"ice bank" captured by David Hobcote (Click Image to See More From David Hobcote)

As you learn digital photography you’ll find terms that leave you wondering what on earth they mean. One of them is exposure compensation and sometimes known as aperture compensation or Ev. A technical term, but if you understand it will help make some of those good images great.

I always had a problem when taking images that had a lot of white in them or where they were quite dark. They came out grey or with the dark images, too light. What I hadn’t realized was that my camera was doing its own thing. That is, the light meter was being fooled by the conditions and making its own decisions. Most times they are great but there are times when they just don’t get it right.

The camera’s light meter is not super intelligent so it’s always trying to average all the colors in a scene to an 18% grey. It doesn’t work with you but has its own agenda. This works fine most of the time as long as there isn’t too much white, then it gets fooled and does its own thing.

On your camera you will find a setting or a button denoted by Ev or a little icon with a +/- sign. This is where you will change the exposure settings. So what do you need to need to change and how does it work to improve your photos?

1. When the light meter of your camera sees all the white in an image it thinks that there is too much white and the image will be overexposed so it compensates for this and underexposes the photo. Just what you don’t want to happen.

2. The setting it chooses for the aperture size is therefore incorrect as it allows less light to hit the camera’s sensor.

3. This results in a muddy or grey image because not enough light is allowed in through the lens.

"December in Central Park" captured by Thomas Hawk (Click Image to See More From Thomas Hawk)

4. In order for you to improve your image you have to compensate for the camera’s light meter reading using the Ev setting.

5. Depending on your camera, the compensation measurements or stops as they are known are measured in thirds or halves.

6. If your scene is very white as in snow, you’ll need to add a stop or a fraction of a stop so that enough light reaches the sensor.

7. By doing this you manually open the lens aperture overriding what the camera’s light meter thinks it should be.

The same goes for a dark or black image. You just do the opposite by stopping down a third, half or full aperture stop. Here the camera thinks there is too much dark and opens up the aperture.

The proof of this is in the pudding as they say. You may get it right first time or it may be necessary to vary this setting until your photo is acceptable. When I learned how to use my exposure compensation setting my photos improved dramatically. It was my discovery of the year. As you learn digital photography and experiment with these settings you too will improve.

Photo captured by Great Salt Lake Photographer (Click Image to See More From This Photographer)

There is another feature on your camera which help you get this right virtually every time. It means taking extra images every time you press the shutter. It’s called AEB or automatic exposure bracketing. What it does is this. You preselect the amount of compensation you want, say one third of a stop, and the camera brackets this by choosing one normal image, one a third of a stop over and one a third of a stop under. So when you press your shutter button it takes three shots, one for each of your chosen exposure settings. It’s like insurance and you get the shot every time. Again you need to experiment to see if a third, half or full aperture stop will work.

By taking just a little extra time as you learn digital photography your images under these circumstances will improve considerably. Take a look at your camera’s manual to see exactly how exposure compensation and exposure bracketing works on your particular camera. Happy shooting!

About the Author
Do you want to learn more about photography in a digital world? I’ve just completed a brand new e-course delivered by e-mail. Download it here for free by clicking here: http://www.21steps2perfectphotos.com/. To learn how you can take your photography from ordinary to outstanding click here – http://www.21steps2perfectphotos.com/21steps.htm.

Wayne Turner has been teaching photography for 25 years and has written three books on photography.

To take a top-class wildlife photograph, you need to know your animal; where to find it, how to approach it without scaring it away, and how to know the precise moment to press the button to capture the character of the subject. Often a wildlife photographer will spend hours trying to get a good shot. What a shame, then, if all that effort is wasted by taking your photo in bad light.

Photo captured by Radoslav Toth (Click Image to See More From Radoslav Toth)

As a nature photographer, I have learned that the ideal light for a photo can vary depending on the subject. Landscape photos are usually best photographed in sunny weather, early in the morning or late in the afternoon when the contrast is low and the light is soft and colorful. On the hand, rainforest photography is usually best in the middle of the day, in cloudy weather to eliminate extremes of light and shade. To understand the best lighting for wildlife photography, you can take a lesson from both landscape and rainforest photography.

To get the best light for a wildlife photo, you are really looking to minimize contrast, and to eliminate shadows from important areas; most importantly across the face of the animal.

If you take your photos in the middle of a sunny day, you are bound to encounter shadows in all the wrong places. Bright light is likely to overexpose parts of the subject, while the face and the underside of the animal could be lost in heavy shadow. The result will be unattractive, and lacking in much of the detail that should give character to your photo.

There is nothing wrong with taking your wildlife photos on a sunny day. Just remember the lesson from landscape photography and seek to take your photos early in the morning and late in the afternoon. At these times the subject is illuminated from a more horizontal angle, so the full face of the animal is well-lit; you are less likely to have shadows over the eyes and other important features. If there are shadows, they will be much softer because the contrast is much lower when the sun is low in the sky.

"Monkey" captured by Stephanie (Click Image to See More From Stephanie)

The light at these times is also much more colorful, with the golden hues you associate with sunrise and sunset. This is a classic technique for improving landscapes, but it can be just as effective for wildlife. The warmth of the light can create an intimacy in your pictures that is completely lost in the harsh light of midday.

The second approach is to follow the rule of rainforest photography, and take your photos in overcast weather. This allows you to catch your subject in very even, low-contrast light.

I find cloudy days particularly useful for animals with glossy surfaces. Frogs, for example, have damp, shiny skin that reflects a lot of light. In glaring conditions a green frog may appear mostly grey or silver in a photo. On a cloudy day the same frog will be shown in its true colours.

Birds can often appear more colorful on a cloudy day, for the very same reason. The sun shining on glossy feathers can create a lot of reflection, robbing the photo of its natural color. It may seem the opposite of what you would expect, but the dull light of a cloudy day can actually produce the truest colors in a bright wildlife subject.

One final question you may ask: should you use a flash to illuminate a wildlife photo? My answer to that is a definite “NO.” Flash photography bathes the subject in white light, coming from directly in front of the subject. It may illuminate the subject, but at the same time rob it of the natural play of light and shade that makes a good photo so appealing.

Some wildlife photography experts use multiple flashes to brightly illuminate a subject from every possible angle. This approach can work very well, but remember; these are experts in flash photography. If you are at the beginner stage, I recommend learning to work with natural light. When you get the hang of it, I guarantee you will be happy with the results.

About the Author
Andrew Goodall’s top selling ebook “Photography In Plain English” is a great place to start learning the art and skills of nature photography. Find it at http://www.naturesimage.com.au along with a great collection of Andrew’s landscape and wildlife photography. You can also sign up to the online newsletter for free gifts and tips on photography.

"night bus" captured by David Hobcote (Click Image to See More From David Hobcote)

In this article I will try to explain how perspective works in a 2D photograph with some tips, myths and example photos.

When we see a photograph on computer screen or on prints, we are looking at a 2-dimensional representation of a real 3-dimensional scene. And that is what photography is all about – capturing a 3D scene onto a 2D image. I used to wonder how do photographers demonstrate “depth” or sense of “scale” in a (good) photograph. They use the concept of Perspective.

This is one of the tricky areas of photography which if a photographer is not consciously aware of, can produce unwanted “distortions” or “flat” uninteresting images.

3D is real. A 2D depiction of a 3D scene is just an illusion exploiting how our brain synthesizes information to determine the “depth” in real-time. Powerful compositions can be created by applying the concepts of perspective in effectively converting a 3D scene into a 2D translation.

Let’s start by formally defining “Perspective”

Perspective in photography can be defined as the sense of depth or spatial relationships between objects in the photo, along with their dimensions with respect to the viewpoint (camera lens or the viewer).

Now let’s come down to the techniques -

I. Blocking, overlap or obstruction

This is probably the dumbest thing to tell. But let me tell you anyways. When we see an object blocking the view of another object, the first object is nearer to the viewer than the latter.

This clue to our brain regarding distance can be utilized in a photograph to depict the “depth” or distance between the objects also called overlap perspective. If this overlap is repeated in a same picture the viewer gets a sense of depth among various objects lying in a 3D reality through the perception of the relative distance of objects made by partial blocking and hiding.

"Hitting the Wall" captured by Mark Feliciano (Click Image to See More From Mark Feliciano)

II. Relative Size

Our brain is very complex but gets fooled easily. We have a notion that when an object becomes more distant, it appears smaller than the one which is closer to the viewer.

In reality our brain has encodings of “natural” size of different objects like trees, cars, people and animals. So when we see a person twice as big as building, we cannot rationally conclude that the person is actually twice as big in reality. Our brain tells us that the building is farther away for a person. Alternatively when we carefully place different objects at different distances but giving an illusion that they are in the same plane produces funny images.

So in a nutshell, our brain makes an evaluation of the sizes based on “known” objects in relationship with other objects in the photo. Thus a distance is “imagined” in the brain and creates the “depth” in the photo that the photographer is looking for. This is also called “scaling” which helps the viewer to determine the actual size or relative size of the objects in the picture.

III. Linear, Rectilinear and Vanishing Point

As already mentioned earlier that a 2D image is nothing but an illusion of a 3D scene, but nevertheless artists and photographers utilize this illusion effect as an important compositional factor in their works.

The human eye judges distance by the way lines and planes converge at an angle. This is known as linear perspective.

"downtown" captured by rjnic (Click Image to See More From rjnic)

This when expanded to the rectangular objects, you find that some of the lens (fish-eye and panoramic) produces objects at the sides much smaller than it actually is and the objects at the center much larger that it’s actual size. Geometrically all straight horizontal lines at the lens axis level are represented as straight lines, and all other straight horizontal lines either above or below the lens axis level are reproduced as curved lines. But with “rectilinear perspective” the straight lines in the subject are reproduced straight in the picture (normal lenses are rectilinear lenses) which is way we see things normally.

It is noteworthy to mention that any photo is subject to “perspective projection distortion” which can be controlled and corrected with various methods that I will describe in Part II of this series.

The fish-eye and panoramic lenses produces “false” perspectives and are used only to produce “special” effects on purpose (more on this in Part II: Playing with perspective).

So back to linear perspective. Lines that are parallel to each other when seen at a great distance gives us the sensation of meeting (at vanishing points) for example in rail tracks. This “converging parallel lines” illusion can be used to show “distance” or depth in the photo.

IV. Lack of Sharpness, Color Quality or Contrast

"dwntn blue" captured by Mike Regan (Click Image to See More From Mike Regan)

We are accustomed to our eyes not able to figure out objects in the distant far off (due to lowering of contrast or scattering of light or both). We can use this information to “create” the effect of lack of sharpness/contrast by controlling the depth of field. Now controlling depth of field is totally different subject area in Photography and I do not want to mix it with the current discussion of perspective control. But just for the sake of completeness, I can give you a quick hint: just focus your lens slightly shorter than infinity so that the farthest object looks blurred thus giving the viewers a sense of distance.

Also atmospheric conditions like haze/fog/dust can cause loss of image sharpness at a distant. Since the effect of this “haze” (scattering of light due to particles in the air) is proportional to the distance of the objects from the lens, we can use this information as well in composing the shot.

Of course, there are various different factors that contribute to varying atmospheric conditions but the result effect of reduction of contrast, brightness and saturation can make our eyes believe that we are looking at something really distant compared to the objects that are clear, sharp and vibrant color.

So next time when you are trying to compose a photo, before pressing the shutter, think again. Are you able to successfully illustrate the “3D-factor” through any (or all) of the above mentioned “illusion” methods. In Part II of this article, I will explain the myth on perspective, zooming/framing and distortion corrections.

About the Author
Sudipta Shaw is a software professional and a self-made photographer. He also likes to teach and mentor.

Photo captured by Robert Nemeti (Click Image to See More From Robert Nemeti)

One option, although a bit pricey for “everyday” purposes, is to hire a professional photographer. I am assuming however that most people reading on this topic are hoping to learn the tips they need for getting better group shots with their own camera. Thus, here are some hints that can help:

Get set up

People get impatient, tired, children begin to wander and fidget, and everyone’s smile begins to wither if they have to wait around while you select the perfect location, get your camera set up, rearrange your subjects, and so forth.

Be sure to find a spot that is large enough to accommodate the number of people you will be photographing.

Be sure there is adequate lighting. Open blinds, turn on lamps, and use additional light sources indoors. Outdoors, be sure that the sun is not directly in front of your subjects to eliminate squinting. Also be sure that the sun t is not directly behind subjects shining into the camera. The sun should be at a 45 to 90 degree angle to your subjects.

"Galin and Nadejda Wedding" captured by Tatiana Garanina (Click Image to See More From Tatiana Garanina)

Know how you want to pose the group. More about this in a moment, but for now suffice it to say; figure out how you want to do it before the people arrive to be photographed.

Get your camera ready

The camera should be on, set up on a tripod, and any settings selected.

Take charge

Tell the subjects how you want them to pose. Arrange them and coach them through the process. Tell them where to face. Should they be looking at the guest of honor, the coach, the bride and groom, or the camera? Should they smile or be more relaxed? It depends on the type of look you want the photograph to have.

Get everyone arranged

This will vary by the group size and the type of event. To assure the faces of both tall and short people alike can be seen, you will need to arrange carefully. Generally you want taller people in back and in the center. For large groups you may need to vary heights more: have some seated in front, some kneeling, and then those further back from the camera should be standing.

Pulling the group together will allow you to step closer and assure that faces can be seen. Having the group stand shoulder to shoulder, all facing the camera can look very stiff and also makes it difficult to get close enough to see any detail. It is better to curve the rows and use various heights to bring the group in to a narrower range and allow faces to be seen in the photograph as you get closer to the group.

Arranging groups on stairs and shooting from above the group looking down are two ways of fitting the group into a tighter pattern. Another technique is to angle everyone 45 degrees facing slightly in toward the center of the group to get very large groups organized in a smaller pattern.

Know how and when to shoot

With groups you will definitely want to take multiple shots to be sure you get at least one or two pictures that are “good” of each individual. Take these rapidly; pros use burst mode. One way to improve your chances of eliminating shots with closed eyes is to instruct subjects to close their eyes and then on the count of 3 to open their eyes and smile.

"Alice in Wonderland" captured by Anya Kozyreva (Click Image to See More From Anya Kozyreva)

Another important consideration is to take the group shot before the very end of any event (excluding, of course, group shots such as a game victory, etc.) This will assure that everyone is present and not exhausted.

One camera, one photographer technique

One final consideration involves an issue I frequently encounter when family reunions occur or multiple parents are involved with an event. A group shot is orchestrated but it takes a half an hour for everyone to get the shot they want with their camera. There is time involved in both setting up each camera in the preferred location and, in some instances, time for the person taking the photograph to run to and from the group as the photographer/subject role changes.

The best method is to allow one person to take all photographs with a single camera and then, thank goodness for digital cameras, e-mail all photographs to everyone present.

About the Author
The author invites readers to discover more information about getting better photographs with your digital camera by browsing the information available at homemedias.info, her online home electronics store.

"Chicago Dusk" captured by Mark Feliciano (Click Image to See More From Mark Feliciano)

This rise in popularity of photography has also spawned many post-processing computer applications. Admittedly some were around before the digital age, but many more have been born into the age, and one particular post processing methodology – HDR, or High Dynamic Range, is rapidly gaining in popularity.

High Dynamic Range (HDR), as the name suggests attempts to extend the light and tonal range of images taken under normal conditions, and once a balanced HDR image is compared with the original shot the results are often outstanding. Ever hear the expression, “You just had to be there’, when someone is showing off photographs? What they are really saying is that their camera just cannot compete with the human eye when capturing the total range of light and dark areas in an image. OK. So it is about light – right? So why don’t we take more than one shot of the same scene at different shutter speeds and then combine them in a way to get the best of all of them? That is exactly what we do to prepare for HDR processing. Here are the requirements and steps to generate an HDR image.

You will need:

1. A good quality SLR camera capable of taking shots at different shutter settings. If you have a camera with a bracketed function and multiple shot capability, with a quick scan through the manual you will find out how to take say three shots of the same scene – one at normal exposure, one say two stops below normal, and another two stops above.
2. A sturdy tripod. If you are going to be taking multiple shots it will help if there is as little camera movement as possible between shots.
3. A high contrast scene. HDR works best here. An HDR photograph of a grey card will always be just a grey card, but one of a threatening thundercloud formation over a sunlit landscape can make one drool!

"Magical Streams" captured by Jim K. (Click Image to See More From Jim K.)

4. You will need some HDR processing software. I use Photomatix. It has good reviews and I get good results out of it. It is also very flexible in generating images from the surreal to the sublime.
5. You will need some time to learn and experiment. It doesn’t all happen by magic – you do actually have to work at it.

How to produce and HDR image:

1. Find your high contrast scene.
2. Place your camera on a tripod and if possible use a remote control to operate the shutter. Also if you are shooting with a remote, cover the eyepiece.
3. Preferably set your camera to shoot RAW images. These images will contain so much more exposure detail than JPG.
4. Set the camera to aperture priority. This will maintain the aperture setting to your chosen value and vary the shutter speed to obtain different exposures without upsetting depth of field.

5. Set the camera to manual focus and focus on your scene.
6. If possible select Auto Exposure Bracketing from your camera menu options, and select multiple shot mode.
7. Take your three shots.
8. Back home download your photographs and import them into an HDR processing application. Generate the HDR (which will look awful on the limited capabilities of your monitor), and then tone map the HDR to your liking. There it is!

Note: if you don’t have bracketing or multiple shot then you will have to manually change the shutter speed between shots – but don’t move the camera!

The good and bad about HDR:

1. Good side. Spectacular images can be produced with the right scene and the right tone mapping.
2. Good side. The process is simple and flexible – you are the maestro!
3. Good side. It lends a ‘fresh string to your bow’.

"Rail Car" captured by Michael Price (Click Image to See More From Michael Price)

4. Bad side. It takes time to get it right. It’s a bit like riding a bike. You get the basics weighed off and then you start on the tricks.
5. Bad side – well, a consideration. Not all images lend themselves to HDR imaging. High contrast images work best.
6. Bad side. HDR will always introduce a degree of noise into your images. This looks like grainy film.
7. Good side. This has been recognised. Some noise can add a special effect, but, there are now software applications to remove or limit the noise. Noiseware is one of them.
8. Bad side. You can go completely overboard with HDR and produce some of the most hideous images imaginable. Take it easy and focus on creating an image that you feel truly represents what you – or your eye, was seeing.
9. As stated previously, not every one will turn out a success so be patient and learn.

About the Author
Hi, I’m Terence Starkey. I am a long time camper and a keen photographer especially when out camping. I have made several modifications to my camper to make life easier and I have included some photographs and drawings there. On the site I have a photograph gallery of special shots and a selection of my favourite HDR images. If you would like to know more use the Contact Us page on the site.

Panasonic today announces the LUMIX DMC-G2, the world’s first digital interchangeable lens system camera with a movable LCD that allows for touch-control, and the successor to the award-winning and revolutionary LUMIX G1, which was the world’s first Micro Four Thirds digital camera. The intuitive touch-control shooting elevates the camera’s operability, letting the user adjust auto focus (AF) simply by touching the subject on the large 3.0-inch 460,000-dot high- resolution LCD. The LUMIX G2, also shoots 720p High Definition video using the AVCHD Lite format, and joins the LUMIX G10, also introduced today, as the latest models in the LUMIX G Micro System.

With the touch-screen operation, users can even snap a photo by touching the LUMIX G2’s screen. Additionally, the touch-screen operation excels not only for shooting but also during playback. Users can touch one thumbnail viewed among many to quickly and easily see the full size of the desired photo. Also, to view images one-by-one, photos can be dragged across the screen to browse as though flipping the pages of a book.

“With the LUMIX G2, Panasonic is pleased to continue to lead the evolution of the Micro Four Thirds platform and also be the first in the industry to offer a touch-screen interchangeable lens system camera,” said David Briganti, Senior Product Manager, Imaging, Panasonic Consumer Electronics Company. “Touch-operation is a user interface with which many consumers are both familiar and expect, and we think the LUMIX G2’s touch-operation makes it easier and quicker to take photos and videos that have professional-like effects.”

Using the touch-screen operation, once a user locks onto a subject, the LUMIX G2 enables AF Tracking and will track the subject as it moves within the frame. Then, with a touch on the screen, users can select the part and the size of AF area with the 1-area AF. The Multi-area AF sets a group of AF points according to the composition. While using the manual focus, users can enlarge a subject by touching it and then choosing to enlarge it by 1x, 5x or 10x and then smoothly moving the part by dragging it on the screen. With this touch operation, menu settings can be changed quickly; cutting the time it takes to navigate using standard cursors. However, all setting changes can still be done using the control pad, if preferred.

The LUMIX G2 records 1280 x 720 HD videos in the AVCHD Lite format, which increases recording capacity and is highly compatible with audio-visual equipment. With a dedicated video record button, users can easily start recording a video. To complement its high-quality video capabilities, the LUMIX G2 features advanced audio options, as sound is recorded with Dolby Digital Creator and an optional accessory stereo microphone can be attached. A Wind Cut function further enhances the sound as it helps reduce noise caused from background wind.

The 3.0-inch touch-operation LCD has a wide-viewing angle and rotates 180° from side to side and tilts 270° up and down, providing approximately 100% of field of view. This free-angle LCD with a touch-screen operation makes it possible to both view and touch the screen from any angle. The double Live-View function offered by the high-resolution, 460,000-dot free-angle Intelligent LCD and 1,440,000-dot 1.4x (0.7x) Live View Finder allows users to see the settings’ results before pressing the shutter.

The 12.1-megapixel Live MOS sensor featured in the LUMIX G2 offers the best of both worlds – the outstanding image quality of a CCD sensor, and the lower power consumption of a CMOS sensor. Advanced technology enables it to read four channels of data simultaneously, helping the LUMIX G2 to deliver 60 frames-per-second Full-time Live View images, while faithfully reproducing high-resolution images with fine detail and rich gradation. Plus, with the high-speed, high-performance Venus Engine HD II, which has been re-engineered to further improve image quality.

The new high-speed, high-performance Venus Engine HD II supports the new image processing technology Intelligent Resolution, which enables the recording of beautiful photo and HD video with high quality signal processing. With Intelligent Resolution technology, three areas – outlines, detailed texture areas and soft gradation – are automatically detected. The outline parts are enhanced effectively to give edges increased clarity, while simultaneously giving a moderate accentuation to the textured areas so they look finely detailed. For the soft gradation areas, the improved noise reduction system of the Venus Engine HD II is applied to achieve a smoother effect. Apart from the uniform enhancement of sharpness, the innovative technology Intelligent Resolution precisely performs signal processing pixel by pixel in the most effective way, resulting in images that are naturally clear.

For users looking for additional creative options for both photos and videos, the LUMIX G2 delivers. While shooting HD video, users can set the camera in “P” mode – to change the aperture for professional-like movie effects where the images blur into focus. For still photos, the LUMIX G2 features the My Color mode with a total of seven preset effects – Expressive, Retro, Pure, Elegant, Monochrome, Dynamic Art, and Silhouette while also keeping the Custom mode, which lets users manually set the color, brightness and saturation levels and save their favorite settings into memory.

On the other hand, for beginner users not yet ready for manual modes – the LUMIX G2 features iA (Intelligent Auto), a popular setting in the LUMIX point-and-shoots that automatically engages features and settings for optimal image quality by detecting the shooting environment. Panasonic iA is available in both still photo and video recording settings and a new dedicated iA button, which illuminates in blue when engaged, makes it even easier to use this handy feature.

Other features of the LUMIX G2 include:

• Dust Reduction System: If dust or other foreign matter gets inside the camera when you’re changing lenses, it could cling to the image sensor and show up as a spot in your photos. The Dust Reduction System in the G2 helps eliminate this possibility by placing a supersonic wave filter in front of the Live MOS sensor. Vibrating vertically around 50,000 times per second, the filter repels dust and other particles effectively.
• Included Software: PHOTOfunSTUDIO 5.0 HD Edition makes it possible to sort and organize photos. Videos can be uploaded directly to YouTube using the built-in YouTube uploader – even in HD quality. It also lets you create a 360-degree rotation panorama file in .MOV files. The software is compatible with the Windows 7.

The Panasonic LUMIX G2 will come equipped as part of its kit, with the newly announced LUMIX G VARIO 14-42mm/F3.5-5.6 ASPH/MEGA O.I.S. lens. The new lens offers a versatile zoom range of 14-42mm (35mm camera equivalent: 28-84mm), making it suitable for a wide variety of scenes, everything from dynamic landscape to portrait. Additionally, the LUMIX G2 is compatible with all Micro Four Thirds System lenses, allowing users even higher levels of performance in a digital interchangeable lens camera.

The LUMIX DMC-G2 and other LUMIX G Micro System digital cameras can use any interchangeable lens that complies with the Four Thirds standard via an optional mount adaptor DMW-MA1 and with the prestigious Leica M/R Lenses via DMW-MA2M or MA3R. Other accessories include external flashes, filters, a remote shutter, HDMI mini cables and a variety of stylish straps and bags. To learn about the Panasonic LUMIX Micro Four Thirds System and all the available accessories, visit www.panasonic.com/lumix. The Panasonic LUMIX G2 will be available in red, blue and black models and pricing and availability will be announced 30 days prior to shipping date.

Panasonic today introduces an addition to its Panasonic LUMIX G Series, the LUMIX DMC-G10, the world’s lightest digital interchangeable lens camera with a viewfinder, which packs a host of advanced digital camera functions designed to be easy-to-use for users new to system cameras. The new compact and portable LUMIX G10, which can record High Definition (HD) video in addition to high-quality still images, joins the LUMIX DMC-G2, also introduced today, as part of the Panasonic LUMIX G Series.

“The LUMIX G Micro System has revolutionized the photography industry ever since the release of the Panasonic G1, the world’s first interchangeable lens system camera based on the Micro Four Thirds System standard,” said David Briganti, Senior Product Manager, Imaging, Panasonic Consumer Electronics Company. “We continue to expand this award-winning LUMIX G Series, and with its easy-to-use features and compact size, we expect the G10 to attract a lot of new users who want to step-up from their point-and-shoots.”

The LUMIX G10, with its incredible compact body and portable design, uses a mirrorless structure as part the Micro Four Thirds System standard, eliminating a number of components that are found in a conventional interchangeable lens camera, including the mirror box and optical viewfinder unit. This innovative structure allows for the LUMIX G10 to be the world’s lightest system camera in a compact digital camera design that is a desired feature for new users. Adding to its lightweight body, the LUMIX G10 will come equipped as part of its kit, with the newly announced LUMIX G VARIO 14-42mm/F3.5-5.6 ASPH/MEGA O.I.S. lens. The new lens offers a versatile zoom range of 14-42mm (35mm camera equivalent: 28-84mm), making it suitable for shooting a wide-range of scenes, from dynamic landscape to portrait.

Panasonic designed the LUMIX G10 to be easy to use offers iA (Intelligent Auto) mode – with its shooting assist functions that have proven extremely popular in LUMIX compact cameras. Panasonic’s iA (Intelligent Auto), an easy shooting mode with automatic optimization according to the scene in either photo and video recording, is helpful to beginner users unfamiliar with an interchangeable lens system camera. With the new dedicated iA button, which illuminates in blue when engaged, activating this mode is even easier and can be used to shoot both photos and videos.

When shooting still photos, iA offers the following: MEGA O.I.S., which helps prevent blurring from hand-shake; Intelligent ISO Control, which reduces motion blur by adjusting the ISO sensitivity if the subject moves; Intelligent Exposure optimizes exposure for each part of an image, preventing blocked shadows and blown highlights and helping ensure that gradation and details are reproduced properly; Intelligent Scene Selector detects the most common shooting situations – Portrait, Night Portrait, Scenery, Night Scenery, Close-up and Sunset – and switches to the appropriate Scene mode automatically – no setting changes needed.

The LUMIX G10 can record 1280 x 720 HD video in Motion JPEG, QVGA, VGA and WVGA formats. Users can enjoy recording HD videos while taking advantage of the high quality lens and the flexibility to change to other lenses. Even users new to recording videos will find the LUMIX G10 makes it easy. Panasonic’s iA for video offers the following: Optical Image Stabilizer (O.I.S.) helps prevent handshake when using high-powered zoom; Face Detection** automatically detects a face in the frame and adjusts focus, exposure, contrast, and skin complexion; Intelligent Exposure continually checks the ambient light level and adjusts the exposure setting as conditions change to prevent blown highlights and blocked shadows; Intelligent Scene Selector automatically switches between Normal, Portrait, Close-up, Scenery, and Low Light modes according to the situation to optimize visual quality.

With AF Tracking, the LUMIX G10 can lock onto any subject and keep it in focus even if it moves – making it easy to get beautiful, clear shots of moving subjects, such as children and pets. Simply aim, lock, and shoot. The Face Recognition function remembers registered faces to give an appropriate AF/AE on the people. In playback, you can choose to display only photos that contain a specific registered face using Category Playback. The contrast AF system adopted by the LUMIX DMC-G10 is not only accurate and easy to use, but also very fast. Users can choose from a wide range of AF modes, including AF Tracking, 1-area AF, Face Detection AF/AE and 23-area AF.

The LUMIX G10’s Live View Finder, with a resolution of 202,000-dot equivalent, 1.04x (0.52x*) retains the viewability of an optical viewfinder and displays information about its settings that users can see without removing their eye from the subject. The 60 fps Live View is powered by the Live MOS sensor, which takes signals directly from the image sensor and sends them continuously to the LCD, in real time. Both the Live View Finder and LCD provide approximately 100% field of view. This allows the user, when composing a shot, to check the framing accurately from corner to corner. The 3.0-inch large 460,000-dot high-resolution LCD with wide viewing angle automatically controls the brightness according to the situation as an Intelligent LCD.

The 12.1-megapixel Live MOS sensor and the new Venus Engine HD II help to separate chromatic noise from luminance noise and apply the optimal noise reduction to each, so users can capture clear and beautiful images even when shooting at high ISO sensitivity levels. The high-speed, high-performance Venus Engine HD II, which has been re-engineered to incorporate the new image processing technology, Intelligent Resolution, enables the recording of beautiful photo and HD video with high quality signal processing. With Intelligent Resolution technology, three areas – outlines, detailed texture areas and soft gradation –are automatically detected. The outline parts are enhanced effectively to give edges increased clarity, while simultaneously giving a moderate accentuation to the textured areas so they look finely detailed. For the soft gradation areas, the improved noise reduction system of the Venus Engine HD II is applied to achiever a smoother effect. Apart from the uniform enhancement of sharpness, the innovative technology Intelligent Resolution precisely performs signal processing pixel by pixel in the most effective way, resulting in images that are naturally clear.

All Panasonic LUMIX G Series digital cameras are equipped with the highly-efficient Dust Reduction System. If dust or other foreign matter gets inside the LUMIX G10 while changing lenses, it could cling to the image sensor and show up as a spot in your photos. However, with the Dust Reduction System, it helps eliminate this possibility by placing a supersonic wave filter in front of the Live MOS sensor. Vibrating vertically around 50,000 times per second, the filter repels dust and other particles effectively.

Other features of the LUMIX G10 include:

• My Color mode with a total of seven preset effects – Expressive, Retro, Pure, Elegant, Monochrome, Dynamic Art, Silhouette. Also includes Custom mode, which lets users manually set the color, brightness and saturation levels. For beginners, the LUMIX G10’s full-time Live View function lets users see how these settings will affect the images before they shoot, making it easier to capture the exact mood or atmosphere desired.
• Scene modes total 26, including the Peripheral Defocus mode, which lets users take a photo where the foreground is in focus and background is blurred – or vice versa. This popular effect can be intimidating for a beginner, but in the Peripheral Defocus mode, by simply selecting the objects to be blurred and focused using the camera’s keypad, it is simple for photographers of any level.
• Exposure meter can be displayed in the P/A/S/M shooting modes. The correlation between shutter speed and aperture is shown, with a color-coded warning system that alerts users when the settings are not in the proper range. For those new to system camera digital photography, this makes it easy to learn proper settings both visually and logically, enhancing their photography skills.

The Panasonic LUMIX G10 is compatible with Micro Four Thirds System lenses, allowing users even higher levels of performance in a digital interchangeable lens camera. In addition to LUMIX G lenses, the LUMIX DMC-G10 and LUMIX G Micro System can use any interchangeable lens that complies with the Four Thirds standard via an optional mount adaptor DMW-MA1 and with the prestigious Leica M/R Lenses via DMW-MA2M or MA3R.

Pricing and availability for the Panasonic LUMIX G10 will be announced 30 days prior to shipping date. It will be available in black. To learn about the Panasonic LUMIX Micro Four Thirds System and all the available accessories, visit www.panasonic.com/lumix.

"Till The Morning Sun" captured by Mark Broughton (Click Image to See More From Mark Broughton)

In this article I am going to discuss the special focus condition called Hyperfocal Distance (HFD) and how you can employ it with today’s DSLR cameras to achieve the absolute greatest possible depth of field for any given situation. Hyperfocal focus will allow you to produce a DOF that extends from the nearest possible point to the camera through to infinity.

Maximum depth of focus allows you to use relative subject scale as a creative aspect in your compositions while still keeping everything tack sharp. Since the relative size of objects projected on a flat plane, i.e. “the film” or “the sensor” is dependent on their position relative to the camera, objects close to the camera will appear larger than those distant. If you can focus on both you are able to produce a virtually tactile appearance of the near objects while making them ’scale’ noticeably larger than the distant objects. A good way to prove this to yourself is to place your camera next to a long fence while keeping everything in focus. Not only do you get a geometric convergence of parallel lines, but the close objects appear with maximum texture and detail.

Hyperfocal distance is that special focus condition in which clear focus is obtained from ½ the hyperfocal focus point to infinity. Put another way, if you know what the HFD is for the given lens focal length and f-stop and focus on it, then everything from ½ of that distance to infinity is in focus.

Now here is the key point: HFD is calculated using only three numbers, the lens focal length, the f-stop used and the circle of confusion. The circle of confusion is a number you can get from a reference table and does not vary. As a practical matter if you want the DOF to extend from the closest possible point to infinity you’re going to be shooting at a small f-stop anyway so you don’t care about wider lens apertures. I’ve run the HFD table for a 50mm lens which I often use and have burned into my brain that at f-22 the HFD is 20 feet and that half of the HFD is 10′.

This then is my rule of thumb for this lens: at 50mm if I set the prime focus on 20′ I know that everything from 10′ to infinity is dead sharp. By the rules of optics, I know that a 50mm lens when focused on the HFD at f-22 will produce a sharp image from 10′ to infinity. I also know that I can’t get any closer than 10′ and still have my focus extend to infinity, it will be something less- but not infinity. I don’t need any other tables or calculations for this lens when I’m at f-22 which I will be for landscape work. I have similar figures for all my other prime focal lengths and the whole thing fits on a laminated card that fits in my pocket!

"Rome" captured by Lilia Tkachenko (Click Image to See More From Lilia Tkachenko)

To understand the implications of the above I recommend that if you have not already done so, go to dofmaster.com and print out a depth of field table for a Canon 30D, 50mm lens. If you read the distance scale at the far left to 20 feet and then move right on the page to the f-22 column you will see that the close focus point is 9′-9.7″ and the far focus point touches infinity. You can also tell from looking at an extract of the table below that if I focus on 18′ my near focus point is 9′-3.6″ but my far focus point is 276′, far but not infinity! If I move to 20′ which is the calculated HFD, I touch infinity. If I focus beyond 20′, my near focus point moves away from the camera and to infinity.

50mm lens @ f22

Focus Distance………………Near Focus Point……………Far Focus Point

18………………………………………….9′-3.6″……………………………276′

20………………………………………….9′-9.7″…………………………..Infinity

30………………………………………….11′-8″…………………………….Infinity

To round out your understanding of HFD, proceed to dofmaster.com and download their free HFD calculator. Input of all values required on the data screen is pretty straightforward except the circle of confusion which you should initially set at.019mm for most handheld digital cameras. If you want to more know about circle of confusion, you can read further on their website. In any event, program the screen and output your HFD chart.

For my 50mm lens, setting the circle of confusion at.019mm: my chart reads the following and I calculate the near focus as ½” the HFD as:

f-stop………………HFD…………………….½ HFD

2.8…………………..150′……………………75′

4……………………….110′………………….55′

5.6……………………..80′…………………..40′

8…………………………55′……………………28′

11……………………….38′………………….19′

16………………………27′………………….14′

22……………………….20′………………….10′

I hope the foregoing has been helpful in understanding the useful arcana of focus in applied optics. Now go out there and shoot some (well focused) scenes.

"Times Square" captured by Jason Lavengood (Click Image to See More From Jason Lavengood)

Again, many thanks to Don Fleming for putting up and maintaining dofmaster.com a wonderful site that has all sorts of free and info and goodies related to DOF and related subjects.

About the Author
Jeremy Myers is a wedding officiant and is the owner of Lyssabeth’s Wedding Officiants. Visit his websites at: Marin Wedding Officiants and Monterey Wedding Officiants.

The camera adopts the SD card and incorporates a highly visible 3.0 inch LCD monitor, 77-Segment AE sensor and Analog Front End (AFE). It provides high image quality and user friendly design. In addition, the durable shutter mechanism, which has a life of over 100,000 actuations, is ideal for the demands of digital photography.

Since October 2002, Sigma has introduced three digital SLR cameras, the SD9, SD10 and SD14. In March 2008, Sigma also introduced a high-end compact digital camera, the DP1, which uses the same large image sensor as featured in Sigma’s digital SLR cameras. The DP and SD series have established a strong following from a wide range of photographers, both amateur and professional. This new SD15 has been developed with the principle of producing superior image quality from the direct image sensor, as well as improved processing speed, operation and performance.

X3 Full-color image sensor
The Foveon X3 direct image sensor featured in the Sigma SD15 digital SLR camera captures all primary RGB colors at each and every pixel location, ensuring the capture of full and complete color. Using three silicon-embedded layers of photo detectors, stacked vertically to take advantage of silicon’s ability to absorb red, green and blue light at different respective depths, it efficiently reproduces color more accurately, and offers sharper resolution, pixel for pixel, than any conventional image sensor. Since color moiré is not generated, the use of a low-pass filter is not needed because full information of light and color can be captured with a three-dimensional feeling.

TRUE II image processing engine
The SD15 incorporates the “TRUE (Three-layer Responsive Ultimate Engine) II” image processing engine which improves the processing speed and overall image quality. The unique image-processing algorithm provides high resolution power and reproduces high definition images with richly graduated tones.

SD card
The SD15 adopts the SD card (compatible with SDHC) which is also used with the DP series of Sigma cameras, improving convenience to users of both camera systems.

21 frames can be captured continuously in RAW mode
The SD15 is equipped with DDR II buffer memory which is twice as large in capacity as the SD14’s buffer. The camera’s high-speed image processing circuits are capable of handling the large data files generated by the high-resolution 14 megapixel sensor. The SD15 features a continuous shooting speed of 3 frames per second with up to 21 RAW Images that can be captured in continuous shooting mode.

AFE（Analog Front End）
AFE (Analog Front End) converts the color data, which full-color capture systems record, to a digital signal. This enables the camera to reproduce high definition and richly colored images.

77-Segment AE Sensor
The SD15 features a new 77-segment AE sensor which allows advanced AE algorithms, improving exposure accuracy. Exact control and collaboration with the AF point ensures the camera exposes accurately even in difficult lighting conditions.

Large, highly visible 3.0” TFT color LCD Monitor
The SD15 camera features a 3.0 inch TFT color LCD monitor. This 460,000 pixel resolution LCD monitor benefits from a wide viewing angle, making it easy to check focusing and composition. It is possible to review the captured images with a Contact-Sheet View (nine thumbnail images), Single-Image View or Zoomed-In View (it is possible to select the magnified area by using the 4-way controller). While reviewing images, it is possible to display the detailed shooting information such as shutter speed and F-value by pressing the INFO button.

New, intuitive user interface
The improved user interface provides faster and more convenient operation of the camera. The Quick Set button activates the display of the most commonly used camera functions such as Color Mode, White Balance, Image Quality and Image Size on one screen. The 4-Way Controller ensures faster operation of these features. The FUNC button enables functions such as Flash Mode and Synchro Mode.

RAW format recording
The SD15 includes a RAW recording mode for retaining full image capture detail of the utmost quality plus a JPEG recording format for convenience. The RAW data format uses lossless compression for more compact, yet uncompromised, data files. The RAW data format of the SD15 keeps brightness and color data in a 1:1 ratio without relying on interpolation. Each pixel location captures the full color RGB data which, when processed in SIGMA Photo Pro, will preserve the balance of the natural data for the best photos with the best image quality.

SIGMA Photo Pro 4.0 (supplied)
The supplied image processing software of “Sigma Photo Pro 4.0” converts RAW data quickly and easily. Incorporation of a new noise reduction algorithm reduces Chroma and Luminance noise when processing X3F files taken at ISO400 or more. It is possible to adjust the level of reduction for noise just by moving the slider in the control pallet.

This software is compatible with multi core CPU’s, ensuring high speed image processing. It also incorporates functions such as Loupe, slideshow, Printing, JPEG conversion and batch white balance settings.

Reliable and durable shutter with life cycle of over 100,000 exposures
The durable focal plane shutter mechanism has a life cycle of over 100,000 exposures and dramatically reduces the amount of dust and dirt from the shutter mechanism.

The photographer can enjoy taking pictures without worrying about dust and dirt adhering to the image sensor either from inside or outside the camera.

Dust Protector
Most digital SLR cameras are vulnerable to dust entering the body. If the dust and dirt adhere to the image sensor, it may appear in the pictures. The mount of the SD 15 is equipped with a dust protector and the sealing parts are incorporated around the mount, preventing dust from entering the body. Even if dust adheres to the image sensor, the dust protector can be removed easily for sensor cleaning.

Bright viewfinder image by the incorporation of a pentaprism
The SD15 features a pentaprism viewfinder with 98% (vertical and horizontal) coverage, 0.9x magnification and an 18mm eye point. A diopter adjustment is also equipped which can be adjusted from -3 to +1.5 dpt.

ISO50 available
It is possible to select ISO sensitivity value from 100 to 1600. When the camera is in the extended mode, ISO 50 and ISO 3200 can be selected.

5-point AF
The auto focus sensor features 5 focusing points (center, left, right, up and down) ensuring consistently fast and precise focusing. The AF metering features a cross type sensor in the center of the screen. Selecting the AF point can be done manually or automatically.

Four metering modes
The SD15 is equipped with four metering modes: 77-segment Evaluative Metering, Center Weighted Average Metering, Center Area Metering and Spot Metering.

When it is difficult to determine the exposure setting due to variable light conditions, the Auto Bracketing function enables the photographer to take a sequence of pictures of the same subject at three or five different exposure levels. The shift value can be set in 1/3EV increments up to ±3EV(3 stops)/±1.7EV(5 stops).

Improved Auto Bracketing function
In addition to the usual three frame bracketing, five frame bracketing has now been added to the Auto Bracketing function. It allows users to get a more detailed and accurate exposure.

Two motor systems for the prevention of camera shake
Two motor systems are driven by the mirror-drive and shutter charge which lowers the vibration of the mirror movement, preventing camera shake.

Mirror lock-up mechanism prevents camera shake
The mirror lock-up mechanism raises the mirror, preventing vibration when the shutter is released. This prevents camera shake and is especially effective for macro photography or when using extremely long telephoto lenses. Use of the dedicated Remote Controller RS-31 (optional) also reduces the possibility of camera shake.

Built-in flash with 17mm angle of coverage
The Sigma SD15 camera’s built-in flash offers an angle of coverage of 17mm (equivalent to 28mm with a 35mm camera) lens with a guide number of 11. The Built-in flash can be synchronized to a shutter speed up to 1/180 sec. Incorporation of S-TTL automatic exposure ensures the control of advanced flash photography.

Backlight top LCD panel
The top LCD panel allows the photographer to quickly check camera information such as resolution setting, metering mode, battery status and the number of images that can be recorded on the SD card. It also incorporates an orange backlight, which enables the camera to be easily controlled in low light conditions.

Dedicated rechargeable battery with a large capacity
The dedicated BP-21 Lithium-ion battery is supplied as standard with the SD15. It is possible to shoot approximately 500 images on one full charge. The battery takes about 120 minutes to fully charge with the supplied BC-21 Battery Charger. The optional AC Adapter SAC-4 enables the Sigma SD15 to obtain power from the main supply.

Optional accessories
The SD15 can be used with over 45 Sigma lenses such as ultra-wide, ultra-telephoto, macro and fisheye. In addition, other accessories include dedicated flashguns (EF-530 DG SUPER, EF-530 DG ST and EM-140 DG) which offer fully automatic S-TTL flash dedication, a Power Grip (PG-21), Cable Release (CR-21) and Remote Controller (RS-31).

These many optional accessories are available for the SD15 to complement the user’s style of photography. They ensure ease of use and comfortable shooting.

"The Red Intruder" captured by Francois Novecento Boutiee (Click Image to See More From Boutiee)

One of the first accessories I bought for my film SLR way back in the 1980s was a set of close-up filters that screwed on the end of my lens. This added a new dimension to my photography and I was able to get in really close to my intended subjects, flowers. Although, I did dabble a bit in shooting some of the slower insects and bugs. But flowers were still my focus. Here are some simple tips that will help you shoot better flower photos.

1. Weather conditions and lighting

It is totally useless if you plan to shoot flowers on a day when high wind speeds are predicted. Movement is critical especially when shooting close-ups and your image will be spoiled if you don’t take this into consideration. Lighting is critical as you need to shoot under conditions that enhance colours and allow as much natural light as possible. Unless you’re using a ring flash with a digital SLR you are too close to use the on camera flash system. Never shoot at midday as the lighting is harsh and lacking in contrast.

2. Select the right flower

Getting your lighting, exposure and composition perfect and then finding that there are blemishes on the flower’s petals or leaves is a let down. Always inspect the chosen subject before setting up your equipment and make sure that it’s almost perfect.

"Cornflowers" captured by Donaldas Urniežius (Click Image to See More From Donaldas Urniežius)

If there are little imperfections, change the angle of view or shoot the opposite site of the flower. You can also remove offending petals and leaves if they do not leave gaps and make the image look imperfect.

3. Check the background

You are limited to how many angles you can shoot from if the flower is in a garden and not a studio. Make sure that the flower or flowers you choose have a background that is simple and uncluttered and enhances the overall quality of the flower image. If it doesn’t, then consider using a piece of card that compliments the dominating colour of your chosen flower. Your focus must be on the flower and a viewer’s eye should be attracted to the flower and not the background.

4. Use a tripod

A tripod is essential to flower photography as you need as much light as possible when using a narrow depth of field or focus and if you need a wide aperture the shutter speed is often slower. A slow shutter speed will always be a problem and this limits hand holding due to camera shake.

5. Composition

Flower shots always look their best when taken from the side. Shot from above they don’t have same appeal as when taken from the side. Use the rule of thirds placing them in a slightly off centred position and never right in the middle of the image. Getting in closer will always add to the composition. If you are shooting macro you’ll see details that really create an interest.

"Rinascita" captured by Alessandro De Matteis (Click Image to See More From Alessandro De Matteis)

Creating your own indoor studio and shooting picked flowers is a simple process. Use natural light from a window and a simple coloured background and stunning images will result. Be prepared to experiment and practise your techniques.

As with any photography take you time to think before shooting but also to get the composition perfect. Don’t be afraid to vary your angles and work at getting a good focal point. Overall, flower photography is exceptionally rewarding so work at it and create great images.

About the Author
Do you want to learn more about photography in a digital world? I’ve just completed a brand new e-course delivered by e-mail. Download it here for free by clicking here: http://www.21steps2perfectphotos.com/. To learn how you can take your photography from ordinary to outstanding click here – http://www.21steps2perfectphotos.com/21steps.htm.

Wayne Turner has been teaching photography for 25 years and has written three books on photography.