Digital Camera Reviews, Ratings, Tips, News, Tutorials and Comparisons

OLYMPUS STYLUS 1030

noreply@blogger.com (Positive Sylhet) — Mon, 29 Dec 2008 11:43:00 +0000

The Olympus Stylus 1030SW is a 10.1 megapixel point and shoot camera with a 3.6x wide angle optical zoom lens and 2.7 inch LCD.

This camera has been designed with the outdoor adventurer in mind as i'ts shockproof, waterproof, freezeproof, crushproof and dustproof!

This rugged little camera features a special LED light for macro photography, 14.7 megabytes of internal memory and has face detection, digital image stabilization and a fast charge battery.

It will have a retail price of $399.99 USD.

Olympus Stylus 1030SW News Release

OLYMPUS STYLUS 1030 SW: WORLD'S TOUGHEST POINT-AND-SHOOT CAMERA ADDS EVEN MORE BRAINS AND BRAWN

Durable Digital Camera Goes the Distance with 10.1MP Image Sensor, 3.6x Wide-Angle Optical Zoom, 2.7-Inch Advanced HyperCrystal II LCD, and Innovative Imaging Technologies
CENTER VALLEY, Pa., January 22, 2008 – Scuba divers, mountain climbers and adventurers worldwide rejoice today as Olympus unleashes the new 10.1-megapixel Stylus 1030 SW, the toughest point-and-shoot camera in the world. This shockproof, waterproof, freezeproof, crushproof and dustproof model builds on the Olympus Stylus SW series’ reputation of delivering amazing images while enduring extreme expeditions and everyday adventures, including life with kids.

Even more durable than its predecessors – it can withstand a drop from 6.6 feet – the camera has also been pumping up its power with a 3.6-inch wide-angle optical zoom, 2.7-inch LCD screen and digital imaging advances, including Face Detection, Shadow Adjustment Technology, and a TruePicTM III Image Processor to capture rich, vibrant detail with every shot.

“The Stylus 1030 SW is one of, if not the toughest camera on the market, built strong enough to withstand some of the harshest conditions,” said Mark Hoffman, director, Product Marketing, Olympus Imaging America Inc. “Now with more pixels, a bigger, brighter LCD, and greater durability, it features innovative technologies designed to make getting the best image easier than ever.”

Shockproof and Crushproof DesignAfraid the mountain winds might sweep a camera out of your gloves? Never fear, the Stylus 1030 SW can withstand a 6.6-foot drop with its shock-absorbing technology, which minimizes the impact on the lens and circuitry. In addition, the Stylus 1030 SW features a crushproof body that can withstand up to 220 pounds of crushing pressure.

Waterproof for Underwater PhotosThe Stylus 1030 SW performs as well underwater as it does on land because its lightweight, stainless steel and aluminum exterior is matched with interior rubber gaskets and O-rings to seal out the elements. It can be fully submerged to capture beautiful images down to 33 feet (10 meters) underwater, and features a built-in manometer, making it ideal for more serious underwater adventurers who want to know the depth of where their images were taken. The inclusion of four preset underwater scene modes makes the Stylus 1030 SW perfect for taking photos while snorkeling or scuba diving. Additionally, movies are simple thanks to an underwater movie mode. The camera also features a water-repellant lens coating to prevent water droplets from forming on the lens to get crystal-clear shots no matter how wet the shooting environment.

Freezeproof for Icy ActionUnlike other point-and-shoot cameras that freeze up in frosty weather, the Stylus 1030 SW still performs when the temperature dips well below freezing (14 degrees Fahrenheit; -10 degrees Celsius) so it is ready to climb the mountain or hit the slopes when you are.

Dustproof for Desert WindsThe rugged Stylus 1030 SW is an ideal companion for an expedition in the Sahara because its airtight construction is impervious to dust, dirt and other particles. When the camera gets dirty, just rinse it off with your canteen.

Advanced HyperCrystalTM LCDThe Stylus 1030 SW – the flagship of the SW line – boasts an advanced HyperCrystal II LCD, which is Olympus’ next generation of LCD technology. It reproduces true colors with a dynamic contrast ratio of more than 180 percent and a color reproduction performance of more than 160 percent compared to HyperCrystal LCD.

Wide Optical Zoom in Ultra-Slim Body DesignThe Stylus 1030 SW features a 3.6x wide optical zoom (28-102mm equivalent in 35mm photography, f3.5-5.0) so that even more of the subject makes it into each shot – perfect for underwater photography. The lens does not protrude from its body so it is further protected from harsh conditions.

Face DetectionFace Detection tracks faces within the frame and automatically focuses (Face Detection AF) and optimizes exposure (Face Detection AE) for sharp, brilliant portrait pictures.
Digital Image StabilizationThe Stylus 1030 SW features Digital Image Stabilization (DIS) to capture crisp, clear pictures. By boosting the camera’s ISO sensitivity and shutter speed, DIS freezes the action and provides blur-free images, even when you or your subject is moving.

In-Camera PanoramaIn-camera panorama mode captures three images and stitches them together to create one amazing panoramic picture. Simply press the shutter button and slowly pan across a panoramic scene. The second and third images will be captured automatically and stitched together with the first image – resulting in one seamless panorama-size picture. To create the ultimate panoramic picture, consumers can use the Olympus Master Software 2 to stitch up to 10 images together.

Shadow Adjustment TechnologyShooting outdoors in bright daylight can be tricky because of the extreme contrast between dark shadowed areas and bright sunlit areas. While the human eye is capable of detecting the nuances between dark and light and all the details in between, image sensors traditionally have not been quite as sensitive. The Stylus 1030 SW addresses this challenge head-on with Shadow Adjustment Technology, which compensates for extreme contrast where the shadow areas are underexposed and lack visible detail. With this technology, users can preview and capture images with the same contrast as the naked eye.

Perfect Shot PreviewThe Stylus 1030 SW features a Perfect Shot Preview mode that enables users to preview and select various photographic effects on a live, multi-window screen before snapping the shot. Perfect Shot Preview enables users to see precisely what the image will look like when adjustments are made, ensuring users are capturing the exact image they want. It is an ideal way for novice users to learn about the effects of different photography techniques, such as zoom, exposure compensation, white balance and metering.

Perfect Fix In-Camera EditingThe Stylus 1030 SW offers Red-Eye Fix and Shadow Adjustment Edit, in-camera editing features such as resizing, frames, text options, and saturation adjustments, enabling users to edit photos right in the camera. With the Perfect Fix function, multiple editing features can be applied at once.

LED IlluminatorAn LED Illuminator works like a mini-flashlight on the front of the camera to enhance focus and exposure for macro shooting – great for underwater close-ups where light is scarce. The LED also works in conjunction with Bright Capture to help illuminate your subject when taking low-light portraits.

TruePic III Image ProcessorOlympus’ enhanced TruePic III Image Processor produces crystal-clear photos using all the pixel information for each image to deliver superior picture quality with more accurate colors, true-to-life flesh tones and faster processing speeds. TruePic III also captures sharp images at high ISO settings, which are traditionally associated with increasing image noise or producing grainy photos.

MemoryAll Olympus digital point-and-shoot cameras accept xD-Picture Card media. The Stylus 1030 SW will also come equipped with an adapter, which will enable microSD memory cards to be used when capturing images. The microSD cards are emerging in consumer electronic devices, including mobile phones and PDAs. Users can also easily display photos on their HDTVs.
New Powerful BatteryThe Stylus 1030 SW includes the new LI-50B Li-Ion battery, which charges 2.5 times faster (two hours instead of five) than its predecessor. The new 925-mAh battery boasts a 25 percent increase in power.

Practical and Fashionable AccessoriesOlympus offers a number of optional accessories, specifically designed for the Stylus 1030 SW. For users looking to capture their underwater adventures deeper than 33 feet (10 meters), Olympus offers the PT-043 underwater housing, which enables users to take pictures as deep as 130 feet (40 meters). A highly visible floating wrist strap frees users’ hands when swimming or chasing the next big wave. Stylish silicone skins protect the camera from scratches. Skins are available for the Stylus 1030 SW in a new stealth gray color.

Additionally, Olympus offers premium cases in a variety of colors, including a new cream plaid, a new gray plaid as well as camel and red leather. The premium cases are now also available in a new brown leather wallet-like design. Durable, sporty neoprene cases are perfect for active or outdoor expeditions. The neoprene cases are available in black and a new olive color. Carabineers now come with the neoprene cases so they can be hooked to a bag, swimming suit or hiking shorts.

OLYMPUS Master™ 2 SoftwareOLYMPUS Master 2 software provides the ultimate in digital imaging management. An intuitive user interface makes downloading to a computer quick and simple. Images are easily organized by folders or albums and are searchable by date in the Calendar View. With one-click editing tools, such as red-eye removal, images can be touched up before printing or emailing. Online support, templates, firmware upgrades and other user services are just a mouse-click away. Use the optional muvee? Theater Pack to create professional-quality slide shows and DVDs from your pictures using any of several built-in templates.

AvailabilityThe Stylus 1030 SW will be available in March 2008. It includes: a wrist strap, camera WIN/Mac USB cable, audio/video cable, LI-42B Li-Ion rechargeable battery and charger, manual, warranty card and OLYMPUS Master 2 software (CD-ROM).
U.S. PricingStylus 1030 SW Estimated Street Price: $399.99 (U.S.)

The Olympus SP-570 Ultra Zoom

noreply@blogger.com (Positive Sylhet) — Mon, 29 Dec 2008 11:35:00 +0000

The Olympus SP-570 Ultra Zoom is a 10 megapixel digital camera with a massive reach when it comes to it's zoom lens. It's focal range is 20x (optical zoom) which gives it's user an equivalent focal range of 26-520mm!

The Olympus SP-570 Ultra Zoom features a maximum aperture range of F2.8 - 4.5 at the ends of it's focal range and has an LCD which measures 2.7 inches.

The ISO on the Olympus SP-570 Ultra Zoom is 50-6400 and it has Dual Image Stabilization (software based stabilization as well as image sensor).

The Olympus SP-570 Ultra Zoom will have a retail price of $499.99 when released in March.

NEW OLYMPUS 20X, WIDE-ANGLE SP-570 ULTRA ZOOM OFFERS SUPERIOR VERSATILITY FOR USERS OF ALL SKILL LEVELS

Amazing Optics, 10 Megapixels, Wide-Angle and Telephoto Lens, Dual Image Stabilization, and 2.7-Inch HyperCrystal LCD Screen Top the List of Innovative Features

CENTER VALLEY, Pa., January 22, 2008 – Olympus today announces its new powerful and versatile SP-570 Ultra Zoom digital compact camera, which stands out from the crowd with an astounding precision-crafted 20x, wide-angle optical zoom (26-520mm equivalent) and 10 million pixels of resolution for superior image quality in any shooting situation.

The SP-570 UZ offers the advanced manual controls that experienced photographers demand and find on a digital SLR (single lens reflex), including a new zoom ring and hotshoe for external flash, and RAW format capture. At the same time, users can easily set the camera to operate like a simple point-and-shoot with automatic scene modes. Beyond its impressive lens and pixel count, the SP-570 UZ delivers other key innovations, including:

* Dual Image Stabilization combines the benefits of Sensor-Shift Image Stabilization and Digital Image Stabilization to compensate for both camera shake and moving subjects, ensuring beautiful, blur-free images in any situation;

* Face Detection continually tracks faces within the frame and automatically focuses, and optimizes exposure for sharp, brilliant portrait pictures even if your subject is moving;

* Shadow Adjustment Technology enables users to preview and capture images as the human eye sees them, compensating for difficult lighting situations and maintaining detail in highlights while improving the detail in the shadows to produce more balanced photos;

* Perfect Shot Preview takes the guesswork out of great photography by allowing users to preview and select various photographic effects live on the LCD screen, before snapping the shot; and

Large 2.7-Inch HyperCrystal™ LCD with anti-glare technology improves visibility in bright sunlight and provides a wider viewing angle (176 degrees in every direction) for easier composition and viewing of images during playback.

“The SP-570 UZ is the best choice for anyone who wants to dive deeper into digital photography with a sophisticated yet simple-to-use camera that will match their growing skills,” said Mark Hoffman, director, Product Marketing, Olympus Imaging America Inc. “Thanks to its compact design and easy-to-use advanced technologies, the perfect image is only a click away.”

Capturing It All, Far and Wide

Precision optics is fundamental for producing quality images, and the SP-570 UZ comes fully equipped with the equivalent of three lenses in one complete camera. The bright, f2.8-4.5 lens provides the equivalent of 26-520mm focal length with 100x total seamless zoom (5x digital zoom). Users can get close to the action with the camera’s versatile yet compact 20x super telephoto zoom and at the same time, the wide-angle (26mm) lens captures more in each frame. Its super-macro capabilities capture the subtlest details from as close as one centimeter.

The compact lens construction combines high-refractive, aspherical and extra-dispersion (ED) lens elements to deliver edge-to-edge sharpness and clarity. Whether it is capturing fast-action sports or for everyday use, this sturdy compact body with a wide-angle and telephoto lens provides the versatility to get the job done.

Dual Image Stabilization

Dual Image Stabilization enables users to take crisp, clear pictures in virtually any shooting situation – adjusting for camera shake and a moving subject. Olympus’ mechanical Sensor-Shift Image Stabilization keeps images sharp by adjusting the CCD to compensate for camera shake, which often occurs when zooming in on your subject and in low-light conditions when shutter speeds are slower. Digital Image Stabilization freezes the action with high ISO sensitivity and fast shutter speeds that prevent blur caused by a moving subject.

Full Manual Control

The Manual, Aperture Priority and Shutter Priority modes give users versatility and control for optimal performance in any situation. Users can express their creative vision – adjusting the f-stop for detailed portraits with softened backgrounds, or slowing the exposure speed to create the blurred effect of motion, or just sit back and let the camera do the thinking through the use of the automatic settings. Manual focus is also available for users who want to have full creative control.

Hotshoe for External Flashes

The SP-570 UZ offers a hotshoe for connecting an external flash, providing greater versatility for different lighting effects. Additionally, the SP-570 UZ supports wireless flashes, enabling a user to capture beautiful images even in difficult lighting situations.

Face Detection

Face Detection tracks faces within the frame and automatically focuses (Face Detection AF) and optimizes exposure (Face Detection AE) quickly for sharp, brilliant portrait pictures. Now, your subject’s face is in focus whether it is in the center of the target area or not.

High-Speed Sequential Shooting and Pre-Capture

The SP-570 UZ is capable of capturing images at an incredible 13.5 frames per second (with a reduced image size of 3 megapixels). The inclusion of Pre-Capture technology, which works in conjunction with High-Speed Sequential Shooting, enables users to capture the action before and after fully pressing the shutter button. Pre-Capture begins working as soon as the focus is locked, automatically archiving five frames in the camera’s buffer memory prior to the shutter release – virtually guaranteeing that none of the action will be missed even if the user’s reaction time is slow. Perfect for situations where timing is essential, such as photographing a tennis player serving, children playing or a whale breaching.

2.7-Inch HyperCrystal LCD

The SP-570 UZ utilizes a HyperCrystal LCD designed to offer a wider viewing angle without glare or shadow. Now, images and movies appear crisp and clear on the LCD with a greater than 140-degree viewing angle (left-to-right or up-and-down), while composing or reviewing an image. Its electronic viewfinder is very sharp and includes a diopter to adjust to one’s own eye strength when not wearing glasses.

Shadow Adjustment Technology

Shooting outdoors in bright daylight can be tricky because of the extreme contrast between dark shadowed areas and bright sunlight areas. While the human eye is capable of detecting the nuances between dark and light and all the details in between, image sensors traditionally have not been quite as sensitive. The SP-570 UZ addresses this challenge head-on with a new Shadow Adjustment Technology, which compensates for extreme contrast where the shadow areas are underexposed and lack visible detail. With the new technology, users can preview and capture images that have the same contrast as seen with the naked eye.

Perfect Shot Preview

The SP-570 UZ features a Perfect Shot Preview mode that enables users to preview and select various photographic effects (such as zoom, exposure compensation, white balance and metering) on a live, multi-window screen before snapping the shot. Perfect Shot Preview enables users to see precisely what the image will look like when adjustments are made, ensuring users are capturing the exact image they want. It is an ideal way for novice users to learn about the effects of different photography techniques.

Perfect Fix In-Camera Editing

Olympus’ Perfect Fix feature offers quick solutions for unanticipated image quality issues, which may be caused by several adverse conditions. Lighting Fix can be used to adjust any underexposed areas and Red-Eye Fix can be used to reduce the effects of red-eye sometimes caused by a direct flash. Additional in-camera editing functions can be quickly accessed right in the camera by the touch of a button; features available include resizing, trimming, frames, text options, black and white, and sepia.

TruePicTM III Image Processor

Olympus’ enhanced TruePic III Image Processor produces crystal clear photos using all the pixel information for each image to deliver superior picture quality with more accurate colors, true-to-life flesh tones and faster processing speeds. TruePic III also captures sharp images at high ISO settings, which are traditionally associated with increasing image noise or producing grainy photos.

31 Shooting Modes Including Multi-Fireworks

The SP-570 UZ makes it easy to take great photos in a variety of scenarios and lighting situations with 31 shooting modes, including a Multi-Fireworks mode. To capture the most stunning fireworks displays, this multi-exposure feature overlays the fireworks to create the memory of a lifetime. To activate any of the camera’s pre-set modes, simply select the desired mode for portraits, landscapes, night scenes, fast-action and more.

OLYMPUS Master™ 2 Software

OLYMPUS Master 2 software provides the ultimate in digital imaging management. An intuitive user interface makes downloading to your computer quick and simple, and images are easily organized by folders or albums and searchable by date in Calendar view. Also, with one-click editing tools, such as red-eye removal, images can be touched up before printing or e-mailing. Online support, templates, firmware upgrades and other user services are just a mouse-click away. Use the optional muvee™ Theater Pack to create professional quality slide shows and DVDs from your pictures using any of several built-in templates.

Availability

The SP-570 UZ will be available in March 2008. It will also include: Neck Strap, WIN/Mac USB Cable, Audio/Video Cable, four AA Batteries, Manual, Warranty Card and OLYMPUS Master 2 Software CD-ROM.

U.S. Pricing

SP-570 UZ Estimated Street Price: $499.99 (U.S.)

How to Choose a DSLR Camera

noreply@blogger.com (Positive Sylhet) — Wed, 20 Aug 2008 20:16:00 +0000

DSLR Cameras are increasingly becoming a type of camera that is in the reach of the average photographer as prices fall and as manufacturers develop more user friendly models.

I’ve previously discussed some of the advantages and disadvantages of moving from a point and shoot to DSLR but in this post would like to explore how to choose a DSLR.

In doing so I’ll cover:

1. 9 Reasons to Upgrade to a DSLR Camera
2. 8 Factors to Consider when Choosing a DSLR
3. My DSLR Camera Recommendations (also check out this post on the Top DSLR Models As voted by our Readers)

Firstly, a quick recap on some of the reasons why you might want to upgrade to a DSLR.

Reasons to Upgrade to a DSLR Camera

Image Quality - Due to the larger size of image sensors in DSLRs which allows for larger pixel sizes - DSLRs are generally able to be used at a faster ISO which will lead to faster shutter speeds and less grain (ie shoot at 1600 ISO on most DSLRs will have less noise than shooting at 1600 on a Point and Shoot). DSLRs also have built in noise-reduction when genearating JPG images which also helps cut down on noise.
Adaptability - DSLR’s ability to change lenses opens up a world of possibilities for photographers. While my point and shoot has a nice little 3x Optical Zoom (and many these days have longer ones) my DSLR can be fitted with many high quality lenses ranging from wide angle to super long focal lengths depending upon what I’m photographing (and of course my budget). Add to this a large range of other accessories (flashes, filters etc) and a DSLR can be adapted to many different situations. It should be noted that when it comes to lenses that the diversity in quality of lenses is great. Image quality is impacted greatly by the quality of the lens you use.
Speed - DSLR’s are generally pretty fast pieces of machinery when it comes to things like start up, focussing and shutter lag.
Optical Viewfinder - due to the reflex mirror DSLR’s are very much a what you see is what you get operation.
Large ISO range - this varies between cameras but generally DSLRs offer a wide array of ISO settings which lends itself to their flexibility in shooting in different conditions.
Manual Controls - while many point and shoots come with the ability to shoot in manual mode, a DSLR is designed in such a way that it is assumed that the photographer using it will want to control their own settings. While they do come with good auto modes the manual controls are generally built in in such a way that they are at the photographers finger tips as they are shooting.
Retaining Value - some argue that a DSLR will hold it’s value longer than a point and shoot. There is probably some truth in this. DSLR models do not get updated quite as often as point and shoot models (which can be updated twice a year at times). The other factor in favor of DSLRs is that the lenses you buy for them are compatible with other camera bodies if you do choose to upgrade later on (as long as you stay with your brand). This means your investment in lenses is not a waste over the years.
Depth of Field - one of the things I love about my DSLR is the versatility that it gives me in many areas, especially depth of field. I guess this is really an extension of it’s manual controls and ability to use a variety of lenses but a DSLR can give you depth of field that puts everything from forground to background in focus through to nice blurry backgrounds.
Quality Optics - I hesitate to add this point as there is a large degree of difference in quality between DSLR lenses but in general the lenses that you’ll find on a DSLR are superior to a point and shoot camera. DSLR lenses are larger (more glass can add to the quality) and many of them have many hours of time put into their manufacture (especially when you get into higher end lenses). I strongly advice DSLR buyers to buy the best quality lenses that they can afford. It it’s the difference between a high end lens on a medium range camera or a medium range lens on a high end camera I’d go for quality lenses every time as they add so much to photos.

Before I tackle how to buy a DSLR keep in mind that DSLRs are not for everyone. I’ve written more on the down sides of DSLRs in a post previously which you might find helpful in deciding whether you should stick with a point and shoot or upgrade.

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How to Decide Which DSLR Camera is for You?

So how do you decide which DSLR to buy? There are an increasing array of them on the market so you have a real choice ahead of you.

Here are a few factors to consider when looking for a DSLR:

1. Price - a good place to start when thinking about buying a DSLR is obviously price. DSLRs price range in price from some quite affordable deals at the lower end to extremely high prices at the professional end. Set yourself a budget for your purchase early on but make sure that you keep in mind that you’ll need to consider other costs of owning one including:

Lenses (some deals offer ‘kit lenses’ but you should consider upgrading - see below for more on this)
Batteries (all models will come with one but if you are travelling you might need a spare)
Memory Cards (some models come with one but most are inadequate in terms of size. Even if you’re lucky enough to have one included you’ll probably want to upgrade to at least a 1 gigabyte card).
Camera Bag (some dealers will throw one in - but once again don’t expect a high quality ‘free’ bag. Your DSLR is something worth protecting - invest in a good bag)
Filters (at the least you’ll want to get a UV filter for each lens you purchase - but you might also want to consider other types down the track also).
Extended Warrantees (there’s a variety of opinions on whether they’re good or not - but they’re worth considering)
2. What will You use it For? - when you head into a camera store to purchase any type of question the first thing most sales people will ask you what type of photography you want to do. It is well worth asking yourself this question up front as it will help you think through the type of features and accessories you’ll need.

Will this be a general purpose camera for recording ‘life’? Are you wanting to travel with the camera? Is it for sports photography? Macro Photography? Low Light Photography? Make a realistic list of the type of photography you will use it for (note I said ‘realistic’ - it’s easy to dream of all kinds of things you’ll photograph - but in reality most of us only do half what we think we will).

3. Size - DSLRs are all more sizeable than compact point and shoot cameras but there is a fair bit of variation in size between them also. Some photographers don’t mind carrying around weighty gear but if you’re going to use it for on the go photography (travel, bushwalking etc) then small and light models can be very handy.

4. Previous Gear - the attractive thing about DSLRs is that in many cases they are compatible with some of the gear you might already have.
This is particularly the case for lenses. The chances are that if you have a film SLR that your lenses might well be compatible with a DSLR made by the same manufacturer. Don’t assume that all lenses will be compatible (particularly older gear) but it’s well worth asking the question as it could save you considerable money.
If you have a point and shoot camera you might also want to look at the type of memory card that it takes as some models of DSLRs could also be compatible with them. This probably won’t be a major consideration as memory cards are considerably cheaper than they used to be but it could be a factor to consider.

5. Resolution - ‘how many megapixels does it have’ is a question that is often one of the first to be asked about a new camera. While I think ‘megapixels’ are sometimes over emphasised (more is not always best) it is a question to consider as DSLRs come with a wide range of megapixel ratings. Megapixels come into play as you consider how you’ll use your images. If you’re looking to print enlargements then more can be good - if you’re just going to print in small sizes or use them for e-mailing friends then it’s not so crucial.

6. Sensor Size - Another related question to consider is how big the image sensor is. The term ‘crop factor’ comes up when you talk about image sensor size - I’ll upack this further in a future article as it’s perhaps a little complicated for the scope of this one. In general a larger sensor has some advantages over a smaller one (although there are costs too). But I’ll unpack this in a future post (stay tuned).

7. Future Upgrades - will you be in a position to upgrade your camera again in the foreseeable future? While entry level DSLRs are attractively priced they tend to date more quickly than higher end models and you run the risk of growing out of them as your expertise grows and you thirst for more professional features. Ask yourself some questions about your current level of expertise in photography and whether you’re the type of person who learns how to master something and then wants to go to a higher model that gives you more control and features. It’s a difficult question but you might find it’s worthwhile to pay a little more in the short term for a model that you can grow into.

8. Other Features

Most DSLRs have a large array of features that will probably overwhelm and confuse you at first as you compare them with one another. All have basic features like the ability to use aperture and shutter priority, auto or manual focus etc but there’s also a lot of variation in what is or isn’t offered. Here are some of the more common features that you might want to consider:

Burst Mode - the ability to shoot a burst of images quickly by just holding down the shutter release - great for sports and action photography. DSLRs vary both in the number of frames that they can shoot per second as well as how many images they can shoot in a single burst.
Maximum Shutter Speed - most DSLRs will have a decent range of speeds available to you but some will have some pretty impressive top speeds which will be very useful if you’re into sports or action photography.
ISO Ratings - Similarly, most DSLRs will offer a good range of ISO settings but some take it to the next level which is useful in low light photography.
LCD Size - It’s amazing how much difference half an inch can make when viewing images on your cameras LCD. I noticed this recently when testing a camera with a 2.5 inch screen after using my own 1.8 inch one. While it might not change the way you shoot photos (people tend to use viewfinders at this level to frame shots) it certainly can be nice to view your shots on a larger screen.
Anti Shake - in the past few weeks a range of new DSLRs have been announced by manufacturers in the lead up to the Christmas rush. One of the features that is featuring more and more in them is anti shake technology. While it’s been common to get ‘image stabilisation’ technology in lenses the idea of it being built into camera bodies is something that is attractive.
Dust Protection - another feature that has started appearing in the latest round of cameras is image sensor dust protection (and in some cases self cleaning for image sensors) - something that will help alleviate a lot of frustration that many DSLR photographers have. To this point this is a feature that is mainly on lower end DSLRs but it’s bound to appear on new professional models also.
Connectivity - Getting photos out of your DSLR and into a computer or printer generally happens these days via USB but some people like FireWire and/or Wireless.
Semi-Auto Modes - As with point and shoot cameras - many DSLRs (especially lower end ones) come with an array of shooting modes. These generally include ‘portrait’, ’sports’, ‘night’ etc. If you rely upon these modes on your point and shoot you may well use them on your DSLR too. Higher end DSLRs often don’t have them.
Flash - Generally professional grade DSLRs don’t offer built in flash and just have a hotshoe while entry level DSLRs include a built in flash.

How to Take Sharp Digital Images

noreply@blogger.com (Positive Sylhet) — Wed, 20 Aug 2008 20:12:00 +0000

Photo by Dale (Ling Gondaeng)

Getting your digital images perfectly sharp is something that most photographers want - however clean, crisp, sharp images can be difficult to achieve.

Perhaps before we start exploring how to improve sharpness it would be good to talk about the main causes for lack of sharpness:

Poor Focus - the most obvious way to get images that are ‘un-sharp’ is through having them out of focus. This might be a result of focussing upon the wrong part of the image, being too close to your subject for the camera to focus, selecting an aperture that generates a very narrow depth of field or taking an image too quickly without checking it is in focus.
Subject Movement - another type of ‘blur’ in shots is the result of your subject moving - this is generally related to shutter speed being too slow.
Camera Shake - similarly you can get blur if you as the photographer generate movement while taking the image - this often relates to either shutter speed and/or the stillness of your camera.
Noise - ‘noisy’ shots are ones that are pixelated and look like they have lots of little dots over them (get up close to your TV and you’ll get the same impact).

Here’s a list of 10 basic things to think about when shooting to get sharp images (note - there’s also a lot you can do in photoshop after taking you images - learn more about that in Photoshop Tutorials):

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1. Hold Your Camera Well

A lot of blur in the photos that I see is a direct result of camera shake (the movement of your camera for that split second when your shutter is open). While the best way to tackle camera shake is to use a Tripod (see below) there are many times when using one is impractical and you’ll need to shoot while holding your camera. I’ve written a tutorial previously on how to hold a digital camera but in brief - use both hands, keep the camera close to your body, support yourself with a wall, tree or some other solid object etc.

2. Tripods

Regular readers of this site will have seen my recent series on tripods and know that I’m a big fan of them as a way to reduce (and even eliminate) camera shake. While not always practical, the result you’ll get when you do go to the effort of hauling one around can be well worth it.

3. Shutter Speed

Perhaps one of the first things to think about in your quest for sharp images is the shutter speed that you select. Obviously - the faster your shutter speed the less impact camera shake will have and the more you’ll freeze any movement in your shots. As a result you reduce the likelihood of two of the main types of blur in one go (subject movement and camera movement). Remember the ‘rule’ for handheld shutter speeds:
Choose a shutter speed with a denominator that is larger than the focal length of the lens.

So:

if you have a lens that is 50mm in length don’t shoot any slower than 1/60th of a second
if you have a lens with a 100mm focal length shoot at 1/125th of a second or faster
if you are shooting with a lens of 200mm shoot at 1/250th of a second or faster

Keep in mind that the faster your shutter speed is the larger you’ll need to make your Aperture to compensate - this will mean you have a smaller depth of field which makes focussing more of a challenge (read more on Shutter Speed).

4. Aperture

Aperture impacts the depth of field (the zone that is in focus) in your images. Decreasing your aperture (increasing the number - say up to f/20) will increase the depth of field meaning that the zone that is in focus will include both close and distant objects. Do the opposite (for example moving to f/4) and the foreground and background of your images will be more out of focus and you’ll need to be more exact with what you focus your camera upon. Keep in mind that the smaller your aperture the longer your shutter speed will need to be - which of course makes moving subjects more difficult to keep sharp (read more on Aperture).

5. ISO

The third element of the exposure triangle is ISO which has a direct impact upon the noisiness of your shots. Choose a larger ISO and you’ll be able to use faster shutter speed and smaller aperture (which as we’ve seen help with sharpness) but you’ll suffer by increasing the noise of your shots. Depending upon your camera (and how large you want to enlarge your images) you can probably get away with using ISO of up to 400 (or even 800 on some cameras) without too much noise but for pin sharp images keep it as low as possible). Read more on ISO.

6. Image Stabilisation

Many cameras and lenses are now being released with different forms of image stabilisation (IS) which won’t eliminate camera shake - but can definitely help reduce its impact. I find that using IS lenses that it will give me an extra two or three stops (ie I can use slower shutter speeds but 2-3 stops) when hand holding my camera. Keep in mind that IS helps with camera movement but not subject movement as it allows you to use slower shutter speeds (not good for moving subjects).

7. Focus

Perhaps the most obvious technique to work on when aiming for sharp lenses is focussing. Most of us use ‘Auto Focussing’ with our cameras but don’t assume that the camera will always get it right. Always visually check what part of the image is in focus before hitting the shutter and if it’s not right try again or switch to manual focus mode. This is particularly important if you’re shooting with a large aperture (small depth of field) where even being slightly out can result in your subject being noticeably out of focus.

8. Good lenses

This one is for DSLR owners - if you have the budget for it invest in good quality lenses as they can have a major impact upon the sharpness of your images. For example shortly after buying my DSLR I was in the market for a everyday zoom lens that would give me the ability to have both wide (ish) and telephoto zoom capabilities. I bought a Canon EF 28-135mm lens. It was a good lens (and reasonably priced) but it wasn’t as sharp as some of my other lenses. A few months later I borrowed a Canon EF 24-105mm ‘L series’ (the professional series of lenses from Canon) lens from a friend and was amazed by the difference in sharpness between the lenses. While the first lens was good for what I paid for it I ended up going for an upgrade and the new lens is now almost permanently attached to my camera.

9. Get your Eyes Checked

Since I was young I’ve worn glasses but in recent years I’ve been a little slack in getting my eyes checked. Recently I got them tested for the first time in a number of years and was surprised to find that they’d deteriorated significantly. Getting new glasses improved a number of areas of my life, one of which was my photography. Also connected with this is checking the ‘diopter’ on your camera (if it has one. The diopter is a little adjustment that you can make to how your viewfinder works - it’s particularly useful for people with poor eye sight - it’s usually a little wheel next to your viewfinder.

10. Clean equipment

Recently my wife and I went on a window cleaning frenzy at our place. Over the previous months the grime on our windows had gradually built up without us really noticing it. When we did clean them though we were amazed at how much more light got through and how much better the view outside was. The same can be true for your camera’s lens. Keep it clean and you’ll eliminate the smudges, dust and grime that can impact your shots. Similarly - a clean image sensor is a wonderful thing if you have a DSLR as getting dust on it can produce noticeable blotches in your end images.

Update

11. Lens Sweet Spot

Lenses have spots in their aperture ranges that are sharper than others. In many cases this ’sweet spot’ is one or two stops from the maximum aperture. So instead of shooting with your lens wide open (ie where the numbers are smallest) pull it back a stop or two and you might find you get a little more clarity in your shots.

How to Be a Curious Photographer

noreply@blogger.com (Positive Sylhet) — Wed, 20 Aug 2008 20:10:00 +0000

A few months ago I wrote a post on how curiosity is a characteristic of great photographers.

I was rereading this post earlier this week and began to ask myself a few questions:

How do some people end up more curious than others?
Is Curiosity a personality trait or can it be learned?
How can I be more curious?

As I pondered these questions I thought of the images that I see each day on Flickr’s interestingness pages (the shots in this post come from there). Some of the shots are just so unusual that I would never have thought to take them. Obviously there are some ‘curious’ photographers behind them - but how do they do it?

I’ve never studied this but I suspect that while curiosity could well be something a personality type thing and that some of us will be more naturally curious than others - it is also that we can all probably learn how to be - to some extent.

How can you add Curiosity to your Photographic toolbox?

10 Ways to be a more Curious Photographer:

1. Don’t be held Captive ‘the Rules’

There are a lot of ‘rules’ going around when it comes to photography. Read the books (read this blog) and you’ll find them. Some of them have formal names like ‘rule of thirds’ and ‘the golden ratio’ while others are often just called ‘the right way to…’.

Rules are a great thing to know (and use) - however the curious photographer often takes great shots because they not only know the rules but because they set out to break them.

Take the Rule of thirds - sometimes the most powerful shots are those with a centered subject staring down the barrel of the lens.

2. Ask Questions

Curious photographers are always asking questions. Questions of other photographers, questions about their own work, questions about their cameras, questions of their subjects etc

As a result they often learn things about their art (and themselves) that the rest of us don’t and their work improves because of it.

Find someone with the same camera as you and ask them how they use it. Find a photographer from a different genre to you and ask them about their techniques. Look back over your last month’s photos and ask yourself what you did well (and not so well).

3. Ask ‘What if…’

One of the key questions you should get in the habit of asking is ‘what if’? Curious people don’t just ask questions - they also come up with solutions.

Many of the solutions will end up being thrown away but if you ask ‘what if’ enough times you’re bound to make progress eventually.

What if I held the camera on this angle…. What if I got my subject to stand like this…. What if I lay on the ground to take this shot…. What if I lengthened my shutter speed…..

4. ‘Turn Questions into Quests’

An old teacher once used this phrase with me and it’s stuck in my mind ever since - ‘turn your Questions into Quests’.

Asking ‘what if…’ (and other questions) is not enough. Keep a record of the questions that you ask yourself and keep coming back to them from time to time to attempt to find a solution to the problems behind the questions. Taking your questions to the next level like this may not always be fruitful but at times it’ll lead you on journeys of discovery to unexpected places.

Set yourself quests and challenges for your photography. I occasionally set myself a list of photos that I want to capture in an afternoon or will have a week where I explore a theme (the assignments in our forum are great for this).

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5. Learn from Others

While sometimes the best way to learn is by trying, making mistakes and then trying again - sometimes it’s more effective to find someone else who has already tried, made mistakes and tried again to help you avoid the pitfalls of photography.

Find another photographer to buddy up with when you go out on shoots. Swap ideas, give each other tips and share the lessons that you learn. This is actually whey I started this blog and more recently our forums - I want to learn more about digital photography and I know together we’ll discover so much more.

6. Put disconnected ideas together

Edward De Bono has a lot of different exercises that help people develop lateral thinking skills. In a number of his books he talks about how one way to think outside the box is when you put random ideas together to find new solutions to problems. Get in the frame of mind where you regularly do this and you’ll be surprised at how your mind comes up with wonderfully creative things.

The shot above of the guy under the umbrella with capsules dropping down on him is a prime example of this. Who would have ever thought to put drugs raining down on someone under a bright umbrella?

7. Play

Perhaps the most curious of people are children who do a lot of what we’re writing about here (especially asking questions).

Another thing that children do is ‘play’. With no other agenda than having fun and seeing what happens next children will play with the things around them and experiment and push the boundaries of their environment. In doing so they learn about life, themselves and their world. I find that it’s often when I take this ‘playful’ approach to life that I’m at my most creative and make all kinds of discoveries.

Some of my best photos have come out of periods of ‘play’ when I just fooled around with my camera with no agenda at all. Play with new angles, with different shooting distances, with shooting from different perspectives etc

8. Go with the Flow

One of the biggest blockages to creativeness and curiosity are statements like:

We’ve never done it this way before
This is Stupid
It will never work

It is often directly after such statements that ideas stop being explored, projects end and people return to the humdrum of life.

Learn to ignore such statements and follow your intuition and hunches and you might just find yourself doing something that ‘has never been done before’ that people wish HAD been done before. I’m sure many of the images in the Flickr interestingness page are the result of this evolution of ideas by people who didn’t know when to stop.

9. Get Proactive

One of the main things that I notice about curious people are that they rarely sit still and are always pushing forward and taking the initiative. Curious photographers don’t expect great photographic opportunities to come to them - but instead they actively search for them. They have a mindset where it almost becomes natural to ask, seek and find the things that the rest of us hope that will one day fall in our laps.

Grab your camera, get out of the house, find some interesting subjects and start shooting. That great shot won’t just come knocking on your door!

10. Slow Down

We live in a fast paced world where we race from one thing to another, rarely sitting still.

Unfortunately it is easy to bring this way of life into our photography. We impatiently wait for ‘the shot’ and when it doesn’t quickly come we snap away and move on. However in most cases photography isn’t a fast paced medium. I learned this talking to a Pro Landscape photographer once who told me that some days he’d sit in a spot for a full day and only take a handful of shots. He had learned to slow down, to see the smaller subtleties of life, to be patient and the results were that his work was truly magnificent.

Set aside a few hours this week to go and sit quietly in a pace in your town or city and watch the world go by. Don’t set yourself an agenda - just watch and when you see something worth photographing take the shot.

5 Black and White Photography Tips

noreply@blogger.com (Positive Sylhet) — Wed, 20 Aug 2008 20:09:00 +0000

Continuing the Black and White Photography theme we’ve been on lately in the latest forum assignment (where the photos featured in this post were submitted) I thought I’d share five pretty random Black and White Photography Tips.

1. Shoot in RAW

I know many readers of DPS can’t shoot in RAW (because their camera doesn’t offer it) or don’t shoot in RAW (because they either don’t know how or don’t like to) but for the most control in the post production phase of converting your color images into black and white ones - you’ll want to shoot in RAW if your camera does allow it. Of course shooting in JPEG doesn’t stop you shooting in black and white - but if it’s an option, give RAW a go, you might be surprised by what it offers you in post production. More on RAW vs JPEG here.

2. Shoot in Color

If your camera doesn’t allow you to shoot in RAW (or you choose not to) - shoot in color and do your conversion to black and white later on your computer.

While most digital cameras offer you the option to shoot in Black and White (and can produce some reasonable results) you have more control over your end results if you have the color data to work with in your conversion on your computer. (read more on the choice between shooting in black and white or post production conversion).

Update: There is an exception to shooting in Color and it’s when you’re taking note of point 1 above (shooting in RAW). When shooting in RAW and switching to Black and White mode you see your results in the LCD in black and white but the camera actually records all of the information (including color) - the best of both worlds. But if you’re shooting in JPEG - shoot in color and do the conversion later. Thanks to Joost (in comments) for the reminder to include this.

3. Low ISO

Shoot with the lowest possible ISO possible. While this is something that most of us do in color photography it is particularly important when it comes to black and white where noise created by ISO can become even more obvious. If you’re after this ‘noise’ (or grain) you can always add it later in your post production - but it’s harder to go the other way and take noise out.

4. When to Shoot

Many digital photographers actually prefer to shoot images for Black and White in low contrast situations. So an dark or overcast day can be a great time to shoot out door shots.

Ironically these are the days that those who shoot only in color sit at home complaining about the ‘poor light’. So next time you find yourself with a dark and gloomy day - shoot some black and white shots.

5. Composition

Most of the general tips on how to compose or frame a good shot apply just as well to black and white photography as they do when shooting in color - however the main obvious difference is that you’re unable to use color to lead the eye into or around your shot. This means you need to train yourself to look at shapes, tones and textures in your frame as points of interest. Pay particularly attention to shadows and highlights which will become a feature of your shot.

Slow Sync Flash

noreply@blogger.com (Positive Sylhet) — Wed, 20 Aug 2008 20:07:00 +0000

One camera function that can be a lot of fun to play with (and that can get you some interesting results) is slow sync flash.

Low Light Photography Options

When shooting with a subject in low light situations you generally have two options; either to shoot with a flash or to shoot with a slow shutter speed.

1. Flash - When shooting in low light with a flash in auto mode your camera will choose a relatively fast shutter speed. This means that your subject will be well lit and that if it is moving it will be frozen and as a result will be sharp. The problem with this is that it can also leave your subject lit up too brightly and can leave it’s background looking very dark as there is not enough time for the camera to collect any ambient light.

2. Slow Shutter Speed - The other option is to turn your flash off and shoot with a longer shutter speed in order to collect enough available light from the image to get a well exposed shot. This can be an effective technique if you’re shooting landscape or environmental shots where everything is nice and still - however if you’re shooting a moving subject it means you’ll get motion blur which could ruin your shot.

Both of the above options are legitimate technique but both have their weaknesses. Another options to consider is slow sync flash.

What is Slow Sync Flash?

Slow Sync Flash is a function found on many cameras that tells your camera to shoot with both a longer shutter speed as well as firing the flash. This means you get the best of both worlds above and can both get a relatively sharp shot of your main subject as well as get some ambient light from the background and foreground.

Some cameras allow you to access slow sync flash manually and set exposure length and flash strength but on many compact cameras there is a little less control given and it’s presented as an automatic shooting mode, often called ‘night mode’ or even ‘party mode’ where the camera selects the slower shutter speed and flash strength for you.

Rear and Front Curtain Sync

If your camera gives you some manual control when it comes to slow sync flash you might find yourself presented with two options called ‘rear curtain sync’ and ‘front curtain sync’.

These two modes sound a little technical but to put it most simply they are the way in which you choose when to fire your flash during the longer exposure.

Rear Curtain Sync - this tells your camera to fire the flash at the end of the exposure. ie when you press the shutter your lens opens up and starts collecting light and just before it closes the flash will fire to light up and freeze your main subject (see the card shot to the left for an example where you’ll see the card trail ending in a nice crisp shot of the card).

Front Curtain Sync - this tells your camera to fire the flash at the start of the exposure. ie when you press the shutter, the flash will fire immediately and the shutter will remain open afterwards capturing ambient light.

You might not think there’s much difference between these modes but when you’re photographing a moving subject it can have a real impact. You’ll find many action/sports photographers will use Rear Curtain Sync when shooting with a panning technique.

Tripod or Handheld?

When using either slow synch in either mode (or in the automatic ‘night mode’ you will want to consider whether or not to use a tripod. Traditionally when shooting with longer shutter speeds it is accepted that a tripod is essential in order to stop any camera movement. Even the steadiest of hands will not be able to stop a camera moving over even a 1 or 2 second exposure. So if you want to eliminate blur from your cameras movement definitely use a tripod (and consider a shutter release cable).

However in some circumstances hand holding your camera while using slow sync flash can lead to some wonderful effects. For example if you’re at a wedding or party and are out on the dance floor the results can be great at capturing the mood of a night with those you’re photographing largely frozen by the flash but the lights on the dance floor blurred from you moving your camera during the shot.

Of course hand held techniques won’t work with every situation so experiment with both methods at different shutter speeds and by using both rear and front curtain sync and find the best methods for your particular situation.

12 Tips for Improving Camera Phone Photos

noreply@blogger.com (Positive Sylhet) — Wed, 20 Aug 2008 20:05:00 +0000

Photo by DavyRocket

We are living in a time where ‘convergence’ is everywhere. Gone are the days when a camera was a camera, a MP3 player was an MP3 player, a phone was a phone….

These days digital cameras are found in a variety of other gadgets - including cell phones. In fact Camera Phones are one of the fastest growing segments of the digital camera market and with the improvements in the quality of what is being offered in some phones (higher megapixels, better lenses, high capacity storage) some believe that they are beginning to win market share away from the low end offerings of many digital camera manufacturers. Our current poll on ‘take anywhere cameras‘ reveals that many of you are using camera phones regularly.

Unfortunately many of the pictures being taken with Camera Phones are poor in quality. This might partially be a result of lower quality cameras - but it is also often a result of poor photographic technique.

Following are 13 tips for Camera Phone owners to help them get the most from their cameras phones:

1. Light Your Subject Well

The better lit your subject is the clearer your image is likely to be. If possible shoot outside or turn on lights when shooting inside. If you’re turning on lights in a room to add extra light to your shot be aware that artificial light impacts the color cast in your shots and you might want to experiment with white balance to fix it (see below).

Some cameras come with a built in flash or light - this can really lift a shot and add clarity to it, even if you’re shooting outside (in a sense it becomes a fill flash). If your camera doesn’t have a flash or light you should avoid shooting into bright lights as you’ll end up with subjects that are silhouetted.

2. Get Close to Your Subject

One of the most common mistakes with camera phone images is that their subject ends up being a tiny, unrecognizable object in the distance. Camera phone images tend to be small due to low resolution (although this is changing) - so fill up your view finder with your subject to save having to zoom in on the subject in editing it later (which decreases quality even more).

Having said this, getting too close on some model camera phones creates distortion and focusing issues (particularly if the camera phone doesn’t have a macro or close focusing mode).

3. Keep Still

As with all digital photography, the more steady your camera phone is when taking your shot the clearer your image will be.

This is especially important in low light situations where the camera will select longer shutter speeds to compensate for the lack of light. One trick is to lean your camera phone (or the hand holding it) against a solid object (like a tree, wall, ledge) when taking shots.

Keep in mind that many camera phones also suffer from ’shutter lag’ (ie the time between when you press the shutter and when the camera takes the shot can be a second or so). This means you need to hold the camera still a little longer to ensure it doesn’t take a shot as you’re lowering it away from the subject.

4. Edit Images Later

Whilst it can be fun to use your camera phone’s inbuilt editing and effects, editing pictures later on your computer produces much better quality images. Take your shots in color at high resolution to keep your options open on how to treat it later.

You can always make it black and white on your computer, but you can’t make it color if you take it in Black and White mode.

5. Don’t Throw Away ‘mistakes’

Remember that on many phones the quality of the screen will not be as good as your computer’s. So if possible hang onto your shots until you can get them on your PC. You might just find that they come alive on a quality monitor. You’ll also find that even ‘mistakes’ and blurred shots can actually be quite usable (in an abstract kind of way)

6. Avoid Using the Digital Zoom

As tempting as it might be to zoom in on your subject when taking your picture (if you have a zoom feature on your camera phone), if the zoom is a ‘digital zoom’ it will decrease the quality of your shot to use it (you’ll end up with a more pixelated shot)..

Plus you can always edit your shot later using photo editing software on your computer.

Of course some camera phones are beginning to hit the market with ‘optical zooms’ - these are fine to use as they don’t enlarge your subject by enlarging pixels.

7. Experiment with White Balance

An increasing number of camera phones come with adjustable white balance which allows you to modify color balance in your images based on shooting conditions. Experiment with this feature to get a good feel for the impact that it has on your shots. I find that it impacts different camera phones differently. Read your manual to find out how it works on your phone.

8. Take loads of Shots and Experiment

The beauty of all forms of digital photography (including that of camera phones) is the ability to shoot off many shots quickly and without cost. This means you can experiment with different modes and composition and discard those that you don’t want to keep.

Camera phones are particularly good for experimenting with new angles and perspectives - shoot from down low, up high, close up etc and you’ll end up with interesting and fun shots.

9. Follow Rules of Composition (and then Break them)

Learn some basic composition ‘rules’. (for example - the rule of thirds - ie don’t place your subject squarely in the middle of your frame but a third of the way in). Simple tips like this can bring life toyour photos.

But then also remember that the beauty of a camera phone is its ability to break all conventions - some of the best shots around break all the rules. So shoot from the hip, the floor, up high, up close - anything goes.

10. Keep Your Lens Clean

One of the challenges with many camera phones is keeping them maintained and clean. Phones spend a lot of time in pockets, in bags and being used in all manner of weather and conditions. As a result they get dirty and can easily become damaged - fingerprints are a common problem on camera lenses - especially if your phone doesn’t have a lens cover. From time to time clean the lens of your camera using a soft cloth (sunglasses cleaning cloths are great).

11. Observe Camera Phone Etiquette

While there is no formal set of rules for using camera phones - it is worth considering how you use it and what impact it might have upon others. There are many cases of camera phones being abused to take sneaky or voyeuristic photos. Ask permission to photograph strangers, consider restrictions on the use of cameras in places like theaters and concerts etc.

12. Use the highest resolution possible on your camera phone

Some phones allow you to choose what resolution you want to take photos at. It almost goes without saying (but we like to state the bleeding obvious) that the higher your resolution the clearer your shot will be. This is especially true for camera phones which often have sensors of under 1 megapixel in them. Keep in mind however that the higher the resolution the larger the file size of the images you take - this means if you want to send images they can end up taking a long time to send.

10 Tips for Photographing Babies

noreply@blogger.com (Positive Sylhet) — Wed, 20 Aug 2008 20:03:00 +0000

Most regular Digital Photography School readers are aware that a month ago I became a Dad. Our new son’s name is Xavier (you’ll get to know him over the course of this tutorial).

I’ve previously written about the topic of photographing babies and children from the perspective of someone who has had his services engaged to photograph other people’s babies - but the last month has presented me with a different opportunity - to becoming a digital camera wielding parent - a very different scenario.

Instead of being invited into a home for one hour to do a photo shoot I’m presented with a never ending variety of opportunities to photograph our baby.

Let me share 10 ‘lessons’ and ‘tips’ that I’m learning:

1. Documentary vs Portrait

While I had visions of taking lots of ‘cute’ shots of Xavier in his first week I found that what actually happened was that the first week of his life ended up being more like a documentary shoot. The focus of my shots ended up being of a lot of ‘firsts’. First moment with Mum, first bath, first time on the scales (he was just under 9 pounds), first outfit, first manicure (he had long nails from day one), first time meeting grandparents etc. I ended up taking a picture of him with every visitor that came (these will make nice gifts) and decided to leave the ‘cute’ shots until when we got back home and he’d settled a little more.

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I did get a few more ‘portrait’ like shots in that first week but then ended up being more activity based ones, often with other family members. On returning home and over the three weeks since I’ve continued to take the documentary style shots but have seen a move to take a lot more portrait style shots also. Quite a few of our friends have commented on the nice balance between styles.

2. Finding the Angles

One of the biggest challenges in photographing babies that I know many of my friends struggle with is finding a good angle to shoot from.

In the days following birth it is especially difficult as babies tend to be kept swaddled in bunny rugs and all you end up seeing of them for 99% of the time is a little red head. Add to that the complication of the bumps, marks, scratches and misshaped heads that newborns also tend to arrive with and finding a flattering angle that will make more than just the proud parents ooh and aah can be difficult.

Don’t give up though, all is not lost - here are a number of things that you might want to try to help with the above problems:

Get Down Low - one key to many natural baby shots is to get down on their level. I’ve spent quite a bit of time over the last week or two lying on the floor next to Xavier. It’s something I think we both enjoy anyway but it’s also a great place to use your camera. Getting down low and getting in close (see below) does present some challenges in terms of focal length (I’m using a 24-105 zoom - usually at the widest focal length) but it means you end up with shots that feel like you’ve entered the babies world rather than you’re looking down on it from above.
Close Ups - another way to improve the angles and make your shots seem more intimate is to get in close by either physically moving in or by using a longer focal length. I’d suggest a longer focal length for the really close shots is better than getting too close as shoving a big lens in your baby’s face could freak them out a little.
Nursed Shots - some of the bests shots I’ve taken over the last month have been taken when people have been nursing Xavier. This puts him into a more upright position which makes him look a little more ‘human-like’ and opens up the angles for your photos. Try a number of positions (over the shoulder, sitting him up, laying him back in arms, lying him on his tummy etc) as each one opens up different possibilities. Also remember that your baby is not the only potential subject - parents, grandparents, siblings, friends etc all can add context to the shot and you’ll appreciate having more than just baby by themselves shots later!

3. Go Macro

We all love newborn babies because they are cute and small (if only they stayed that way). As a whole they are cute but they also are made up of many little cute body parts that present a photographer with an array of wonderful subject matter - especially if you zoom in on them.

If your camera has a macro mode or if you’re lucky enough to have a purpose built macro lens use it to isolate a single body part (like a hand, an ear, a foot, a mouth etc) and use that as the complete focus of your shot.

Doing this accentuates the detail that is often missed in the shots many of us take - and you’ll find they punctuate your full collection of photos beautifully and can even make great feature shots.

4. Identify ‘Happy Times’

Another challenge with newborns is that they don’t tend to spend a lot of time smiling. In fact they don’t spend a lot of time doing anything much. Sleeping, feeding, pooing, crying….. is there anything else?
Keep on the look out for those times in your baby’s life when he or she seems most settled and content. They may not smile yet but there are times in a daily routine which are better than others for photos. I find in Xavier’s day there are a couple of moments that are especially good. One is bath time (he loves it) and another is mid morning after he’s had half of a feed and when we let him have a little ‘play’ before finishing his feed off. These are times when we’re guaranteed to get wide open eyes and even a giggle or two.

5. Keep Your Camera Close

Our baby is pretty predictable in terms of his daily routine (we seem to have got him pretty settled into one already somehow) but there are moments all day long that he does something cute, disgusting, funny and worth capturing. Without the camera handy you’ll miss these moments as they are usually fleeting. We tend to leave our DSLR in our livingroom where we spend most of our time with him but also have a point and shoot in the bedroom for other shots.

6. Keep Shooting

Babies change every day, especially in the first few months, it’s exponential and quite amazing to watch. However unless you’re looking for the changes you can easily miss them so it’s it’s important to take shots regularly.

I have friends who took hundreds of shots in the first few days after their baby was born but who didn’t take any shots again until he was 6 weeks old. They realize just how much he’d changed and how much they’d failed to photograph him until they compared their early shots with the 6 week shots.

7. Befriend the Airbrush

A lot of shots that you see of babies in Flickr are quite amazing in how smooth and perfect they make them look. The reality is that many babies are not quite so ‘perfect’ (however much their parents think they are). Little scratches, sleep in the eyes, snotty noses, dried milk around the mouth, blotchy skin, birth marks and bumps etc are common for all babies.

You might like to keep a warm, wet face washer handy to wipe away some of these things but in some instances they will come out in your photos.

I don’t mind them most of the time - I think they show your baby as he or she is and there’s nothing wrong with that. However at times they can be a little distracting and for those special shots that you might like to give as gifts you might like to do a little photoshop retouching. Most post processing editing tools will have some sort of airbrush or retouching tool - learn to use it, even if it’s just to smooth over the main marks and you’ll be amazed by the results.

8. Take Out the Color

Another tip worth considering for a little photo editing is to tweak the color of your shot.

We’ve actually converted quite a few of our shots of Xavier into Black and White format. This has been useful for a number of reasons:

It’s great for dealing with the scratches, marks and blotchiness that I discussed above and significantly lessens the distractions that they bring.
It is great for ‘birth shots’ or those taken just after it. I’ve written about this before and we found that it really did work.
It softens your shots somewhat. Babies are soft, cuddly little things and taking the color out in this way accentuates this.

Similarly you might also like to experiment with de-saturating the colors in your shots to a lesser extent than going black and white. Leave a little color in your shots and you’ll end up with pastel like images that again soften the feeling of the shots and give it a very different look and feel.

9. Indirect Lighting

A challenge that I’ve faced is that it’s Winter here in Australia and that the lighting in our home is a little bleak. There have been a few brighter days than others when I’ve had some great results photographing him near windows in natural light - but in most cases I’ve needed to use a flash to some extent.

I’m no lighting expert but have found that my best results have been when I’ve used my flash in a ‘bounce flash’ way - shooting it up into a ceiling so that it’s indirect. This diffuses the light a lot which leaves Xavier less washed out in the shots, and more importantly means he’s not blinded by the light from it (we don’t want to blind our little ones by our photographic obsession - I actually asked a pediatrician about camera flashes and his advice was that it wouldn’t do damage but that for a babies comfort that indirect flash (ie bounced and/or diffused flash) would be advisable. I’m sure different doctors would advise different things but I play it safe with my bounce flash - and avoid flash altogether where possible). It also gives a fairly natural looking shot.

If you don’t have a bouncable flash try bumping up the ISO setting on your camera and increasing the aperture setting - this will mean you won’t need to use the flash at all if there is at least some natural light in the room. The other strategy would be to diffuse the flash a little by putting some tissue over the flash.

10. Pick Your Moments

There’s two things I want to say here:

Firstly timing your shots is important. Babies don’t move much but they subtly change their position and expressions in ways that can make or break a photo. I’ve had my camera set in continuous shooting mode since Xavier was born because I find that shooting a single frame often misses ‘the moment’. I’ve also ended up with some wonderful sequences of shots by shooting off three or four shots in a row.

Secondly I guess I wanted to remind us all that having a baby is not just a photographic opportunity and that it’s important to put the camera down every now and again. If you’re anything like me you could easily walk around with your camera permanently to your eye and forget to actually enjoy the moment. Don’t just create wonderful images of your baby - create memories with your baby - balance is a great thing!

Learning about Exposure - The Exposure Triangle

noreply@blogger.com (Positive Sylhet) — Wed, 20 Aug 2008 20:01:00 +0000

Bryan Peterson has written a book titled Understanding Exposure which is worth a read if you’re wanting to venture out of the Auto mode on your digital camera and experiment with it’s manual settings.

In it Bryan illustrates the three main elements that need to be considered when playing around with exposure by calling them ‘the exposure triangle’.

Each of the three aspects of the triangle relate to light and how it enters and interacts with the camera.

The three elements are:

ISO - the measure of a digital camera sensor’s sensitivity to light
Aperture - the size of the opening in the lens when a picture is taken
Shutter Speed - the amount of time that the shutter is open

Is is at the intersection of these three elements that an image’s exposure is worked out.

Most importantly - a change in one of the elements will impact the others. This means that you can never really isolate just one of the elements alone but always need to have the others in the back of your mind.

Some metaphors for understanding the digital photography exposure triangle:

Many people describe the relationship between ISO, Aperture and Shutter Speed using different metaphors to help us get our heads around it. Let me share a couple. A quick word of warning first though - like most metaphors - these are far from perfect and are just for illustrative purposes:

Photo by Liisa

The Window

Imagine your camera is like a window with shutters that open and close.

Aperture is the size of the window. If it’s bigger more light gets through and the room is brighter.

Shutter Speed is the amount of time that the shutters of the window are open. The longer you leave them open the more that comes in.

Now imagine that you’re inside the room and are wearing sunglasses (hopefully this isn’t too much of a stretch). Your eyes become desensitized to the light that comes in (it’s like a low ISO).

There are a number of ways of increasing the amount of light in the room (or at least how much it seems that there is. You could increase the time that the shutters are open (decrease shutter speed), you could increase the size of the window (increase aperture) or you could take off your sunglasses (make the ISO larger).

Ok - it’s not the perfect illustration - but you get the idea.

Photo by Sanchez

Sunbaking

Another way that a friend recently shared with me is to think about digital camera exposure as being like getting a sun tan.

Now getting a suntan is something I always wanted growing up - but unfortunately being very fair skinned it was something that I never really achieved. All I did was get burnt when I went out into the sun. In a sense your skin type is like an ISO rating. Some people are more sensitive to the sun than others.

Shutter speed in this metaphor is like the length of time you spend out in the sun. The longer you spend in the sun the increased chances of you getting a tan (of course spending too long in the sun can mean being over exposed).

Aperture is like sunscreen which you apply to your skin. Sunscreen blocks the sun at different rates depending upon it’s strength. Apply a high strength sunscreen and you decrease the amount of sunlight that gets through - and as a result even a person with highly sensitive skin can spend more time in the sun (ie decrease the Aperture and you can slow down shutter speed and/or decrease ISO).

As I’ve said - neither metaphor is perfect but both illustrate the interconnectedness of shutter speed, aperture and ISO on your digital camera.

NB: A third metaphor that I’ve heard used is the Garden Hose (the width of the hose is aperture, the length that the hose is left on is shutter speed and the pressure of the water (the speed it gets through) is ISO.

Bringing It All Together

Mastering the art of exposure is something that takes a lot of practice. In many ways it’s a juggling act and even the most experienced photographers experiment and tweak their settings as they go. Keep in mind that changing each element not only impacts the exposure of the image but each one also has an impact upon other aspects of it (ie changing aperture changes depth of field, changing ISO changes the graininess of a shot and changing shutter speed impacts how motion is captured).

The great thing about digital cameras is that they are the ideal testing bed for learning about exposure. You can take as many shots as you like at no cost and they not only allow you to shoot in Auto mode and Manual mode - but also generally have semi-automatic modes like aperture priority and shutter priority modes which allow you to make decisions about one or two elements of the triangle and let the camera handle the other elements.

A lot more can be said about each of the three elements in the exposure triangle. I’ve already written a post on ISO and in the coming week or so will tackle both shutter speed and aperture in greater depth.

Introduction to White Balance

noreply@blogger.com (Positive Sylhet) — Wed, 20 Aug 2008 20:00:00 +0000

White Balance is an aspect of photography that many digital camera owners don’t understand or use - but it’s something well worth learning about as it can have a real impact upon the shots you take.

So for those of you who have been avoiding White Balance - let me introduce you to it. I promise to keep it as simple as possible and keep what follows as useable as I can:

At its simplest - the reason we adjust white balance is to get the colors in your images as accurate as possible.

Why would you need to get the color right in your shots?

You might have noticed when examining shots after taking them that at times images can come out with an orange, blue, yellow etc look to them - despite the fact that to the naked eye the scene looked quite normal. The reason for this is that images different sources of light have a different ‘color’ (or temperature) to them. Fluorescent lighting adds a bluish cast to photos whereas tungsten (incandescent/bulbs) lights add a yellowish tinge to photos.

The range in different temperatures ranges from the very cool light of blue sky through to the very warm light of a candle.

We don’t generally notice this difference in temperature because our eyes adjust automatically for it. So unless the temperature of the light is very extreme a white sheet of paper will generally look white to us. However a digital camera doesn’t have the smarts to make these adjustments automatically and sometimes will need us to tell it how to treat different light.

So for cooler (blue or green) light you’ll tell the camera to warm things up and in warm light you’ll tell it to cool down.

Adjusting White Balance

Different digital cameras have different ways of adjusting white balance so ultimately you’ll need to get out your camera’s manual out to work out the specifics of how to make changes. Having said this - many digital cameras have automatic and semi-automatic modes to help you make the adjustments.

Preset White Balance Settings

Here are some of the basic White Balance settings you’ll find on cameras:

Auto - this is where the camera makes a best guess on a shot by shot basis. You’ll find it works in many situations but it’s worth venturing out of it for trickier lighting.
Tungsten - this mode is usually symbolized with a little bulb and is for shooting indoors, especially under tungsten (incandescent) lighting (such as bulb lighting). It generally cools down the colors in photos.
Fluorescent - this compensates for the ‘cool’ light of fluorescent light and will warm up your shots.
Daylight/Sunny - not all cameras have this setting because it sets things as fairly ‘normal’ white balance settings.
Cloudy - this setting generally warms things up a touch more than ‘daylight’ mode.
Flash - the flash of a camera can be quite a cool light so in Flash WB mode you’ll find it warms up your shots a touch.
Shade - the light in shade is generally cooler (bluer) than shooting in direct sunlight so this mode will warm things up a little.

Manual White Balance Adjustments

In most cases you can get a pretty accurate result using the above preset white balance modes - but some digital cameras (most DSLRs and higher end point and shoots) allow for manual white balance adjustments also.

The way this is used varies a little between models but in essence what you do is to tell your camera what white looks like in a shot so that it has something as a reference point for deciding how other colors should look. You can do this by buying yourself a white (or grey) card which is specifically designed for this task - or you can find some other appropriately colored object around you to do the job.

I’ve done this with the following two shots.

The first shot is one of some books on my wife’s bookshelf taken in Auto White Balance mode. The light in my room is from three standard light bulbs and as a result the image is quite warm or yellow.

After taking this picture I then held up a piece of white paper to my camera to tell it what color white is. Then I took a second shot with this setting and got the following result - which you’ll see is a much truer color cast than the first image.

This manual adjustment is not difficult to do once you find where to do it in the menu on your camera and it’s well worth learning how to do it.

10 Questions to Ask When Taking a Digital Photo

noreply@blogger.com (Positive Sylhet) — Wed, 20 Aug 2008 19:57:00 +0000

What goes through your mind in the moments as you raise your digital camera up to take a shot and before you press the shutter? If you’re like many digital photographers you’re not thinking about too much - you just want to capture the moment and then move on.

However getting in the habit of asking some simple questions can help take your images to the next level. Here’s 10 questions to get in the habit of asking while framing your shots. I’ve included links in each one to further reading on the topics. I hope you find them helpful:

1. What story am I telling?

This is an important question and one that should help you to make any number of decisions in terms of composition, framing, exposure etc. In essence what you’re asking is ‘why am I taking this shot? What is it’s purpose and what am I trying to convey?’ Is it purely a way to keep a record of a moment, are you trying to capture the emotion of a moment, is it possibly a shot to give to someone, is it part of a larger series of shots or will it be the only shot to commemorate the moment etc. Read more on telling stories with photos

2. What is the visual focal point of this shot?

What will viewers of this picture naturally have their eye drawn to in this scene? Once you’ve identified this focal point you can think about where to place it in the frame (consider the rule of thirds for example).

There are a variety of ways that you can enhance a focal point - some of which we explore here.

3. What competing focal points are there?

Once you’ve identified what you do want your viewers eyes to be drawn towards and have placed it in the frame - scan your eyes over the shot and see if there are any competing focal points and ask yourself whether they add to or take away from the image? Secondary focal points can add depth to shots but they can also be very distracting and so you might need to reposition yourself or adjust your focal length and/or depth of field to accommodate or remove them from your shots (read more on removing clutter from photography). Also keep in mind that if your shot has more than one focal point that it might be worth taking two shots, one of each focal point, in order to keep things simple.

4. What is in the background and foreground?

One of most common places for distractions in digital photography is the background of your shots. Run your eyes over the space behind your subject to see what else is in the image (do the same for the foreground). Consider whether you want the background in focus or nice and blurry.

5. Am I close enough?

Another common mistake in digital photography is taking shots where your subject is too small in the frame. Shots that fill the frame with your subject tend to be much more dynamic and show a lot more detail of your subject. To get this effect you have the option of moving yourself closer, moving your subject closer or using a longer focal length to give the effect of closeness.

6. What is the main source of light?

Always give consideration to how your subject is lit. Without light you’ll lose detail and clarity in your image and your camera will have to compensate by doing things like increasing ISO and lengthening shutter speeds (which could lead to noisy and blurred images). What is the main source of light, where is it coming from, is there enough light, do you need artificial light sources (flash etc), do you need to stabilize your camera on a tripod to stop camera shake due to low light etc. Read more on using artificial light here and here as well as photographing moving subjects in low light conditions.

Image by Darren Rowse

7. Is my Framing Straight?

It’s amazing how many otherwise good photos are spoiled by framing that is slightly offline. Sloping horizons and slightly leaning people or buildings should always be in the back of your mind to check. Read more on getting horizons horizontal and getting other lines straight.

Also related to this question is that of ‘Am I holding my Camera correctly?‘ Many people don’t and as a result suffer from camera shake and framing mistakes.

Photo by Andrew Morrell

8. What other perspectives could I capture this subject from?

Put 10 digital camera owners in front of a scene and most of them will take exactly the same shot from the same position. Make your images stand out from the crowd by challenging yourself to not only take the standard shots that everyone else will get but to find creative and fresh angles and perspectives to shoot from.

Image by Darren Rowse

9. How would holding the camera in the other format change this shot?

Many photographers get into the habit of always holding their camera the same way (horizontally/landscape or vertically/portrait). While it’s OK to have a preference one way or the other it’s also worth remembering that changing the format can drastically change the impact of the shot. Don’t forget you can also hold your camera at an angle for an effective result too.

10. How will the eye travel through this image?

This is related to asking about focal points but gets in touch with the fact that while you’re photographing a still image your viewers eyes don’t remain still as they look at an image. People tend to follow lines and are attracted to shapes and colors so considering all of these different visual elements and cues can help improve your shots considerably. Read more on horizontal, vertical and diagonal lines and how they impact a shot.

Of course you probably won’t remember all the questions and you’re unlikely to go through each of them with every shot you take - however next time you head out with your digital camera concentrate on asking yourself at least one or two of them as you take your shots. As you do you’ll find that they become more automatic and in time you’ll naturally take digital photography shots that take into account all of these elements.

How To Make Digital Photos Look Like Lomo Photography

noreply@blogger.com (Positive Sylhet) — Wed, 20 Aug 2008 19:56:00 +0000

The following tip on getting digital images to look like Lomo Images was submitted by DPS reader - Frank Lazaro. You can see his photography at his Flickr page and see some of his Lomo shots here NB: most of the shots in this post can be enlarged by clicking them. update: once you’ve read this tutorial and had an experiment with the technique head to our Forum to share some of your results.

From the first time I saw a photo that looked like this, I wanted to shoot one of my own. But, for the longest time I couldn’t figure it out how people took photos look like this. Then one day searching the web, I realized I needed a Lomo LC-A camera. This is a Russian made camera that was a knock off of another camera. It is poorly made and by Japanese camera standards, a bad picture taker too. As the legend goes, somewhere in the 1990’s a cult following developed and hasn’t stop since.

Low and behold I went out and bought 2 of these babies. I love them, but I also had a digital SLR - a Canon 20D. After shooting with the Lomo, I wanted to take photos from my 20D and give them the Lomo look and feel.

I searched and searched and after trying several different Photoshop methods, I finally came up with my own using a mix of different techniques. By all means, there are probably other ways to do this, but this method has served me well.

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Here is my step by step on how I take a digital photo and make it Lomoified. I do have one suggestion though, create an action script once get this down, it will save you a ton of time.

Getting Started - Creating a Vignette

The first thing you want to do is create the classic vignette that the Lomos are well known for and I achieve this by doing a freehand lasso of a circle around the photo. It doesn’t need to be perfect and to prevent hard edges, I set the feather to 80-90px before creating the circle.

Once you have set the feather (shown above) and have drawn the circle, you must invert the selection. You can do this one of two ways. #1 Shift-Ctrl-I (Shift-cmd-I on the mac) or #2 Go to the menu Select>Inverse.

Now to achieve the vignette, I add a Levels layer. Note: I still have the invert selected.

This will add a masked out layer on top of your original layer. I then adjust the levels by moving the center arrow to the right. This will darken the edges, giving me a vignette. The amount is up to you and in this case I went from 1.00 to 0.50 on the center number highlighted in the image below.

Now you have a vignette.

On to making the photo look Lomo

Another key to a Lomo picture is the color contrast and saturation. This occurs because people with real Lomos use color slide film and cross-process the film in C41 chemicals.

For those that don’t know what cross-processing is, itâ€™s when you develop film in a chemical other then what it was made for. Standard 35mm film is usually processed in C41 chemicals and Color Slide film is usually processed in E6 chemicals. Interesting results happen when you mix and match.

Typically, Lomo owners will take color slide film (E6) and have it processed as standard 35mm film (C41). This results in over saturation of colors and at times some freaky results. All of which make Lomo as special as they are.

To get a digital photo to look Lomo, we need to fake the cross-processing effect (E6 film in C41 chemicals).

At this point I usually flatten the image using shift-ctrl-e (shift-cmd-e on the mac) or go to the menu and Layer>Merge Layers.

First, I add a curves layer and create a slanted S.

Then I create a new layer on top of the other two layers. I select the paint bucket and pick the color black and fill the new layer with solid black.

Then I change the blending mode and set it to Hue and reduce the opacity to 40%.

Sharpening and Saving

This has gotten us very close to be finished. Again, I flatten the photo by using shift-ctrl-e (shift-cmd-e on the mac) or go to the menu and Layer>Merge Layers.

Before saving the photo as a JPG, you need to sharpen the photo. I use the unsharp mask and Lab mode/lightness technique. The purpose of this step is that it adds more contrast and darkens some of the areas as well. Now you can use whatever sharpening technique you want, but the following method prevents the color halos that come with certain sharpening techniques.

Go to Image>Mode>Lab Color. If you hadnâ€™t flattened the image yet, it will ask you if want to flatten, please do so.

Then select your channel window and click on the lightness channel. The 3 other channels should deselect.

Then go to the menu, select Filter>Sharpen>Unsharp Mask.

I like sharpness, so I set the Amount to 50%, Radius to 50% and the Threshold to 0. Click Ok. This is completely up to you on the settings. Plus it will depend on the photo as well and use your best judgment/preference.

Go to Image>Mode> RGB Color. You do not have to reselect the unchecked channels, when converting back to RGB, the channels will automatically turn back on and the photo will go back to be in color.

Now you are done, save the file and share.

Final step, save as a Jpeg.

Before the Lomo Photography Look

After the Lomo Photography Look

12 Tips for Photographing Stunning Sunsets

noreply@blogger.com (Positive Sylhet) — Wed, 20 Aug 2008 19:54:00 +0000

‘No good travel photo album is complete without the token sunrise or sunset picture!’

Many travelers seem to live by this mantra - however most sunset and sunrise photographs that I see are quite disappointing.

They need not be - sunsets and sunrises are not that difficult to photograph!

Tips for Photographing Stunning Sunrises and Sunsets

Think Ahead - While sometimes wonderful sunrise and sunset shots can be taken spontaneously without any forethought it’s often the case that the best ones come out of planning. Scope out places that might be good for sunsets in the day or two before your shoot. Look for interesting places where you might not only be able to see the sun track all the way down but where there will be opportunities for shots that include foreground elements and silhouettes. Sunsets only take half an hour or so so you want to think about these elements before they start or you might miss the shots you’re after.

Find out when the sun will set or rise and get there at least half an hour before hand as it’s often in the lead up to and the time after the sun appears or disappears that the real magic happens.

Keep an eye on the weather also. There are a variety of different types of sunsets that produce a range of different types of lights and patterns in the sky. Don’t just go for clear days for these shots - while they can produce some wonderful colors it’s usually the times where there is cloud around that the real action happens! Also be aware of days when there is dust or smoke in the air as they can produce amazing results also.

Consider ahead of time what equipment you might need. Include a tripod, lenses that will give you a range of focal lengths, extra batteries etc.

Composition Techniques

Shoot at a variety of focal lengths - wide angle can create sweeping landscape shots but if you want the sun itself to be a feature of the shot you’ll want to be able to zoom right in.

Keep in mind that the sun is just half a degree across so when you shoot with a wide lens it will only be taking up a reasonably small part of the photo. If you want it to be a feature of your shot you’ll need to zoom in on it using anything from a 200mm lens upwards. This will increase your need for a tripod!

Also be aware that when you look at the sun at the best of times it can be dangerous but when you look through a magnifying lens it can be quite dangerous is the sun is still too high in the sky.

Silhouettes as focal points - As with all photos, sunsets need a point of interest and one of the best ways to add one to a picture is to try to incorporate some sort of Silhouette into the shot. This could be something large like a mountain range, something that is part of the environment like a palm tree or a pier or could even be a person.

The great things about Silhouettes is that they add mood and context to a sunset or sunrise shot. I’ll write more on silhouettes in a future article.

Rule of thirds - Remember the rule of thirds in your photographing of sunrises and sunsets. While you can always break the rule it’s often a good idea to place elements like the horizon, sun, silhouettes etc off centre.

Exposure Techniques

Shoot at a variety of exposures - if you let your camera decide what shutter length to shoot at you’re likely to get a shot that doesn’t really capture the beauty of the light. Quite often the shot will be under exposed because the sky is still reasonably light.

Instead of relying upon the camera’s auto mode a sunset is an ideal time to switch your camera into aperture or shutter priority mode and to take a variety of shots at different exposures.

The great thing about sunsets and sunrises is that there is no one ‘right’ exposure and that you can get stunning results using a variety of them. Also keep in mind that different exposures (aperture and shutter speeds) will produce a variety of different results so it’s worth taking more than just a few shots - the key is to experiment.

I tend to switch into shutter priority mode and start with a relatively quick shutter speed and then slowly work down to slower ones.

Bracketing - Another technique to try to get the right exposure is ‘bracketing’ where you look at what the camera suggests you take the picture at and then take a few shots at both under and over that mark. ie if your camera says to shoot at 1/60th of a second at f/8 you would shoot off a shot at 1/60 at f/5.6 and then at f/11. In doing so you end up with a series of shots at different exposures which will all give you slightly different results and colors. Most DSLR’s and some point and shoot digital cameras have a built in bracketing feature so you don’t need to do this manually - learn how to use it!

Auto Exposure Lock - Another exposure trick, if you don’t have a bracketing mode or don’t feel confident in using it is if your camera has ‘auto exposure lock’ which allows you to point your camera at a darker place and lock in exposure for that spot (ie you could point it at the ground in front of you and lock in that exposure) and then reframe the picture looking at the sunset. This will mean you get a more over exposed shot.

Take camera out of Auto White balance mode - when you set your camera to ‘Auto’ in it’s white balance mode you run the risk of losing some of the warm golden tones of a sunrise or sunset. Instead try shooting in ‘cloudy’ or ’shade’ which are usually used in cooler lights and tell your camera to warm things up a little. Alternatively - if you’re shooting a sunrise and DO want a cooler moody shot you can experiment with other white balance settings.

Other Sunset and Sunrise Tips

Tripod - If you’re shooting at longer shutters speeds and with longer focal lengths then a tripod or some other way of ensuring your camera is completely still is essential.

Manual Focus - sometimes when shooting in extreme lighting conditions some cameras can have trouble focussing. If this is the case for your camera consider switching to manual focus to ensure you get nice crisp shots.

Look around you - The wonderful thing about sunsets is that they not only create wonderful colors in the sky in front of you but they also can cast a beautiful golden light that is wonderful for other types of photography. As the sunset progresses keep an eye on other opportunities for shots around you (not just in front of you). You might find a great opportunity for a portrait, landscape shot, macro shot etc behind you in the colden light.

Keep Shooting - A sunset or sunrise constantly changes over time and can produce great colors well after the sun goes down or appears so keep shooting at different exposures and focal lengths as I’ve mentioned above until you’re sure it’s all over.

10 Beach Photography Tips

noreply@blogger.com (Positive Sylhet) — Wed, 20 Aug 2008 19:51:00 +0000

Here in Australia we love to hit the beach.

We’re one big island and most of our population is scattered along the coast line so the beach is a natural place for us to go both on day trips and longer holidays.

Beaches present digital camera owners with a number of wonderful opportunities as they are places of natural beauty, color and interesting light. However they also present a variety of challenges including camera damage, privacy issues and making large open spaces interesting.

While it’s not really beach going weather at present here in my part of the world I know that many readers of this site are getting close to Summer and beach photography will be high on the agenda of many (I’m so jealous).

Here are 10 tips for when you head to the beach with your digital camera next:

1. Look for focal points

A friend of mine once told me that they don’t bother taking their camera to the beach because all beach shots look the same. i thought that that was a pretty sad thing to say because when I go to the beach I see it as a place brimming with photographic opportunities if you have the ability to look beyond the cliche shots. For example while many people take shots looking out to sea I find it interesting to go to the water’s edge and then turn completely around and see what’s in your frame from that angle. One common problem with landscape beach photographs is that while they might capture a beautiful scene they actually have no point of interest and can as a result be rather empty and boring. When taking a shot look for a point of interest or focal point that will give those looking at your photo a place for their eye to rest. Perhaps it’s a pattern in the sand, a set of footprints, the crashing of waves over a rock, a life saver’s tower etc. Also look for the little things that tell the story of going to the beach like shoes at the waters edge, sand castles, sunglasses, sunscreen lotion etc. Sometimes these can make wonderful little feature shots to break up your vacation album.

2. Timing is important

The start and end of days can present the best opportunities for shooting at the beach. For starters there will be less people there at that time of day but also you’ll find that with the sun shining on an angle that you often get more interesting effects of shadows and colors - particularly in the evening when the light becomes quite warm and golden.

3. Watch the Horizon

One of the most common problems in beach photography where there are wide open spaces with a long and often unbroken horizon is sloping horizons. Work hard at keeping your horizon square to the framing of your shot (more on this here). Also consider placing your horizon off centre as centered horizons can leave a photo looking chopped in half (more on this in our post on the Rule of Thirds).

4. Head to the Beach When Others Avoid it

Another timing issue is that the beach can really come to life on those days that everyone avoids it because of inclement weather. Stormy seas, threatening and dramatic clouds and wind slowing lifesaver flags and trees over call all make for atmospheric shots.

5. Exposure Bracketing

One of the challenges of shooting in the middle of summer on a beach is that it can be incredibly bright and your camera could want to under expose your shots if you’re shooting in Auto mode. If your camera has a manual mode it can be well worth playing with it at the beach and experimenting with different levels of exposure. I find that I get the best results when I look at what the camera wants to expose the shot at and then over expose it by a stop or two. Of course this depends greatly from situation to situation - brightly lit landscapes are generally very tricky - especially if you have shady areas as well as bright ones. Sometimes it’s a matter of working out which area you want to be well exposed and focussing on that area as to get everything right is often impossible.

6. Spot Metering

If your camera has spot metering you can overcome some of the above exposure problems. Spot metering is a feature that some cameras have whereby you tell the camera which part of the image you want to be well exposed and it will get that bit right. This is particularly useful in bright light when you want to get a shady area exposed well. It will optimize the shady area (and the other areas will be over exposed - but at least your main subject will be ok). This can be effective especially when photographing people as it allows you to face them away from the sun and to meter on their shadowy face and therefore avoid squinting (a common problem with photographing people at the beach).

7. Fill Flash

If you’re photographing people at the beach as a portrait and it’s bright you’ll find that they will almost always have shadows on their face (often cast by hats, glasses, noses etc). Switch on your flash and force it to fire when shooting in these situations and you’ll find the shadows eliminated and your actual subject is well exposed. This is particularly important when shooting into the sun when without a flash you could end up with your subject being at some stage of becoming a silhouette). If your camera gives you some level of control over how strong a flash to fire you might want to experiment with this also as firing a full strength can leave your subjects looking washed out and artificial. If your subjects do look overexposed and you cant decrease the flash strength try moving back a little from your subject and using your zoom to get a tighter framing as this will decrease the impact of the flash. As usual - experimenting is the key.

8. UV Filters

UV filters are useful for DSLR owners a couple of reasons in beach photography. Firstly they act as a protection for your lens (see below) but also they do filter out ultraviolet light in a certain range. This can cut back on atmospheric haze (often a blueish haze/tinge). The visual impact that they have is not great but they are the first thing I buy when I get a new lens for my DSLR.

9. Polarizing Filters

One of the most useful DSLR lens accessories that you can add to a digital camera is a polarizing filter. Without getting too technical, a polarizer filters out some light that is polarized. This means that it reduces reflections and boosts contrasts. The most noticeable places that this has impact is with blue skies (potentially it can make them incredibly rich and almost dark blue) and in water/ocean in which it can give a variety of effects. The way many people explain the results of a polarizer is the difference that polarizing sunglasses can make when you put them on (in fact I know quite a few photographers who shoot through their sunglasses if they don’t have a polarizer with them. Get a polarizing filter and experiment with it and you’ll quite literally be amazed by the results.

10. Black and White

One technique that I’ve been using a lot lately in beach photography (and other genres also) is to do a little post photo production and see what impact stripping a photo of color has upon it. There’s something about a black and white shot at the beach that completely changes the mood and feel of a shot. It’s also a great way to bring to life beach shots taken on dull or overcast days which can often leave a beach scene looking a little colorless.

How to Photograph People When Traveling

noreply@blogger.com (Positive Sylhet) — Wed, 20 Aug 2008 19:50:00 +0000

When photographing people in their local context there are a number of techniques that I try to use (not all of them in every shot as some are mutually exclusive). Keep in mind the principles of treating people with respect mentioned in our last post:

Choose your Background - I’ve already talked about making shots contextual but one great way to do this is to think about what’s in the background behind the people you’re photographing. Ideally you want something that’s not too distracting but that adds to the context of the place you’re shooting in. Another technique for shooting shots of people that ignores the ‘contextual’ rule is to find a brightly lit position with a dark background. This can really help the face you’re shooting to pop out and capture the viewer’s attention.
Fill your Frame - Some of the best shots I’ve taken of people while traveling have been where I’ve tightly frames people’s faces. This means either getting in nice and close to the person or having and using a good zoom lens.
Go for natural (un-posed shots) - While sometimes the posed shots can work quite well they can also lack a certain authenticity. Photograph your subject doing something from their normal daily life. At work, in a marketplace, at home, feeding their child, crossing the street etc.
Add another subject - Most of the shots I’ve taken of people over the years while traveling have been of single subjects alone in the shot. This is partly just my style (and is a good technique in and of itself ) but is something I’ve become quite aware of in the last few months. Adding a second person into an image takes a photo into a different place. No long is the shot just about a person and their environment but it somehow becomes relational. The viewer of the photo begins to wonder about the relationship and a new layer is added to your shot.
Photograph a variety of people - Quite often it’s the shots of people dressed in national costume that tend to attract photographers when traveling. While these shots can be very effective I wonder if they are always really representative of a culture. Quite often these people have dressed up especially for a show or tourist attraction and the majority of people in that country look quite different. Mix up the types, gender and ages of people that you take photos of and you can end up with a very effective collage of faces of a country.
Arrange an extended photo shoot - This goes against the nature of most travel photography which is usually very fast and spontaneous - but on one or two occasions when I’ve traveled I’ve had opportunity to sit with a person for a longer period of time and photograph them in a more extended manner. This enables your photographs to take a on a story telling nature and can lead to some wonderful sequences of shots using different photographic techniques, lenses and situations to shoot in.
Get Candid - keep your camera to the eye for taking those spontaneous shots between the more posed ones. It’s amazing what images that you can find when the person isn’t ‘ready’ for you to shoot (or just after you’ve taken a shot). These shots often include people interacting with others or expressing true emotion. I find setting my camera to continuous shooting mode (where it will shoot burts of frames quickly) often leads to some wonderful candid shots.
Lens Choice - I’m a big believer in that virtually any lens can take a good portrait shot if you work to it’s strengths. Having said that, some lenses do tend to lend themselves to great portraits. I find that a focal length between 50mm and 135mm is a good range to work with. Going for wide angle lenses can also produce interesting shots but you will often find that they do distort your subject’s face a little (sometimes this is very effective). Choosing a longer focal length can be useful for putting your subjects a little more at ease.

How to Photograph Pets

noreply@blogger.com (Positive Sylhet) — Wed, 20 Aug 2008 19:47:00 +0000

Grant (a reader) sent me an email this week asking for a some tips on Pet Photography.

Here’s my top ten tips on taking great photographs of your pet:

1. Start with Your Pet’s Personality

Before you start photographing your pet ask yourself ‘what sets it apart from other animals?’ Think about what type of personality it has and then attempt to capture some of that in your shots. For example if everyone knows your pet as a sleepy, lazy or placid little thing set up your photo shoot around it’s bed or where it goes after a meal to lie in the sun and you’ll have every chance of capturing a shot that sums your pet right up. Alternatively if your pet is hyperactive, inquisitive and always on the move it might be better to do your shoot at a local park where it’s racing around, jumping for balls or playing with other animals.

2. Think about Context

In choosing the location to photograph your pet you might want to consider a variety of other factors also. For starters choose a place where your pet will be comfortable and at ease. Also consider the familiarity of the location and the emotions that it will evoke in you as the pets owner. For example you might have a place that you and your pet have had some special moments together that will mean a lot in the future as you look back over your shots. Lastly consider the background of your shots. Ultimately you don’t want your backgrounds to be distracting from your photo - sometimes the best locations are the plainest ones - a large patch of green grass, a well lit room with white walls and plain carpet etc can be ideal. Of course this can also be tool plain and sterile - my motto is that if the different elements in the background of the shot don’t add to it avoid them.

3. Get in Close

Pets come in all shapes and sizes but in most cases they are smaller than a human and as a result they tend to end up getting a little lost in photos unless you make an effort to get up close to them. Of course getting close is not always easy, especially if you have a pet that likes to move around, but it’s worth making the effort as the detail that can be gained and the personality that can be captured by an up close and personal photo shoot with a pet can really lift a photo to a new level. If you can’t physically get close to your pet get your camera equipped with a zoom lens. The added benefit of a long focal length is that it will help with isolating your pet in terms of depth of field (ie give you a nice blurry background so that your pet is center of attention with no distractions).

4. Get On Their Level

Get down on your pets level where you can look upon them eye to eye. Images taken by a photographer standing up and looking down on their level not only leave you too far away from your subject but they also mean the shots end up having a very ‘human perspective’. Getting down on your pets level means you enter their world and get a glimpse of what life looks like from their angle - you’ll be impressed by the results as they are more personal and have a real element of intimacy.

5. Mix Up Your Framing

Pets, like human subjects’ look different from different angles and framing them in a variety of ways can bring out different perspectives to your shots. In your photo shoot take some tightly cropped facial shots (even focussing right in on single features like eyes, noses, ears, whiskers etc) but also make sure you take three quarter body shots as well as full body shots. In this way you end up with a series of shots that give viewers of your photos a full perspective on who your pet is.

6. Lighting

Light makes any photograph what it is and when it comes to pets it’s especially important. In general I wouldn’t recommend using a flash as they tend to distract pets and in some cases will even frighten them. The other issue with flashes is that they can create spooky red-eye problems with some animals (in the same way they do with humans). Natural light is a much better option than using a flash and so where possible outside photo shoots tend to work best (or at least in a well lit window inside). The only exception I would give for using a flash is when your pet has very dark (or black) fur as it tends to absorb light and a flash can add detail. With dark fury pets you might want to slightly over expose your images for this same reason. Alternatively with white pets you run the risk of over exposing shots so try to find a location out of direct sunlight and definitely avoid a flash.

7. Include People

One of the best things you can do to add context to a shot is to include the special people in the life of your pet in the image. Shots with the owner or other family members interacting with your pet can make the images incredibly special for years to come. You might like to try posed shots but sometimes it’s the candid shots of owner and pet at play (or snoozing together in front of a fire) that really capture the character of the pet and evoke emotion.

8. Freeze the Action

Many pets present a challenge to photographers because they are active and always on the move. The key with any subject that’s on the move is to freeze their action by using a fast shutter speed. Most digital cameras these days will allow you to shoot in full manual mode if you feel confident to get the mix between shutter and aperture right - alternatively you can work in shutter priority mode where you set the shutter speed and the camera automatically does the rest by picking a good aperture to work with your shutter speed. The last alternative is to use ’sports’ mode which will mean the camera will select the fastest shutter speed possible for your situation. Once you’ve got your shutter speed nice and fast make sure your camera is always at the ready so you can anticipate the actions of your pet. If they are a fast mover you might also want to consider shooting in continuous mode (burst mode) to take a quick series of shots in a row. This can also lead to a wonderful sequence of shots that work well together.

9. Be Playful

Pets can be playful little critters and rather than attempting to contain this to get them posed for that special shot it’s often very effective to go with their playfulness and make it a central feature of your image. Include their toys, stimulate them to look longingly into your camera by holding a special treat above your head or take a picture with them sitting on top of you mid wrestle etc. Make your photo shoot a fun experience for both you and your pet and your shots are likely to reflect it.

10. Catch them Unawares

Posed shots can be fun and effective but one thing I love to do (whether it be with animals or people) is to photograph them candidly paparazzi style. I have very fond memories of stalking a friend’s dog as he played in a back yard one day. I took shots while he dug up flowers, as he buried a bone, as he fell chased a bee around and ask he sat contentedly with his head sticking out of his dog house. The whole time I photographed him he was barely aware of my presence so the shots were very natural without me distracting the dog from his ‘business’.

Update - 11. Try a Wide Angle Lens

One of the techniques I’ve experimented with lately is using a wider angle lens. This allows you to get in close (point 3) but also fit in a lot of the pet. The other benefit of it is that using a wider angle lens will often give your image a little distortion that will give your image a new creative and fun perspective.

Working the Lines in your Photography

noreply@blogger.com (Positive Sylhet) — Wed, 20 Aug 2008 19:46:00 +0000

When considering the composition of an image one of the elements that I suggest digital camera owners look for are ‘Lines’.

The lines that can be found in images are very powerful elements that with a little practice can add dynamic impact to a photograph in terms of mood as well as how they lead an image’s viewer into a photo.

Over the next few posts I’ll consider three types of lines, ‘horizontal’, ‘vertical’ and ‘diagonal’. Each one has a different impact upon a photograph and should be looked for as you frame your shots.

Learning how to use lines in photography doesn’t just happen. It takes time and practice to become good at it.

A good way to practice is to go back through older images that you’ve taken and look for lines that worked well and those that didn’t.

Then next time you go out with your camera, before you frame your shot consciously ask yourself what lines are in front of you and how you might use them to add something to you next shot by working with them rather than against them.

Also ask yourself whether the lines form any interesting patterns that you might be able to accentuate to add a further layer of interest to the shot.

Rule of Thirds

noreply@blogger.com (Positive Sylhet) — Wed, 20 Aug 2008 19:29:00 +0000

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

It’s one of the first things that budding digital photographers learn about in classes on photography and rightly so as it is the basis for well balanced and interesting shots.

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

What is the Rule of Thirds?

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

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

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

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

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

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

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

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

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

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

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

What are the points of interest in this shot?
Where am I intentionally placing them?

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

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

Understanding Histograms

noreply@blogger.com (Positive Sylhet) — Wed, 20 Aug 2008 19:27:00 +0000

“I was flicking through my camera’s menu today and came across a little graph labeled ‘histogram’. What is it and should I take any notice of it? Is there such a thing as the ideal histogram? What should we be aiming for?” - Brent

What is a Histogram

Histograms are a topic that we could (and probably should) spend a lot of time talking about but let me give you a very brief answer to get you through in the short term.

Histograms are a very useful tool that many cameras offer their users to help them get a quick summary of the tonal range present in any given image.

It graphs the tones in your image from black (on the left) to white (on the right).

The higher the graph at any given point the more pixels of that tone that are present in an image.

So a histogram with lots of dark pixels will be skewed to the left and one with lots of lighter tones will be skewed to the right.

The beauty of a histogram is that the small LCD display on your camera is not really big enough to give you an great review of a picture and you can often get home to find that you’ve over or under exposed an image. Checking the histogram can tell you this while you’re in a position to be able to adjust your settings and take another shot.

Some Examples of Histograms

Let’s look at a couple of examples of histograms on shots I’ve taken over the first year of my son’s life (it’s his birthday this week so we’re going through some shots).

Compare these two shots and their corresponding histograms:

The above shot has a lot of light tones - in fact there are parts of the shot that are quite blown out. As a result on the right hand side of the histogram you can see a sudden rise. While there are quite a few mid tones - everything is skewed right and with the extreme values on the right hand side indicate an over exposed shot.

This second shot has a lot of dark tones. This is partly because of the black and navy clothes in the shot - but also because it’s slightly underexposed shot. The resulting histogram is quite different to the first one - the values are skewed to the left hand side.

Is there such a thing as a ‘good’ histogram?

As with most aspects of photography, beauty is the in eye of the beholder and there’s always a lot of room for personal taste and different ways of expressing yourself as a photographer.

There is no such thing as the ‘perfect’ histogram - different subjects and photographic styles will produce different results. For example taking a silhouette shot might produce a histogram with peaks at both ends of the spectrum and nothing much in the middle of the graph. Taking a shot of someone at the snow will obviously have a histogram with significant peaks on the right hand side…. etc

Having said this (and to generalize) - in most cases you’ll probably want a fairly balanced shot with a nice spread of tones. Most well exposed shots tend to peak somewhere in the middle and taper off towards the edges.

Using Histograms While Shooting

So now you know what a histogram is - grab your digital camera’s manual and work out how to switch it on in playback mode. This will enable you to see both the picture and the histogram when reviewing shots after taking them.

Keep an eye out for histograms with dramatic spikes to the extreme ends of either side of the spectrum. This indicates that you have a lot of pixels that are either pure black or pure white. While this might be what you’re after remember that those sections of the image probably have very little detail - this is a hint that your image could be either over or under exposed.

The histogram is really just a tool to give you more information about an image and to help you get the effect that you want. Having your camera set to show you histograms during the view process will tell you how your image is exposed. Learning to read them will help you to work out whether you’re exposing a shot as you had hoped.

Another Example of a Histogram

Lets finish this tutorial by looking at one last example of a histogram:

Win a Cam-Pod - New Digital Photography School Competition!

noreply@blogger.com (Positive Sylhet) — Wed, 20 Aug 2008 19:25:00 +0000

As I said in the last post, it’s time for another DPS competition. This time I’m excited to announce that we have a sponsor!

That’s right - instead of having to come up with prizes myself the wonderful people at Cam-Pod are putting up for of their innovative Cam-Pod products up for grabs to this month’s lucky winners.

What is a Cam-Pod?

You might have seen little bean bag tripods before - but the Cam-Pod takes the concept in a whole other direction.

The Cam-Pod has bi-folding cushions, enabling the user to mould to the shape of your camera and lens according to desired angle and height. In addition, this folding ability reduces the size and weight, allowing for a lighter and compact support bag. And because it contains plastic beads, you will not have issues with customs at airports.

Cam-Pods come in two sizes (regular, for DSLRs or mini, for point and shoot cameras). They are hand made in Australia (another reason I love them) and are a great way to help keep your camera still when shooting in low light or with longer shutter speeds.

The best way to say what a Cam-Pod is is simply to show you, so below you’ll find some pictures showing Cam-Pods being used.

The team at Cam-Pod are putting up 2 regular sized products and 2 mini’s for the winners of this competition.

How Can You Win a Cam-Pod?

All you have to do to be in the running for a Cam-Pod is sign up for the DPS forums and start posting.

Every time you post in the forums between now and 31 July you go in the running to win one. Each post/comment you leave you put another entry in. The more you post the more chances you have to win

How to Photograph Silhouettes in 8 Easy Steps

noreply@blogger.com (Positive Sylhet) — Wed, 20 Aug 2008 19:23:00 +0000

I normally talk about the importance of using a flash when taking shots into the sun to give sufficient light to add features to your subject but there are also times when making your subject featureless apart from their outline against a bright background can be most effective - or when in other words silhouette is a worth exploring.

Silhouettes are a wonderful way to convey drama, mystery, emotion and mood to the viewers of your photos and often stand out in an album because of the combination of their simplicity but also the story that they convey. I love them because they don’t give the viewer of a clear picture of everything but leave part of the image up to their imagination to wonder about.

The basic strategy you’ll need to employ in taking silhouette shots is to place your subject (the shape you want to be blacked out) in front of some source of light and to force your camera to set its exposure based upon the brightest part of your picture (the background) and not the subject of your image.

In doing this your subject will be under exposed (and very dark, if not black).

There are a lot of very technical descriptions going around on how to take great silhouette shots that you might want to look up but let me attempt to run through some basic steps that should get you the results you’re after. In essence what we’re trying to do is make your camera think that it’s the bright parts of the picture you are most interested in.

Here’s how to do it:

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1. Choose a Strong Subject

Almost any object can be made into a silhouette, however some are better than others. Choose something with a strong and recognizable shape that will be interesting enough in its two dimensional form to hold the interest of those viewing your image. Silhouettes can’t draw on the colors, textures and tones of subjects to make them appealing - so the shape needs to be distinct.

2. Turn off your Flash

If you have your camera in automatic mode your camera will probably want to use its flash which will ruin the silhouette. Basically you want as little light on the front of your subject as possible - so the flash has to go (basic - but I’ve seen a few attempted silhouette shots with the flash firing).

3. Get Your Light Right

When it comes to lighting your subject you’ll need to throw out a lot of what you’ve learnt about normal photography and think a little backwards. Instead of lighting the front of your subject, in silhouettes you need to ensure that there is more light shining from the background than the foreground of your shot - or to put it another way - you want to light the back of your subject rather than the front. The perfect light for this is placing your subject in front of a sunset or sunrise - but really any bright light will be able to do the trick.

4. Frame your image

Frame your shot so you are shooting with your subject in front of a nice plain, but bright background. Usually the best backgrounds will be a bright cloudless sky with the sun setting. You want to position the brightest light source behind your subject (either so that they hide it or so that its in the background somewhere).

5. Make silhouetted shapes distinct and uncluttered

If there is more than one shape or object in the image that you’re attempting to silhouette, try to keep them separated. ie if you are silhouetting a tree and a person don’t have the person stand in front of the tree or even leaning on it as it will merge them into one shape and as a result your viewers could be confused about what the shape is.

Also when framing you’ll probably want to photograph silhouetted people as profiles rather than looking straight on. This means that more of their features (nose, mouth, eyes) are outlined and they are more likely to be recognized.

6. In Auto Mode

Most modern digital cameras have automatic metering which are pretty good at sensing how to expose a photograph so that everything is well lit. The problem with this is that most cameras are so smart that they will light up your subject instead of underexposing it to get a silhouette so you need to trick it. Most cameras work out the exposure levels in auto mode when you push your shutter half way down (at the same time that they focus). So point your camera at the brightest part of your picture and then press the shutter halfway down (don’t let go). Then move your camera back to frame your shot with the subject where you want it and then finish taking the shot. With most digital cameras this will result in a silhouetted subject. In effect what you’re doing is tricking your camera into thinking that the bright part of the image is the mid tone of it so that anything darker than it will be exposed as a nice dark shadow.

Some digital cameras also have ’spot’ or ‘centered’ metering modes that you can switch on which helps with the above technique as they will set the metering on the central spot of your frame rather than multiple spots. This means you can accurately tell your camera exactly which bit of the bright background you want it to set the exposure on.

7. Manual Mode

If this technique doesn’t work and your camera has controls to allow manual exposure or exposure compensation you might like to try some of your own settings. The beauty of digital is that you can experiment to your hearts content until you get the result you’re after.

A simple way to start using manual mode is to look at the shutter speed and aperture that it suggests in automatic mode and to start from there. If in auto mode your subject is too light (ie you need to make it darker) stop down the shutter speed a stop or two and see what impact that has. Use the ‘bracketing’ technique that I described in my previous tip on sunrises and sunsets to get a variety of shots at slightly different exposures.

8. Focusing

In most cases you’ll want the subject which is silhouetted to be the thing that is in focus most crisply. This can mean that the process described in point 4 can be a little tricky as pushing your shutter half way down to get the metering right also means that you’ll focus on that spot in the background. To get around this you can use two strategies. Firstly if your camera has manual focusing you might want to try that. Pre focus your shot before you meter your shot.

The other strategy is to use Aperture to maximize your depth of field (the amount of your image that is in focus). Set a small aperture (ie a larger number) to increase the depth of field - this means you’re more likely to have a sharper foreground and background in your shots.

One last tip on Silhouettes - while a total silhouette with a nice crisp and black subject can be a powerful shot, also consider the partial silhouette where some detail of your subject is left. Sometimes a touch of light on them makes them slightly more three dimensional and ‘real’. This is the beauty of bracketing your shots as it will leave you with total and partial silhouettes to choose form.

“Does my butt look big in this?” - What Clothes to Wear in Portraits

noreply@blogger.com (Positive Sylhet) — Wed, 20 Aug 2008 19:20:00 +0000

This post was submitted by portrait photographer Grant Mayer. It is a ‘classic DPS post’ - one of hundreds from our archives of photography tips.

What Should I Wear in my portrait?

This is a question I get asked a lot by clients - so I thought it might be something that was worth some exploration in a tutorial.

The clothes a person wears in a portrait can have a big impact upon the end result of your image. When talking to a subject about what to wear I generally ask them to bring a few different outfits so that we can have a little variety to work with.

A few things to keep in mind:

1. The comfort of your subject is important - to some extent

One of the challenges of photographing someone that you might not know very well is helping them to relax. I find that the clothes that they wear and the environment that you’re photographing them can have a big impact upon how relaxed they are and how natural they look. If they are happy with how they look then you’ll have a good chance of capturing them looking themselves.

Having said that - sometimes the best shots are of people when they are slightly ‘on edge’ or out of their comfort zone.

I can’t really explain it - but I’ve had some real luck in choosing outfits for people that they might not necessarily have chosen for themselves.

Sometimes throwing a curve ball at your subject in this way can take them slightly out of their comfort zone and get you a ‘wow’ shot.

2. Clothes Can Put People into Context

As much as we all like to talk about not judging a book by it’s cover and getting to know the ‘real person’ before summing them up - a person’s outward appearance says a lot about who they are and what we think of them.

The clothes that a subject wears in a shot will convey meaning and tell those viewing the image something about the person. So think carefully about what you’re trying to achieve with the image and let this be communicated through the clothes that you suggest your subject wears.

ie - if you’re after a fun vibe in your shot let them get a little casual and crazy with their clothes. If you’re wanting to portray them in a more formal way dress them that way.

3. Dark and Plain Clothes

While I generally let my subject choose a few outfits for themselves I almost always ask them to include a darker top in their options.

There’s something about a simple, dark top that allows the real focus of an image to be the persons face. An added bonus of dark clothes is that they tend to be slimming also (so your butt might not look big afterall).

As I looked back over my portfolio recently realized that the majority of portraits that I’d selected to show off my work were of people in fairly plain and unobtrusive clothes. No crazy patterns, lines, dots or bright colors - just understated basics that allowed the person to shine.

One exception to the black/dark top rule is that it can depend upon the complexion of the person. A very fair complexion with a very dark top can be too much of a contrast and when shooting someone with dark skin tones dark clothing can mean not enough contrast.

Another exception to this rule can be with kids whose portraits can come alive when you introduce some nice bright colors. The key however is to watch out for when the bright colors include zany patterns.

4. Collars

Another quick tip which I base upon my portfolio - collared shirts can be an effective thing to have your subjects wear.

I’ve not put a lot of thought into why they work - but particularly when photographing men, I find that a collared shirt has a way of framing the face that can be quite flattering.

I wouldn’t say collars are essential for every shot (I’ve taken plenty of good shots of guys in non collared shirts and T-Shirts) - however there’s something about them that just ‘works’ - at least in my mind.

Long Sleeves and Pants

Lastly - I also like to avoid short sleeved tops or shorts.

When arms and legs are exposed and there’s lots of skin visible I find that it can be a distraction from the main focal point of the photo - the face. That one is just a personal preference though and I’m not even sure why it is that I like to do it that way.

What do You Think?

What’s your view on what clothes you prefer your subjects to wear?

Is it more important to you for your subject to be comfortable or is your style to put them in an outfit that will add something special to the shot.

Surf Photography for Beginners - Equipment, Techniques and Tips

noreply@blogger.com (Positive Sylhet) — Wed, 20 Aug 2008 19:19:00 +0000

This introductory tutorial on Surf Photography has been submitted by Ryan Cardone from Ryan Cardone Photography.

Being eaten by sharks, broken bones, getting run over, or even drowning; these are just some of the risks involved in surf photography, but when you get that one shot, it is all worth it!

I have been a surfer for most of my life and it was only natural for me to take my love for photography in the water. Surf photography really gives me a feeling that is indescribable.

I am dealing with the same elements that the surfers are dealing with. If they are getting barreled, most likely I am getting barreled. Just that feeling is an enough rush for me, but when you get the film back or see the photos on the computer it is that much better.

Every shot I have taken from the water has a great story. Here are some tips to use so that you can go out and try surf photography for your self.

Equipment for Surf Photography:

You do not have to have the most expensive photo equipment to get a great a surf photo.

If you are just starting out and want to get your feet wet, excuse the pun, Fuji and Kodak both make throw away waterproof cameras. These are great to learn and practice with. They are an inexpensive way for you to get used to the water and the surfers coming at you.

If you prefer digital, Pentax and Olympus both make digital underwater cameras; they run in the $300 price range. These work great and I have shot with both and have been happy with the results.

Remember with point and shoot digital cameras, there is a lag before the picture is actually taken. The trick to making better pictures with these is to learn how long that lag time actually is, and then you can estimate when to push the button.

Timing is everything in surf photography. Moving up the price scale are water housings. These are basically boxes that keep your camera dry. Water Housings can be made for many different kind of cameras from point ($300-$1000) and shoots to SLR’s ($1000-and up).

I use a SPL water housing made for my Nikon Cameras.

Here is a list of Manufactures Websites: