in your yard. Often a simple subject makes the best shot.

6. Enjoy the learning process.
The best part of having a hobby like photography is never running out of things to learn. Inspiration is all around you. Look at everything with the eyes of a photographer and you’ll see opportunities you never noticed before.

7. Take advantage of free resources to learn.

Browse through Flickr or websites like the Digital Photography School Forum for inspiration and tips. Also, your local library probably has a wealth of books on all types of photography. If you’re interested in learning about post-processing, give free software like the GIMP a try.

8. Experiment with your camera’s settings.

Your point and shoot may be more flexible and powerful than you know. Read the manual for help deciphering all those little symbols. As you explore, try shooting your subjects with multiple settings to learn what effects you like. When you’re looking at your photos on a computer, you can check the EXIF data (usually in the file’s properties) to recall the settings you used.

9. Learn the basic rules.

The amount of information about photography online can be overwhelming. Start with a few articles on composition. Be open to what more experienced photographers have to say about technique. You have to know the rules before you can break them.

10. Take photos regularly.

Try to photograph something every day. If you can’t do that, make sure you take time to practice regularly, so you don’t forget what you’ve learned. An excellent way to motivate yourself is by doing the weekly assignments in the DPS Forum.

11. Don’t be afraid to experiment.

If you’re using a digital camera, the cost of errors is free. Go crazy – you might end up with something you like. You’ll certainly learn a lot in the process.

source : http://digital-photography-school.com

How To: Earn Extra Cash With Your Camera

noreply@blogger.com (Anonymous) — Tue, 16 Jul 2013 02:04:00 +0000

There are plenty of opportunities for bringing in a few extra bucks while doing what you love—and you won’t have to quit your day job. Here’s how.

Chris Garrison, who started out shooting part-time and later turned pro, makes money photographing the extreme events he loves.

You’ve invested in camera gear and you love taking pictures, but you’re not interested in a full-time photography career, especially when pros these days don’t exactly have it easy. Still, you can earn a little extra with your camera—if you’re willing to put in the time and effort—and keep your weekly paycheck, too. Whether you want to shoot weddings or portraits, sell prints or stock, or capture local sporting events, here’s the skinny on getting started.

Try Weddings

Wedding photography is almost recession-proof and, since weddings are seasonal and often on weekends, it’s relatively easy to shoot part-time. Freelance wedding photographer and writer Nathan Chandlersplits his time between shooting and writing, and explains that his start in wedding photography began when family and friends saw his landscapes and casual portraits and assumed he could photograph nuptials, too. After about five years, Chandler was enjoying wedding photography enough that he begain actively trying to get wedding jobs. The Nebraska-based photographer now shoots about 20 each season.

Seattle-based Chloe Ramirez started out as a second shooter for other wedding photographers. “That gave me the background and confidence to start photographing weddings on my own,” says Ramirez, adding that she didn’t go out on her own until after a solid year of second shooting.

She also suggests styling your own wedding shoot for portfolio images by working with local vendors—make-up artists, venues, etc.—and exchanging pictures for their services. From there, send the final images to a wedding blog, says Ramirez. “If it gets picked up, that gives you and the vendors exposure for your businesses.” And, she adds, “Ask vendors if you can refer your brides and grooms; they will most likely return the favor and that will get you more inquiries.”

During the three-to-four month wedding season, Ramirez shoots full-time, accepting up to four weddings per month, and puts her three-year-old daughter in daycare two days a week so she can concentrate on editing. “That way, when I am home with my family, I am present and not trying to juggle both [family and work].”

Take Portraits

Child and family photography is a growing market and a realistic—and often fun—option for photographers who want to earn a little money on the side.

Amy Grace, a parent of two and an active member of the family photo website Little Bellows, got her first DSLR two years ago. She began by shooting personal images, spending a lot of time photographing her children as well as friends and family. About a year ago, she got her first paid job and found that the “wisdom, patience, and attentiveness” learned from photographing her own children was “invaluable” for working with other families. Grace currently takes limited sessions—preferring no more than one client a month—so she can care for her children, but expects this to change in the future.

She posts weekly on Little Bellows and writes a column called “Motherhood With a Camera.” She says, “The weekly posts have increased my audience; the feedback and connections from readers are inspiring and encouraging, and it confirms that there is so much depth, talent, and purpose behind the often-dreaded moniker MWAC [Mother With a Camera].”

In addition to the inquiries from Little Bellows readers, Grace finds that her clients come to her via word of mouth—whether locally or via social media like Facebook.

Photographing since high school, Lora Swinson only started shooting portraits when her oldest son was born. Soon after, she asked everyone she knew if she could photograph them to get experience. “My biggest tip for anyone starting out is to ask your family members and friends for their help. Word-of-mouth is your biggest tool in this industry.” But, she cautions, “be honest and open about your skill level and what they should expect.”

Sell Prints

Selling your images—whether via galleries, online, or at art fairs—can be a challenge, but it isn’t impossible. Landscape and fine-art photographer Derek Jecxz combined research, persistence, and a portfolio of extraordinary images to sell his work. He entered competitions from “reputable” museums and galleries, which helped him get into other galleries. After a couple of years, licensing company Bruce McGaw Graphics approached him with a contract to reproduce and distribute his work.

New York City-based Deborah Gilbert makes hand-colored silver gelatin prints, and she has traveled far and wide to sell her work at art fairs. While she’d once do as many as 43 shows in a single year, she now concentrates on those in the Northeast. She suggests that newcomers start small with local shows where tables rent for for $20-$25. Larger shows may cost up to $2,000.

Gilbert points out that you won’t necessarily make more money at a higher-level show, especially after deducting fees. “You can make more at the smaller local shows at the Kiwanis club,” she says. She mixes both local and higher-end shows and recommends that if you’re traveling, pick locations where you have family or friends that you can stay with to cut down on hotel expenses.

Gilbert offers framed, original hand-colored photos for around $500, but also sells smaller, matted reproductions that cost less. Her matted works are standard sizes, so buyers won’t need a custom frame.

Both Jecxz and Gilbert caution photographers to do their research before handing over money to any online site since there are some organizations that really don’t deliver useful— if any—services. And to find lists of national art shows, Gilbert suggests subscribing to Sunshine Artistmagazine.

Shoot Sports

Photographing your team from the bleachers isn’t much fun, so why not combine your passions for sports and photography? Pennyslvania-based Den Sweeney and partner Ho Chuen Kan (a.k.a. J-Kan) get hired by universities, high-school programs, and parent groups to shoot games as well as athletic portraits. In addition to showcasing your work using social media, Sweeney suggests that photographers shoot for fun to improve. But, adds the former hockey player, coach, and recruiter, “know the sport that you’re photographing.”

And don’t forget about the video setting on your DSLR. Lion Creative Group, headed up by Matthew Leone, recently added high school sports recruitment videos to its services. As Leone explains, there are many top-notch athletes vying for the attention of scouts and college coaches, but “college program budgets are getting slashed, so the best way to get noticed is a top-quality video.”

For those new to the field, Leone suggests approaching the “athletic directors and high school coaches of top programs; those are the ones that sniff out talent. The athletes trust their coaches and ADs. Get a coach and an AD to trust your service and they will help you multiple times.”

If extreme sports are your thing, check out Chris Garrison’s work. Garrison, who shoots wakeboarding and snowboarding, knows both sports well and, equally important, knows the athletes. He started by shooting for magazines part-time, submitting images to various publications, and last year he was able to make the switch to shooting full-time. “I think of editorial as paid advertising for my work, because that’s how the manufacturers [of extreme sports gear] find you.”

Sell Stock

While pros now depend less on stock, there are still plenty of opportunities for amateurs with companies such as Shutterstock, iStock Photo, and Getty’s Flickr collection.

Scott Braut, VP of Content at Shutterstock, notes that the “images that sell best often express both concepts and literal subject matter. An image of a rock climber can be used to illustrate an article about extreme sports but also signifies business concepts.”

He suggests that contributing photographers pay attention to “advertisements, the news, lifestyle trends, fashion trends, political and social issues.” And, he says, upload images often. “The secret to a top-selling portfolio is to keep putting new work in front of customers.”

Jennifer Huls joined Shutterstock in 2012, less than two years after she first started learning to use her camera. A mother of three, Huls says that being a parent “takes up most of my time, but it is nice to have a part-time job that I can do from home.”

She submits 20 to 25 images a week to Shutterstock, about 90 percent of which are shot in her basement studio. So far, Huls reports, “I have met all of my earnings goals and hope that this year is as good as the last.” Her advice? “Shoot what you are passionate about and don’t worry about what will sell. Some will sell and some won’t, but at least you won’t get bored with it.”

source : http://www.popphoto.com

Camera Test: Nikon D7100

noreply@blogger.com (Anonymous) — Mon, 15 Jul 2013 01:53:00 +0000

With higher ISOs, faster burst rates, and better resolution, this upgrade has something for everyone

If you’re serious about your photography, but just as serious about value, Nikon’s D7100 ($1,197, body only) has likely caught your eye. Its 24MP APS-C-sized CMOS sensor promises lots of resolution; dual card slots help you organize while shooting and afford plenty of storage; and the pop-up flash can wirelessly trigger off-camera units. Plus, the 6-frame-per-second burst is fast enough for sports, while the 51-point autofocus system can track subjects while you capture the action.

While the D7100 isn’t as much of a tank as the D300s, it’s no wimp. Its magnesium-alloy body should prove tough enough for most shooting conditions, and it has almost as much weather-sealing to ward off dust and moisture as Nikon’s pro bodies. Best of all is how well it fared out in the field and in the Popular Photography Test Lab.

In the Test Lab

Ample resolving power, adequate noise control, and accurate color reproduction earned the D7100 an Excellent rating in our tests from its lowest sensitivity setting of ISO 100 through ISO 1600. That’s one stop beyond the range of Canon’s 18MP EOS 60D ($899, body only) when we tested it in our February 2011 issue, but obviously that competitor is now ripe for replacement.

Barely outresolving Nikon’s D5200, the D7100 turned in 2820 lines per picture height at ISO 100, well past the 2500 line cutoff for an Excellent rating. In fact, not until ISO 6400 did the D7100 dip below that goal, at 2470 lines. At the top sensitivity of ISO 25,600 (Nikon calls it Hi2), resolution hit 2230 lines. At its best, the Canon 60D delivered 2600 lines and held most of it—2500 lines—at ISO 6400.

In our color accuracy test, the D7100 easily won top honors with an average Delta E of 7.0. The 60D, which scored 6.8, nearly tied it.

Noise? Superbly controlled at lower ISOs, with Extremely Low ratings at ISO 100, 200, and 400. It doesn’t rise to a Low rating until ISO 1600 and doesn’t reach Unacceptable until ISO 12,800. Not surprising, since Nikon’s DSLRs often cross our limit of acceptable noise precisely at the point the company labels sensitivity “Hi” instead of a numerical ISO.

Autofocus proved speedy, but not the fastest we’ve seen. It was a tad slower than the 60D at every light level in our lab test. (In our field testing, AF speed was never a problem.) But it offers a slight improvement over its predecessor, the D7000, focusing faster at EV 4, 2, 1, and 0. Plus, it managed to reliably achieve focus at EV –2, albeit with more variation in speed than we’d like to see; the D7000 couldn’t reliably focus in such dim light.

Overall, the D7100 performed as expected. It offers a two-stop improvement over the D7000 in usable sensitivity, and more than 400 lines more resolving power.

In the Field

As usual for Nikon, the D7100 has a nicely sculpted grip that feels very comfortable in the hand. Ample dedicated function buttons mean no digging through menus to change the most important shooting settings—in many cases, you won’t need to take your eye away from the viewfinder.

You’ll need both hands to operate the D7100 efficiently in some instances. For example, the AF/MF switch, on the front left of the body, has an embedded button that lets you switch other parameters, such as the AF mode and the number of active focus points, using the two command wheels on the right side of the body. Once you’re used to using both hands, it’s a fast way to prep for your next shot.

Similarly, pressing the ISO button on the left of the 3.2-inch 1,228,800-dot LCD lets you use the command wheels to change the ISO setting or choose between auto and manual ISO. This can be awkward: Your thumb goes between your face and the camera. Sure, space is tight on a DSLR, but the ISO button might be better placed elsewhere—Canon puts it near the shutter button on many of its DSLRs.

source : http://www.popphoto.com

Long Exposure Photography Tips

noreply@blogger.com (Anonymous) — Sun, 14 Jul 2013 03:57:00 +0000

1. Photographing the Ferris Wheel

To photograph a Ferris wheel at night, move close and use a wide-angle lens to get as much detail as possible. Place your camera on a tripod and frame the image. Because we want all the elements to be sharp, choose a small aperture between f/11-f/32. Set your camera to either Manual or TV (Shutter Priority) mode and choose a shutter speed according to the speed of the lighted Ferris wheel, and the style you are after (anywhere between 1-30 seconds). You should take the image using the camera’s self timer or a cable release so that you avoid touching and jiggling the camera. The image captured will be full of light trails against a black sky, yet the center beams that hold the wheel will be sharp.

2. Making Star Trails

A long exposure on a starry night can produce beautiful light trails created by the stars and the rotation of the earth. The best way to frame the image is to include an element of interest such as an old tree in the foreground. Place your camera on a tripod and focus the lens to infinity. You’ll want to use a cable release to eliminate camera shake of any kind, as it will RUIN your photo. Set the camera to B "Bulb" shooting mode and set your aperture to f/4 for optimal results. Depress the remote to open the shutter. You should keep your ISO at 100 to keep the digital noise at a minimum. To complete the photo after your desired elapsed time, depress the remote again, and release the shutter. These exposures can be 15 minutes to several hours long.

3. Stunning Light Trails

Traffic head light and tail light trails give a stunning effect and are a great way to get acquainted with long exposure times. Select a busy road that has lots of traffic at night. Use a sturdy tripod and position the camera so that it has an overview of the area. Use a small aperture of f/16 or smaller for a greater depth of field, making most of the image in focus. The longer the exposure, the more lines will appear and the longer they will look.

4. Blurry Sea Waters

To capture that dramatic look of the ocean and the sky, you should utilize the amazing light of “the golden hour”, the last hour before the sun sets. Follow the basics of night photography - place the camera on a tripod, use a wide-angle lens with the smallest aperture possible, and focus to infinity. Turn the camera’s mode dial to Manual or Bulb shooting mode and use a slow shutter speed (5-30 seconds) for a longer exposure. The longer the exposure the more misty the water appears. Use your camera’s self-timer or a cable release to take the photo with absolutely no blurring. Don’t use flash because it could ruin the effect in the image.

5. Determining Exposure

The exposure of your night time image will vary depending on certain factors. If there is a lot of ambient light then the shutter speed will be shorter. If you are shooting somewhere very dark, then the shutter speed will need to be longer. To capture the effects of light trails you need a shutter speed of at least 1/15th of a second, which means you must use a tripod. The image of the Houses of Parliament required a 6 second shutter speed, which is slow enough to capture the traffic trails. The f/8 aperture allowed the building to be sharp. The more you practice the more you will become tuned to the exposure you need for the effect you want.

Recommended Settings

The main thing to keep in mind while deciding on the correct exposure is how to capture both the shadows as well as the highlights. If you are successful in obtaining the right shadows, you will be able to produce an excellent night scene that will win you compliments. When taking long exposures, the key is to keep the shutter open only long enough for the desired effect. If you keep the shutter open too long, you’ll lose the details in whatever light source is illuminating your subject, and you might even lose the ability to identify what the subject is. When trying to create a light trail, the shutter should be open for at least 1 second, and therefore requires a tripod. Use shutter priority mode and start with 1 second shutter speed and see what the result is; if the trail is too short, add 2 seconds, and then keep adding 2 seconds until you get the lighting effect that you want (the beauty of digital photography is that you’ll know immediately). If you have too much blurring, then your shutter was open too long, and you need to dial it back down maybe a full second.

Recommended Equipment

In addition to your digital camera, you need a sturdy tripod to take good night photographs. This will ensure you stabilize your camera firmly, thereby avoiding blurriness in your pictures. In order to practice night photography, your camera must have the option for manually setting the shutter speed and aperture.

Conclusion

Taking long exposure images at night can be perfected with practice and by learning to recognize the lighting conditions and how to adjust the camera to meet those conditions. Depending of what you have to work with, your shutter speed can be anything from 1/60th of a second to several minutes. What makes long exposure images special is that each image is unique, since light trails move in unusual ways, and with practice you should have a collection of photos that are one of a kind. The unique images available using long exposures night is a whole realm of photography that many people do not attempt. Stunning images can be your reward for trying this technique.

Understanding Exposure - ISO, Aperture and Shutter Speed Explained

noreply@blogger.com (Anonymous) — Sat, 13 Jul 2013 03:06:00 +0000

What controls exposure?

ISO ratings determine the image sensor’s sensitivity to light, each value of the rating represents a “stop” of light, and each incremental ISO number (up or down) represents a doubling or halving of the sensor’s sensitivity to light.

The Aperture controls the lens’ diaphragm, which controls the amount of light traveling through the lens to the film plane. The aperture setting is indicated by the f-number, whereas each f-number represents a “stop” of light.

The Shutter Speed indicates the speed in which the curtain opens then closes, and each shutter speed value also represents a “stop” of light. The shutter speed is measured in fractions of a second.

When these three elements are combined, they represent a given exposure value (EV) for a given setting. Any change in any one of the three elements will have a measurable and specific impact on how the remaining two elements react to expose the film frame or image sensor and how the image ultimately looks. For example, if you increase the f-stop, you decrease the size of the lens’ diaphragm thus reducing the amount of light hitting the image sensor, but also increasing theDOF (depth of field) in the final image. Reducing the shutter speed affects howmotion is captured, in that this can cause the background or subject to become blurry. However, reducing shutter speed (keeping the shutter open longer) also increases the amount of light hitting the image sensor, so everything is brighter. Increasing the ISO, allows for shooting in lower light situations, but you increase the amount of digital noise inherent in the photo. It is impossible to make an independent change in one of the elements and not obtain an opposite effect in how the other elements affect the image, and ultimately change the EV.

ISO Speed

ISO is actually an acronym, which stands for International Standards Organization. The ISO rating, which ranges in value from 25 to 3200 (or beyond), indicates the specific light sensitivity. The lower the ISO rating, the less sensitive the image sensor is and therefore the smoother the image, because there is less digital noise in the image. The higher the ISO rating (more sensitive) the stronger the image sensor has to work to establish an effective image, which thereby produces more digital noise (those multi-colored speckles in the shadows and in the midtones). So what is digital noise? It is any light signal that does not originate from the subject, and therefore creates random color in an image. The digital camera engineers have designed the image sensor to perform best at the lowest ISO (just like with film). On most digital cameras this is ISO 100, although some high end DSLRs have a mode that brings the ISO down to 50 or even 25.

Aperture

A lens’s aperture is the opening in the diaphragm that determines the amount of focused light passing through the lens. At a small f-stop, say f/2, a tremendous amount of light passes through, even at a fraction of a second; but at f/22, when the diaphragm is perhaps at its smallest, only a tiny amount of light is let in (even at longer shutter speeds). An interesting thing about the aperture and the f-numbers is that it doesn’t matter the focal length of the lens as long as the f-number is held constant. This is because the arithmetical equation that determines the f-number indicates that the same amount of light passes through the lens on a 35mm lens as on a 100mm lens, with a shutter speed of 1/125s. The size of the diaphragm is unquestionably different, but the amount of light passing through is the same.

Shutter Speed

Shutter speed is measured in fractions of a second, and indicates how fast the curtains at the film plane open and close. The shutter speed controls how long light enters the lens and hits the image sensor or film plane. The shutter speed enables you to capture the world in split seconds, but it can also absorb the world at speeds upwards of three and four seconds (or remain continually open up until the photographer wants to close the curtain). Snapping the shutter in a fraction of a second, also gives you control on how motion is recorded. If the shutter speed is faster than the object or background, then the image will be tack sharp. If the shutter speed is slower, then you’ll get blurred objects. Think about the rain in a rainstorm, how fast is that water falling? Well, at 1/30th the raindrops are streaks of undistinguishable white. But at 1/250th, the raindrops hover in mid air and you can see the full swell of each water drop.

What is "Auto Bracketing"?

Auto Bracketing is an exposure technique whereby you can ensure that you have the optimal exposure by taking at least three (3) exposures of the exact same composition with one at the metered EV, one at 1/3 of a stop below the metered EV and one at 1/3 of a stop above the metered EV. So “Auto Bracketing” is a function in which you set the EV value then release the shutter and the camera automatically makes the necessary up and down adjustments to the EV to give you the bracketed exposures. Then you can review the three (or more) exposures, see the subtle but critical differences in the images, and decide which one is the best image for your purposes. In the three images on the right, you might prefer the overexposed (by 2 stops) image because the setting sun is most brilliant. Bracketing was a technique that was popularized from shooting slide film, due to the limited ability to correct the image in the darkroom. Many photographers still use the technique today, so they have the exposure that they want. Having the three bracketed images lowers the amount of post-processing time that they might have to spend.

Overexposure & Underexposure

How do you define overexposure and underexposure, since we said that “correct” exposure is subjective? Simply put, overexposure is when the information in the highlights is effectively unreadable. When there is this type of excessive loss of image information there is no way to “retrieve” that missing information in the digital dark room. Underexposure is pretty much the same concept; except in this case there is no image information contained within the shadows. This non-existant information cannot be retrieved through post processing either. In digital photography, once that image information is gone, there’s no way to retrieve it. This is not always the case in the photochemical world of film photography. With film (as opposed to digital) processing, it is possible to “find” image information in an excessively underexposed frame, and perhaps “find” image information during the printing process for seriously overexposed images as well.

AE LOCK (AEL)

Auto Exposure Lock is a camera setting in which the EV is locked in (when you’re shooting one of the semi-automatic or fully automatic modes, i.e. Shutter-priority), so that now matter what changes there are to the lighting in the scene, the camera locks in the ISO, Shutter and/or Aperture settings, so you can continually achieve the same EV without having to re-meter the scene.

Conclusion

One highly practical advantage to digital photography is that it costs next to nothing to experiment with the camera’s controls, so go out there and shoot away. You want to become increasingly proficient with all three elements of the exposure triangle, so that you can make adjustments on the fly and know exactly what the resulting effect is going to be.

Source : http://www.exposureguide.com

Top 10 Tips For Camera Buyers

noreply@blogger.com (Anonymous) — Fri, 12 Jul 2013 02:37:00 +0000

Consider these factors when choosing your next camera

Digital technology hasn't only transformed the way we take photographs, but also created an explosion of camera options. Where a camera maker in the days of film would have a few models in their line, it's not uncommon today to find a dozen or more options from each manufacturer.

This is partly because there are more variations of camera design today. The film shooter had basically two choices: SLR or compact "point-and-shoot." In the digital world, the compact, fixed-lens cameras have split into two varieties: the very simple, very small point-and-shoot models, and the more robust, high-performance models with pro features and expansive zooms.

Interchangeable-lens models have also diverged, into three types: traditional SLRs, Sony's fixed-translucent-mirror cameras, and mirrorless models that completely omit the mirror box and optical viewfinder and dramatically cut size and weight in the process.

We have more choices than ever, and that's a good thing—if you know what you want. Consider these 10 factors to help define your needs as a photographer, and your camera selection will be much easier.

1. SIZE & WEIGHT. You've probably heard the aphorism, "The best camera is the one you have with you." It makes sense. If the size and weight of your gear is going to strongly influence whether or not you carry it often, then you ought to rule out larger cameras. Your best options will be mirrorless systems, smaller DSLRs or a premium compact camera with a generous zoom.

2. PRICE. Don't assume you have to buy the most expensive camera to get something that's perfect for you. Many of the more costly cameras are priced that way because they have features that only a handful of photographers will actually need or use. And don't forget to reserve part of your budget for lenses, lighting gear and accessories that play a major role in the quality of your images.

3. DURABILITY. This is one of those features that drive up a camera's price. Metal alloys are more rugged than plastics and composites, but also more expensive. Think about your favorite subjects and typical shooting environment. If you shoot mostly indoors, you probably don't need to worry about heavy-duty construction and weather-proofing. Also consider how you handle your gear. If you do a lot of travel photography, shoot in inclement weather or generally expect your camera to withstand being knocked around, then you might want to invest in a DSLR body that's built to take it.

4. SPEED. It's pretty incredible that most of the cameras in this buyer's guide can shoot four frames per second or faster—some much faster. Canon's top-of-the-line EOS-1D X can capture JPEGs at 14 frames per second or RAW at 12 fps. Sure, the Canon retails for almost $7,000, but the $650 Sony NEX-5R can do 10 fps with continuous autofocusing. So, speed is available to you, regardless of your budget. Most photographers don't really need that speed, though. Unless you shoot a lot of fast action sports, capturing in high-speed bursts means you'll have a lot more images to organize and store. It's nice to know you have the horsepower when you need it, but only a handful of subjects actually require it. The lesson here is don't dismiss a camera you otherwise prefer because of capture rates if you don't actually need the speed.

5. INTERCHANGEABLE LENSES. The ability to switch lenses is about more than just covering a focal range. (Many of the premium compact cameras featured in this buyer's guide have extensive zooms that cover wide to supertele ranges.) Interchangeable-lens cameras not only let you tailor your system to meet your focal-length needs, but also give you the option to choose lenses with other advantages, like a fast maximum aperture or high-end glass. Fixed-lens cameras are just that: fixed. If you're looking for a compact camera and minimal size is your ultimate concern, then a fixed-lens model may be your first choice; but for the ultimate in creative options, an interchangeable-lens model, whether DSLR or mirrorless, is the better choice.

6. SYSTEM & ACCESSORIES. Whichever camera you choose, accessories like flash, lens adapters, microphones, GPS and more can make a big difference in not only the quality of your images and video, but also the pleasure of taking photos. It's worth looking at the system accessories offered by the manufacturer for the cameras you're considering (and at third-party options compatible with your system, too).

7. VIDEO. What started as a high-end feature on top DSLRs is now practically ubiquitous. Even entry-level cameras today can capture HD video, and many with sophisticated options like the ability to control frame rates for a cinematic look. One big difference to keep in mind, however, is sound. Great video imagery becomes nearly impossible to watch if the sound is distractingly bad. If video is an important feature to you, choose a camera that has a stereo input for auxiliary mics so you can choose the right microphone for your recording environment. (To learn more about microphone types and when to choose them, see our DSLR Microphone Guide: www.dpmag.com/mics.)

8. IMAGE QUALITY. You'd be hard-pressed to find a digital camera from any of the major makers today that doesn't deliver sharp, beautiful shots. Still, it's worth mentioning that size does matter. All else being equal, the larger the sensor and larger the pixels, the better the image quality, especially in low light. Larger pixels are able to collect more light for a better signal-to-noise ratio. A corollary to this is that more megapixels doesn't necessarily translate into better images. Take two APS-C-sized sensors, one 12 MP and the other 18 MP. To fit the extra 6 MP on the same-sized sensor, the pixels have to get smaller—something to consider.

9. VIEWFINDER. While the large monitors on the back of your camera are great for reviewing images, they're not always ideal when shooting. Many are actually quite difficult to use in bright outdoor conditions, making an eye-level viewfinder essential. If you shoot mostly indoors under controlled lighting, this may not be an issue, but most photographers are going to want the option of a viewfinder. All DSLRs have them, as do some mirrorless and fixed-lens compacts (though viewfinders are much rarer in the latter two categories). However, many mirrorless models offer an optional viewfinder that docks in the camera's hot-shoe. You're probably going to want one.

10. ERGONOMICS. I saved this for last, because while important, this is the most subjective of all of the camera characteristics we've considered. My hands are bigger or smaller than your hands, and that affects how comfortable a camera is to hold. The arrangement of buttons and control dials may fit me like a glove but seem misplaced to you. The only way you're going to know for sure whether you'll find using a camera to be a pleasure or a pain is to go handle it in person. And please be considerate of your local camera shop—if you use their staff time to help guide you to finding the right gear, at least give them a shot at making the sale rather than going straight to Google to find the cheapest price. You may save a few bucks online, but probably not enough to outweigh the benefit of having the knowledge and support of your local camera retailer.

BONUS TIP. Power! The Li-ion batteries used in most digital cameras are really good, providing at least a few hundred shots between charges. However, if you do a lot of traveling where access to recharging isn't always easy, consider one of the cameras that can accept common AA batteries, either as the primary power source or via an optional grip. We also recommend owning at least one spare battery for your camera system.

Source : http://www.dpmag.com

Rule of Thirds

noreply@blogger.com (Anonymous) — Wed, 10 Jul 2013 11:30:00 +0000

by Darren Rowse

Perhaps the most well know principle of photographic composition is the ‘Rule of Thirds‘.

The “Rule of Thirds” one of the first things that budding digital photographers learn about in classes on photography and rightly so as it is the basis for well balanced and interesting shots.

I will say right up front however that rules are meant to be broken and ignoring this one doesn’t mean your images are necessarily unbalanced or uninteresting. However a wise person once told me that if you intend to break a rule you should always learn it first to make sure your breaking of it is all the more effective!

What is the Rule of Thirds?

The basic principle behind the rule of thirds is to imagine breaking an image down into thirds (both horizontally and vertically) so that you have 9 parts. As follows.

As you’re taking an image you would have done this in your mind through your viewfinder or in the LCD display that you use to frame your shot.

With this grid in mind the ‘rule of thirds’ now identifies four important parts of the image that you should consider placing points of interest in as you frame your image.

Not only this – but it also gives you four ‘lines’ that are also useful positions for elements in your photo.

The theory is that if you place points of interest in the intersections or along the lines that your photo becomes more balanced and will enable a viewer of the image to interact with it more naturally. Studies have shown that when viewing images that people’s eyes usually go to one of the intersection points most naturally rather than the center of the shot – using the rule of thirds works with this natural way of viewing an image rather than working against it.

In addition to the above picture of the bee where the bee’s eye becomes the point of focus here are some of examples:

Another Rule of Thirds Example

In this image I’ve purposely placed the head of my subject on one of the intersecting points – especially his eyes which are a natural point of focus for a portrait. His tie and flower also take up a secondary point of interest.

In this shot I’ve placed the subject along a whole line which means she is considerably off center and therefore creating an additional point of interest. Placing her right in the center of the frame could have resulted in an ‘awkward’ shot.

In a similar way a good technique for landscape shots is to position horizons along one of the horizontal lines also as I’ve done with the following shot (I’ll let you imagine the lines).

Using the Rule of Thirds comes naturally to some photographers but for many of us takes a little time and practice for it to become second nature.

In learning how to use the rule of thirds (and then to break it) the most important questions to be asking of yourself are:

What are the points of interest in this shot?

Where am I intentionally placing them?

Once again – remember that breaking the rule can result in some striking shots – so once you’ve learnt it experiment with purposely breaking it to see what you discover.

Lastly – keep the rule of thirds in mind as you edit your photos later on. Post production editing tools today have good tools for cropping and reframing images so that they fit within the rules. Experiment with some of your old shots to see what impact it might have on your photos.

Article source : http://digital-photography-school.com

Using Colour Boldly

noreply@blogger.com (Anonymous) — Tue, 09 Jul 2013 11:22:00 +0000

by Andrew Gibson

In my previous article I explored some of the ways that you can use two contrasting colours, orange and blue, that appear in nature to create atmospheric images full of emotion.

Today I’m going to look at ways you can use other bright colours effectively.

Let’s start with a simple example. Flowers are a common, brightly coloured subject. If it is summer where you live right now you there may be public gardens close to you where you can practise taking photos like the one below. One of my favourite techniques is to photograph red flowers against a green background:

Bold colour is part of the composition of this photo. To see why, let’s take a look at the colour wheel again:

The colour wheel tells us that certain colours have a dynamic relationship. Colours that are on opposite sides of the wheel, such as red and green, are said to be contrasting colours. That’s just a way of saying that the human eye can easily distinguish between these colours. So, in the above photo, it’s easy to tell the red flower from the green background, and that makes the photo more interesting to look at.

Man-made colours

Now, the most likely place to find bold colours is with man-made objects. Humans have a tendency to make brightly coloured objects, and we can take advantage of that. Here are a few examples to show you what I mean:

The blue colour in this Chinese lantern is very intense. It helps that the tassels and trim are yellow, a colour that contrasts with blue (see the colour wheel). It also helps that the background is a neutral shade. It doesn’t compete with or distract attention from the lantern.

Here’s another example of the blue/yellow dynamic in action. The flowers are natural, of course, but the background is man-made. Intense colours like this shade of blue occur rarely in nature.

Blue and red is another powerful colour dynamic.

This is a photo I took in Burano, an island near Venice known for its colourful buildings. I made the most of the colours by using a polarising filter on my lens.

Polarising filters work by eliminating glare from reflective non-metallic surfaces. This results in deep blue skies and more saturated colours. It’s an effect that can’t be replicated in post-processing, making a polarising filter an essential piece of gear for taking photos like this.

Using colour boldly

The way I see it, there are are two ways to utilise strong colours. The first is the one that we’ve seen so far – using bold colours to create strong images where the use of colour is an important part of the composition.

The second is use colour boldly. The idea is to create near abstract images that are very much about the colours and little else. They probably wouldn’t work in black and white, or if the colours were subtle rather than strong. Here are some examples:

This is a close-up I took of a vase in a pottery store. I closed in and created a composition that is really about the streaks of colour and little else.

A photo taken in Hong Kong. There are no clues to the location in the photo – it is simply a photo of an orange light against the night sky. Very abstract, and almost entirely about colour.

I took this photo close to my home. It was dark and the glow from the neon light caught my eye.

Simplicity

On a final note I’d like to mention that throughout this article the photos have benefitted from keeping the composition simple. There is little to distract from the main subject and the use of colour.

Article source : http://digital-photography-school.com

How to Use Lines in Photography Compositions

noreply@blogger.com (Anonymous) — Mon, 08 Jul 2013 10:39:00 +0000

A very powerful method of improving the composition of photos is the use of lines. Properly used, lines can significantly increase the impact of images. Lines serve to affect photographic composition in two ways. First, they serve to create a mood. Second, they lead the eye through the photograph. By affecting mood, lines add emotional content to images. By leading the viewer’s eye, they keep the viewer’s attention focused on the image.

A Different Perspective” captured by Stuart Hughes

When dealing with lines, the subject can be broken into the following types:

Horizontal
Vertical
Diagonal
Jagged and irregular

MOOD : HORIZONTAL

Horizontal lines tend to indicate a sense of homeostasis (lack of change). This use in an image often projects a feeling that an image, or part of one, is somehow frozen at a point in time. Horizontal lines should be used when a photographer wants to impart a sentiment of timelessness or lack of change to an image. In addition, they can serve to provide a contrast with more dynamic parts of an image. Examples can be found in buildings, horizons, and fallen objects (e.g. trees).

MOOD : VERTICAL

Vertical lines can project either a mood of stability or peace. When projecting a mood of stability, they often function similarly to horizontal lines. This can convey an implication of substance or permanence. Examples of vertical lines used to impart a mood of stability can be found in rock formations, power line poles, and vertical lines of buildings.

Proper use of vertical lines can also impart an impression of peace and tranquility. Examples of this use are trees in a fog shrouded forest, old fence posts on an isolated prairie, and a figure on a secluded beach in the early morning.

Railway” captured by Damir

MOOD : DIAGONAL

Diagonal lines can convey a sense of action or make an image more dynamic. For this reason, diagonals are a very powerful tool. Their power resides in their ability to grab the attention of the viewer. The viewer’s eyes tend to travel back and forth along diagonals. Diagonal lines can be formed, not only of objects such as streets or sidewalks, but also of color. For instance, a diagonal section of color can add drama to a flower image. Examples of diagonals are plentiful: roads, streams, waves, and branches are but a few examples of objects that can be utilized in a diagonal manner.

MOOD : JAGGED & IRREGULAR

Jagged and irregular lines take us one step further on the continuum of emotion and feeling. While diagonals move us into the area of the dynamic, jagged and irregular lines often impart a sense of unease, tension, or fear to the viewer of the image. Heavy use of jagged and irregular lines can cause a negative feeling in the viewer (which may be exactly what the photographer intended). Therefore, they are the tools of choice for the photographer who wants to create a feeling of disquiet or agitation in the viewer. Examples can be found in roots, a crocodile’s teeth, stark mountain peaks, and the twisted metal of an automobile wreck.

tube” captured by Federico

LEADING THE EYE

As powerful as lines are in helping to create a mood in an image, they become even more powerful when they are also used to direct the viewer’s attention. When using lines to direct the viewer’s attention, two rules need to be followed. First, make sure that the lines always point toward the most important object in the image. This will direct the viewer’s attention directly to that object. Second, make sure that the lines never point outside of the image. Lines that point outside the image will make the viewer’s eye leave the image. This weakens the image and may result in the viewer losing interest in the image entirely.

Article source : http://www.picturecorrect.com

6 Ideas to Photograph When You're Out on The Street

noreply@blogger.com (Anonymous) — Sun, 07 Jul 2013 10:24:00 +0000

SEEK OUT EMOTION
This is an easy point to make – photographs are better when they show people’s emotions. However, it’s much easier said than done. It is difficult to capture emotions in the wild, but they are there if you look for them. Be careful about getting overly distracted by a person’s clothing or look and instead pay attention to people’s faces and postures and capture them when they are expressive – both the strong and subtle expressions.

TELL A STORY

This is related to photojournalism in a way, but think about a story and capture it. Gentrification in my neighborhood is a big and often talked about issue so when I’m out I pay attention to scenes and situations that portray it.

The photo above is of a beautiful, old, faded black and red trimmed building that is in the midst of a complete renovation, now half painted in sterile white paint. Black to white – it’s so simple yet so poignant.

Another example is the shot below of a trendy crowd waiting outside a popular brunch spot. There are a million and a half ways to visually show the effects of gentrification.

CREATE A STRONG DESIGN

When all else fails, just create a gorgeous design. Pay attention to colored walls, lines and columns, advertisements, and textures. Pay attention to strong contrasts, especially with colors. I know some of these elements may seem new and ordinary, but as many of them age they will have significant cultural value. Seek out everyday things that are beautiful and create some beautiful scenes.

Always pay attention to the lines and corners in your photos and also think about the way that a viewer’s eyes might enter and follow through the scene. This is important to the balance of your images.

PHOTOGRAPH THE UNSEEN

Often we are attracted to the colorful, fashionable, extroverted people, or on the other end of the spectrum, to the down and out, the homeless, or the ‘dark side’. These extremes account for such a small sliver of actual life and the reality is that a majority of the world resides between them. Capture the stories in the middle.

And if you ever interview people keep this in mind – the most average looking people often have the most interesting stories to tell.

CREATE INTRIGUE ANG AMBIGUITY

Find ways to make people curious about the meaning of your images. Make people question what is going on. Ambiguity done correctly is a special thing. It creates a work that someone can put on their wall and continue to think about over time with the meaning changing constantly depending on what the viewer chooses to believe at any moment.

This is similar to capturing a story and I find it to be the hardest to do. The goal is to capture an image that has a point of view or makes a statement. It us the type of image that you could write a lot about.

Above, you’ll find a couple of images that are critiques on modern fashion trends and consumption. When shooting street photography, remember, the best shots will not always be glaringly obvious. You must learn how to open your mind and use your eye in way that opens you up to seeing the bigger picture.

Article source : http://www.picturecorrect.com