Like most photographers in the digital era you probably have a hard drive (if not many) filled with tons of great photographs just sitting there collecting virtual dust. 101 Quick and Easy Secrets for Using Your Digital Photographs aims at helping to show you how to make the most of those digital photos detailing the best ways to manipulate, manage, publish, share, and promote your digital images.

About the Author

Matthew Bamberg is a photographer and writer based in Palm Springs, California.  He began his career in the arts as  a graduate student at San Francisco State University in 1992  His work in the visual and media arts included video production and software applications.  He completed his M.A. in Creative Arts in 1997.  After being a public-school teacher for 14 years, Bamberg became a photographer and writer, taking pictures for the articles he was writing while working for the Desert Sun and Palm Springs Life magazine.  He has traveled all over the world, photographing everything from wildlife to architecture.  His photography has been published in many magazines, both locally and in Asia.  Bamberg is the author of 101 Quick and Easy Secrets to Create Winning Photographs [Amazon] and 50 Greatest Photo Opportunities in San Francisco [Amazon] and coauthor of David Busch’s Pentax K200D Guide to Digital SLR Photography [Amazon], all published by Course Technology PTR.

Concept

The idea is to get your photos off the hard drive(s) of your computer(s) and into the real world, whether that includes the online world via photo-sharing sites or the offline world with printing and other projects.

I like that Bamberg has done this book even though most of this information is spread throughout the Internet by blogs and websites like the one your reading now. It’s really handy to have a book in hand that you can reference, bookmark, and share with others. I still like books for reference because of this.

Bamberg is an accomplished photographer with talent and the photographs throughout the book as well as the screen shots make great examples for the various sections and chapters. It’s Bamberg’s past experience as a school teacher, however, that makes this book really shine. The text is easy to read and steps are easy to follow. Bamberg seems to have done a good job keeping his target audience in mind when putting together each of the sections in the book.

The Best

Bamberg does a great job of putting together a “catch all” of things to do with your digital photos. This is great for newer photographers, film to digital switchers, and Internet newbies alike. His writing style is uncomplicated and easy to follow. The flow of the book makes sense going from prepping your photos, sharing your photos, using your photographs, scrap-booking, etc…

There really is enough of a little bit of everything for the digital era photographer.

The not-so Best

I always worry about books like this where new technologies are trying to be introduced and explained to an audience that isn’t as technologically advanced as the earlier adopters. That being said, these types of books are important because we all know people who still prefer to learn from books rather than websites. Nothing wrong with that. Will this book be too dated in a few short years? Perhaps…but I feel like Bamberg did a good job of choosing only the most popular (and perhaps longer lasting) websites and technologies in the book.

Conclusion

We are in an age where digital photographers are wanting to do more with their photos than just share with family. I fully expect to see more books on this topic to come out with greater frequency as technologies and ideas for using digital photographs expands (In fact I have another book on this very topic, for review, on my desk as I type).

Are you Bamberg’s target audience? That’s the real question in rating this book. If you’re a regular reader of digital photography blogs and websites then the answer is probably not. If you’re new here and don’t have time to “look up” or discover things to do with your photos on your own, then this book would probably be a welcome addition to your library.

I’d give this book to one of my favorite relatives that is newer to online photo sharing, doesn’t really read blogs, but always has a camera in hand and I’m willing to bet that they’d love it. And for that reason we’re giving 101 Quick and Easy Secrets for Using Your Digital Photographs [Amazon]…

A 3 1/2 out of 5!

Floating Leaf by Ryan S B

This guest post was provided by Laura Charon of BeyondMegapixels.com

It all started somewhere, this shared obsession we have with photography.  At some point in the past we all bought our first digital SLR camera, we were baffled by the variety of gear available for it, and we struggled with the size of our budget vs. the size of our WANT.

With that beginner photographer in mind, I’d like to share four items of gear which I, looking back upon my first experiences with my DSLR, consider to be essential in order to hit the ground running.  This list assumes that the photographer has already decided upon and purchased a camera with a lens.

ONE – A Remote Shutter Release

Using the camera’s timer function is all well and good, when capturing shots that would be significantly sensitive to camera shake.  I quickly discovered, though, that it’s a pain in the neck to re-set the timer every time I wanted to take a picture – for instance, it’s harder to call to a crowd participating in a group photo, “Hang on, one more,” when you have to spend a good twenty or thirty seconds fiddling with the camera, on top of the timer’s delay.  A remote shutter release is also essential if you’ve got the shot composed JUST SO, and any touch of the camera at all will cause you to have to re-compose and re-focus the shot.

TWO – A Tripod

Pairing the remote shutter release with a tripod exponentially increases the quality and sharpness of your photo.  A tripod is essential for photography in low-light settings, where long exposures make the shot more prone to camera shake and blurriness.  Another benefit to the tripod is the opportunity to actually get YOURSELF into some of the shots that you take (I have years and years worth of vacation photos in which I appear in not a single shot).  Finally, it seems that every budding photographer will at some point play around in the back yard at night, capturing images of the full moon or the stars.  In order to be able to do that, you’ll need a tripod.

THREE – A Memory Card Reader and Spare Memory Cards

I actually owned my DSLR for a full year or more before I obtained a memory card reader.  Prior to that I was just attaching my camera to my laptop via the USB cable and downloading from the camera itself. While that isn’t a bad method in and of itself, it does cause wear and tear on the camera and battery, it is harder on the memory card itself, and it usually takes longer to download all of the pictures than a dedicated card reader.  The need for spare memory cards should be self-evident – you don’t want to be in the middle of shooting and run out of space on the one card you own.  And, too, occasionally a memory card will become corrupt, and you don’t want to be stuck without the ability to take pictures.

FOUR – A Backup Battery and Battery Charger

Another item that may seem self-evident is the purchase of a backup battery and battery charger.  Most (if not all) of today’s DSLR camera kits come with a charger, but not a spare battery.  It’s a very wise idea to keep a backup battery (fully charged!) in your camera bag so that when the little battery indicator starts flashing at you, you don’t have to panic that you’re miles and hours away from an electrical outlet.

Every item on this list, with the exception of the tripod, can be purchased for under $50.  A quality tripod can be purchased for between $200 and $300 – less expensive models can be found, but they tend to be flimsy.

For more great articles on photography from Laura Charon head on over to BeyondMegapixels.com

untitled by n.m * *

Start with the right settings

Halloween at night can be a little tricky on your camera.  If you’re on a point and shoot camera look for your “scene” settings and use the “night setting”.  Just remember that you’ll want to brace yourself and your camera as often as possible as this setting increases your ISO and uses a longer shutter speed.

If you’re using a DSLR adjust your camera for night time photography by upping the ISO and using a longer shutter speed.  Bringing along a flash helps tremendously.  Try dragging the shutter for better exposures, just remember to keep that camera steady!

Party pics at Halloween can be great, but remember that there’s more to Halloween than trick or treating and bad costumes.  It’s about ambiance and mood.  Getting creative with your photography means opening your mind to looking at it from different perspectives.

TIP #1 – Go Hollywood

Some of our best memories of Halloween involve things that go bump in the night.  We can thank Hollywood for that.   So if you’re buddies are all vintage with their costumes, use vintage plugins and filters, or better yet real expired film!  It’ll really add to the mood.

Tip #2 – Let Nature be Your Guide

Yes, Halloween can be all about fake blood, face paint, and wigs, but don’t forget that nature provides creepy crawlies year round.  And nature can be a stunning thing to behold.

Tip #3 – Eerie Camera Tricks

Great spooky backdrop…check.

Old wedding dress…check.

Willing model….check.

Camera set to high shutter speed…check.

Tip #4 – Kids Can Be Scary

Some great Halloween makeup and a little selective de-saturation in Photoshop can make a big impact.  Reminds me of those Children of the Corn movies.  Scary.

Tip #5 – Kids Can Be Cute Too

Halloween is a great time to capture kids in their costumes.  Plus you can use them against them later in life, like on their first dates!  Use natural light from a window if available and try to avoid shooting down on them.

Photographs:

someone said his name is jason by pretty life photography

Just like diamonds… by Wayne’s World 7

ghost train by Jesse Draper

Free Goth Baby Belladonna Creative Commons by Pink Sherbert Photography

Who dressed YOU? by juhansonin

The Lensbaby Fisheye

The first addition is something that many Lensbaby owners will be very happy with.  It’s the Fisheye adapter and it looks killer!  

“With a six element multi-coated optical design, Lensbaby’s new Fisheye is our most complex optic to date.

Our Fisheye features an ultra-wide 12mm focal length capable of capturing a 160 degree fisheye angle of view from infinity all the way to one-inch from the front of the lens. Apertures are adjusted using drop-in disks and range from f/4 to f/22.” – Lensbaby

You can find some really great examples of images using the Lensbaby Fisheye at their Fisheye Gallery.

The Lensbaby Soft Focus

The second addition is certainly going to add some arsenal to the camera bags of portrait photographers that will wow their clients.

“Much like a classic Imagon portrait lens, the Soft Focus Optic creates images with an overall soft and diffused look. In addition to a set of standard round aperture disks, which allow you to take photographs with a classic soft focus look, the Soft Focus Optic also comes with three special multi-hole apertures which combine one large aperture surrounded by smaller holes.”

You can find some fantastic work done by Lensbaby photographers with the Lensbaby Soft Focus at their Soft Focus Gallery.

There are many strategies based on business and past experience for the wedding day coverage. Some photographers are with their clients all day while others show up shortly before the wedding. This isn’t an argument for either, rather it’s an example of how one might cover a wedding day ceremony as a photographer.

During some of your earlier meetings or appointments with your client you should agree upon the time when you’ll be starting your coverage and where to meet up with the clients in question. This will help ensure that the flowers will be ready when you arrive and that most everyone will be ready for taking pictures at that hour. Many photographers feel that arriving two to three hours before the bride is to leave for the wedding ceremony is ample time.

Your first task is to scout the location as soon as you arrive. Find an area where you can take bridal and family portraits. Look for something that isn’t too busy for a background. Look for an area that has great natural lighting as well.

If the light isn’t quite right in any area of the house choose an open space where you can set up some strobes if that’s how you roll. Look for exposed staircases, easy chairs, bookcases, mirrors, and other items or areas that will help create dynamic scenery.

It’ll probably be fairly busy with people running around trying get everything in order. Don’t be too pushy, but feel free to take charge of the situation and create a nice set up. If you’re strictly documentary look for ample opportunity to open windows or move things around. This isn’t “real photo-journalism”. You can move things around. Get that fast food wrapper in the trash if it’s ruining an otherwise beautiful image.

While you’re getting things set up it’s probably a good time to enlist the aid of someone who will become your assistant for the day. The maid (or matron) of honor usually works well. She typically knows most of the people involved with the wedding and can help you with names and relationships. The bride is super distracted and really doesn’t need you to add to her preoccupation unless it’s absolutely necessary. The maid of honor can help you organize the people for the pre-ceremony pictures and help keep track of the veil, flowers, and other necessary items.

Most photographers will start shooting a minimum two hours before the service begins. This gives you an hour to shoot the pre-ceremony pictures while leaving the wedding party an hour after you finish to make any final preparations. Any less time could result in rushed shots and possibly poor pictures. This is about giving your subjects enough time to relax and look more natural in their poses. Allow yourself time to shoot, pack your gear, and get to the church to do some shots of the groom, his ushers, and his family and friends.

The order of shooting depends on who’s ready once you’re set up. Since the bride is your key subject try to arrange her to be ready first. This should be discussed in pre-wedding day meetings. It’s a good idea to get some shots of the ring bearer and flower girl early on as children may become restless if they have to wait around for pictures.

Your rapport with the bride and groom, as well as their families, in this early stage of the wedding service will greatly affect the relationship you have with the wedding party for the rest of the day. It’s important to get things going on a positive note.

There are photographers who will blunder around the house barking orders. I strongly urge you not to do this. Don’t live up to people’s worst expectations, treat them with care, and they’ll probably return the favor. If you can’t do that, you may want to re-consider your “calling” as a wedding photographer.

If all is in chaos and confusion when you arrive try not to get too stressed out about it. At the very least, get some shots of the bride getting ready and a few pictures of her and her close family. You just never know what you’re going to walk into on the actual day of the wedding. If you miss something try to get after the ceremony if you can. Don’t put off shots for later when people are ready, make the most of those opportunities and try to get the “main shots” out of the way when you can.

There are many ways to tackle this important element of shooting a wedding. This is just one way to go about it. Is there as tip or trick you could add? Use the comments below to share some of your best secrets for pre-ceremony success.

Photo Film star quality bride by Stina Stockholm

Often times when photographers are learning about exposure in digital photography they neglect to consider how important the light meter is in determining the outcome of your photograph.  This is especially true in many of the auto or semi-auto exposure modes.

Today’s cameras are built with light meters inside.  These handy little computers are used to calculate the light in the scene and adjust settings accordingly.

While the light meters in digital cameras are constantly getting better and better it’s not always ideal to listen to your camera.  There are times when you’ll need to adjust to what the light meter is telling you, or rather your camera, to do in any given situation.

This is one way in which great photographers use technological advancements to further their craft and create beautiful photography.

In full auto exposure mode the camera’s light meter will adjust ISO, shutter speed, and aperture.  It’s purpose is to give you an exact exposure based on the light in the scene before the camera.  In the semi-auto exposure modes like aperture priority the light meter will adjust the shutter speed (and possibly the ISO) because the photographer has locked in the aperture.  Sometimes it’s important to look at the image you’ve just captured and make adjustments.  Perhaps it’s an exposure compensation that’s needed or maybe you didn’t get the effect you were looking for.  Either way, it’s a matter of working hand in hand with the light meter.

Try this:

Allow the light meter to start you off.  Take an exposure reading and get a feel for what the camera is telling you.  Then make adjustments.  Perhaps you need to slow the shutter speed to show more movement.  Put your camera on shutter priority and set the shutter speed to a longer exposure.  The light meter will tell the camera to change the aperture to get the exposure desired by the camera.  Then adjust again.

Paying more attention to your light meter and how it makes your camera function is one way to get a better grasp on exposure in general.

Carousel by Beau Hause

Day 312 – WALL-E On the Line by capndave

INTRODUCING THE ULTIMATE MULTIMEDIA IMAGING SOLUTION: THE NEW CANON EOS-1D MARK IV DIGITAL SLR CAMERA

The EOS-1D Mark IV Features a Completely Redesigned 45-Point Autofocus System, Fast 10 fps Continuous Shooting, 16-Megapixel Resolution, Outstanding ISO Sensitivity, and Full HD Video Recording at Selectable Frame Rates

LAKE SUCCESS, N.Y., October 20, 2009 – Canon U.S.A., Inc., a leader in digital imaging, is proud to introduce the next evolution in the EOS 1D series of cameras: the Canon EOS-1D Mark IV Digital SLR camera. The EOS-1D Mark IV is a high-speed multimedia performance monster with a 16-megapixel Canon CMOS sensor, Dual DIGIC 4 Imaging Processors, and 14-bit A/D data conversion, all at 10 frames-per-second (fps), with the widest ISO range Canon has produced to date. This new camera also features 1080p Full High-Definition video capture at selectable frame rates packaged in Canon’s most rugged and durable professional camera body.

The crowning achievement of Canon’s 1D Mark IV Digital SLR is its new autofocus system that starts with 45 AF points including 39 high-precision cross-type focusing points capable of tracking fast moving athletes or wildlife accurately at speeds up to 10 frames per second. With greater subject detection capability than ever before plus a newly redesigned AI Servo II AF predictive focusing algorithm, the Canon EOS-1D Mark IV camera sets new standards for autofocus performance among professional digital SLRs. Whether shooting for the six o’clock news or the front page, the EOS-1D Mark IV Digital SLR is the quintessential camera to freeze fast-moving action with high-speed stills or capture stunning HD video with dynamic color and image quality. To accompany the new EOS-1D Mark IV Digital SLR camera, Canon is also announcing a new accessory, the WFT-E2 II A wireless file transmitter providing photographers with a wide range of professional digital connectivity options.

“Canon works hard to be the imaging leader in all our business endeavors. This goal has fueled our innovation and R&D efforts to engineer the most advanced autofocus system Canon has ever produced. We are proud to announce the camera that will deliver the ultimate in imaging quality to professionals working in all areas of multimedia imaging, whether it’s action photography, photojournalism or HD video and cinematography,” stated Yuichi Ishizuka, senior vice president and general manager, Consumer Imaging Group, Canon U.S.A.

The Canon EOS-1D Mark IV camera will intrigue professional photographers in virtually every category from photojournalism and sports through nature, wedding, portrait and fashion to commercial, industrial and law enforcement. What makes the EOS-1D Mark IV camera different from its predecessors, in addition to numerous focusing system and image quality improvements, is its exceptional Full HD video capture capability. With this new level of functionality, the 1D Mark IV Digital SLR is destined to appeal not only to professional still photographers but also to a diverse market of professional videographers and filmmakers who are looking for exceptional Full HD video quality, amazing low-light performance, outstanding portability and a level of durability unheard of in most HD video cameras in this price range.

New 45-Point Autofocus System
The new EOS-1D Mark IV Digital SLR camera features Canon’s most advanced Autofocus system to date. It is equipped with a newly developed 45-point AF sensor featuring 39 high-precision cross-type AF points, and an all new AI Servo II AF mode that gives still photographers the power and performance to track and focus a fast-moving subject at speeds up to 10 frames per second. With more than twice as many cross-type focusing points as the EOS-1D Mark III and a new AF sensor construction that improves performance in low light and with low contrast subjects, the EOS-1D Mark IV has greater subject detection capabilities than any previous EOS model. To complete the range of AF improvements, Canon has developed a new AI Servo II AF predictive focusing algorithm that significantly improves responsiveness and stability by making better decisions on focus tracking in a variety of shooting conditions.

Amazing High ISO Performance
Wedding and event photographers shooting in low light without the benefit of a flash can take advantage of Canon’s widest ISO range and highest performance ever. The EOS-1D Mark IV camera’s ISO speed settings range from 100 up to 12,800 in 1/3 or 1/2 stop increments with ISO Expansion settings of L: 50 for bright light or H1: 25,600, H2: 51,200, and H3: 102,400 for even the most dimly lit situations. Photographers and documentary filmmakers working in available light will be impressed by the low-noise image quality of the 1D Mark IV, capturing amazing still images and video footage even at speed settings as high as ISO 12,800. High ISO, low light still images are further enhanced by Canon’s adjustable High ISO Noise Reduction feature, now a default setting in the camera.

The EOS-1D Mark IV, EOS HD Video Powerhouse
Over the past year, Canon’s EOS HD Video technology has changed the way users capture 1080p HD video and opened new doors for multimedia journalists and Hollywood cinematographers alike with full manual exposure control, selectable frame rates, and interchangeable lenses on some of the largest and most sensitive image sensors on the market. Canon continues this innovation trend with the new EOS-1D Mark IV Digital SLR with Full HD capture and full manual exposure control, plus selectable frame rates on an all-new APS-H-sized image sensor that’s similar in size to a Super 35mm motion picture film frame. The large sensor allows filmmakers to achieve shallow depth-of-field just as cinematographers have traditionally done using much higher-cost motion picture equipment.

The more than 50 Canon EF lenses compatible with the EOS-1D Mark IV give videographers incredible creative options, including an impressive selection of large-aperture professional L-series primes as well as zoom lenses, macro, Tilt-Shift and Fisheye optics. The Canon EOS-1D Mark IV allows for three video recording resolutions – 1080p Full HD and 720p HD in a 16:9 aspect ratio and Standard Definition (SD) in a 4:3 aspect ratio. The camera will record Full HD at 1920 x 1080 in selectable frame rates of 24p (23.976), 25p, or 30p (29.97); and 720p HD or SD video recording at either 50p or 60p (59.94). SD video can be recorded in either NTSC or PAL standards. Sound is recorded either through the internal monaural microphone or via optional external microphones connected to the stereo microphone input. The camera also provides an in-camera video editing function allowing users to remove the start or ending of a video clip directly in the camera to eliminate unwanted footage and speed up post-production.

Image Quality and Performance
The heart of the EOS-1D Mark IV camera’s outstanding image quality is a newly developed 16.1-Megapixel CMOS sensor featuring Canon’s latest and most advanced proprietary technologies. These technologies include improved photodiode construction to enhance dynamic range and gapless microlenses that are positioned closer to the photodiodes for improved light gathering efficiency. The transmissive quality of the color filter array has been enhanced to improve sensitivity. Canon has also upgraded the sensor circuitry to improve noise reduction before the image data is exported from the CMOS sensor to the rest of the image processing chain.

With 60 percent more pixels than the EOS-1D Mark III, the EOS-1D Mark IV Digital SLR employs Dual DIGIC 4 Image Processors with approximately six times the processing power of DIGIC III for full 14-bit A/D conversion at 10 fps. High-speed continuous shooting up to 121 Large JPEGs is possible using a UDMA CF card. This camera also features three RAW shooting modes for versatility with Full RAW (approx. 16 million pixels), M-RAW (approx. nine million pixels), and S-RAW (approx. four million pixels). Three additional JPEG recording formats (M1, M2 and Small) are also available.

The 14-bit per channel conversion facilitated by the dual DIGIC 4 Processors provides smoother tonalities in final images capturing all 16,384 distinct tones in each channel (red, green and blue) at the full 10 fps frame rate. RAW images shot on the new Canon EOS-1D Mark IV use the entire 14-bit space when converted to 16-bit TIFF files in Canon Digital Photo Professional (DPP) software, which is supplied with the camera at no extra charge. The 14-bit A/D conversion is also the foundation for Canon’s Highlight Tone Priority feature that takes maximum advantage of the camera’s extensive dynamic range to preserve detail in highlight areas of the image. Canon’s new EOS-1D Mark IV Digital SLR also features an improved white balance algorithm making colors more accurate when shooting under low color temperature light sources such as household tungsten lamps.

The EOS-1D Mark IV Digital SLR features Canon’s Peripheral Illumination Correction function which corrects darkening that can occur in the corners of images with most lenses when used at their largest apertures. When activated, it is automatically applied to JPEG images and video clips as they are shot. For RAW images, it can be applied in DPP software.

Other new features include a large three-inch solid structure Clear View II LCD screen with 920,000 dot/VGA resolution and a wide 160-degree viewing angle for enhanced clarity and more precise color when reviewing images and shooting video. The new in-camera copyright information feature helps professionals secure control over images by setting copyright data directly into the camera and appending that information to each image file in the Exif metadata. Additional features include a fluorine coating on the Low Pass Filter to further repel dust and enhance the EOS Integrated Cleaning System.

Minimize Post-Production with Enhanced Canon Auto Lighting Optimizer
Action photography truly is all about speed, capturing a fast subject with fast focusing and fast frame rates. However, all this speed might be wasted if it is slowed down by lengthy post-production procedures to adjust image quality. The EOS-1D Mark IV Digital SLR helps reduce post-production work with a powerful new Auto Lighting Optimizer (ALO) system. When enabled, Canon’s ALO automatically adjusts the image for optimal brightness and contrast on the fly during in-camera image processing, reducing clipped highlights while keeping shadowed areas as clear and detailed as they actually appear. By optimizing brightness and contrast in-camera, Canon’s ALO system significantly reduces the need for post-production image optimization, and gives photographers image quality they can take directly to press. Demanding professional photographers who tested ALO clearly stated that this one feature will reduce their post-production image optimization process by more than 75 percent. Canon’s ALO works with both RAWi and JPEG images as well as video recording.

Rugged Reliability
Canon has taken every measure to ensure that the EOS-1D Mark IV Digital SLR camera has the highest degree of weather resistance in the EOS line. The 1D Mark IV camera incorporates a wide range of design features that enhance its durability and reliability for professional assignments. For example, the 1D Mark IV’s body, chassis and lens mount are completely weather-resistant and 76 gaskets and seals surround all buttons and seams. The body covers and internal chassis, including the mirror box, are constructed with magnesium-alloy, one of the strongest and rigid metals available for its weight. For added strength, the lens mount is constructed with stainless steel. In fact, when used with Canon’s Speedlite 580EX II and/or most current L-series lenses, the entire camera system remains fully weather resistant, so professionals can concentrate on getting the shot instead of worrying about protecting their gear.

New Wireless Connectivity
Canon is announcing the availability of the new WFT-E2 II A* wireless file transmitter exclusively for the EOS-1D Mark IV Digital SLR camera. The WFT-E2 II A wireless transmitter is an extremely small and versatile device that offers professional photographers a wide range of digital connectivity options including IEEE802.11a/b/g and Ethernet, ideal for commercial and studio work. In addition to adding the ability to connect to wireless networks over 802.11a, the new WFT-E2 II A adds a wealth of new professional features to the photographer’s tool kit. The new Camera Linking feature allows a single photographer to simultaneously fire up to 10 cameras remotely; and the updated WFT Server mode lets you remotely use Live View, control settings, and fire the EOS-1D Mark IV over the internet from anywhere in the world using a standard Web browser or many Web-enabled smart phones. Additionally, geotagging is now possible via Bluetooth, using compatible GPS devices to append coordinate data to the images.

Pricing and Availability
The Canon EOS-1D Mark IV Digital SLR camera is scheduled to be delivered to U.S. dealers in late December, and will be sold in a body-only configuration at an estimated retail price of $4,999.00ii. Final pricing and availability for the Canon WFT-E2 II A wireless file transmitter will be available later this year.