Decision Made On What Sort Of Digital Camera You Want

Decision Made On What Sort Of Digital Camera You Want
by: Allison Thompson

You have now decided to go a head and purchase a digital camera, but like many other electronic devices available to consumers now days the digital camera is changing all the time. You may find that for the same amount of money you would have spent a few months ago on a camera you will now get one with more and more features such as megapixels, storage space and zoom facilities. This article will hopefully provide you with a few hints and tips on what you should be looking for and how to choose the best camera for you.

There are a number things that you will need to consider when making this all important purchase. Firstly you need to work out how much you are willing to spend, some can cost from as little as ten dollars to ones that will cost a thousand dollars or more. You will also need to decide what you will be using the camera for as well as how much you are going to spend. The best way of solving this is by writing down a few simple questions such as will I be using it to take family pictures? Will it be used to take photographs of the landscape? Will I be traveling a lot? Will I need it for taking lots of flash photography? By having these questions in mind it will make your choice of camera easier.

Now that you have decided on how much you want to spend and what it will be used for you can look at a range of potential cameras that fit in to your criteria and build up a list of the ones you are interested in and include details such as price and the features that each one has to offer.

Below I provide a list of features with a short explanation that should be included when you are making up a list of features for the cameras that you are interested in.

Firstly there are Megapixels. Many cameras now come with an ever increasing number of megapixels and many people ask if the more megapixels a camera has is better. Having more megapixels all really depends on whether your are going to print photographs (especially enlargements) or you want to zoom in and crop the fine detail out of large photographs. Or is it just that you want to look at them on your computer and may be occasionally print of a few small prints. I would suggest that you look at using a 2 megapixel camera for the latter as you will find that most computer screens have a resolution of 1024x768 which even when viewing a photograph on a full screen which equates to less than 1 megapixel. Even a photograph (4x6) printed off will have a DPI higher than 300 which will be more than enough to produce a high quality print.

However, if you plan to print enlargements of your photographs then you need to look at the different print sizes and what megapixels are required to produce high quality prints. The table provided below shows you the photograph size and the megapixel required.

Photo Size - Megapixel
4x6 - 2
5x7 - 3
8x10 - 7
11x14 - 14
16x20 - 28
20x30 - 54

However, if money is no object where the purchase of your camera is concerned then the more megapixels you have may out weigh other features that could be available to you. For example should you spend money on the extra megapixels or a better lense, or an external flash unit? Really, it all depends on how you camera will be used. So remember to decide what your camera will be used for and make the decision on what is more important to you based on this.

Next is the Zoom feature. In some cases it is very handy to have the use of a good quality zoom on your camera, especially say when you want to take a good quality portrait photo where the object/person’s face fills the complete photo frame, whilst when taking a photo of a group of people you want to make sure that everybody is in it.

You will find that there are two types of zoon now available, optical and digital. The optical zoom works by physically moving the cameras lense and changing the focal length of the picture. By changing the focal length you are able to make objects or subjects appear bigger than they are and that will fit the full photo frame. Whilst a digital zoom works by using built in software in the camera to clearly define a certain section of the photo that you are interested in taking. Then once this has been chosen the software inside will remove the rest of the photo surrounding the area and will then enlarge the chosen section and this will fit into a complete photo frame. Unfortunately the one downside of using a digital zoom is that the quality of the enlarged photo is less than that of the original photo taken.

So in conclusion if you are serious about taking photographs and not just to use it for taking those all important holiday snaps I would suggest you opt for the optical zoom and from a practical point of view a digital zoom should not be considered as a zoom lense at all.

However you need to be careful when looking at a camera you are thinking of buying as not always do the manufacturers stipulate whether the zoom figure specified is actually optical or digital. It can become quite confusing for those people who do not understand the difference between these two. So for example if a camera says it supports a 5X optical zoom and 10X digital zoom then is being advertised as a “10X zoom camera” you can see how the confusion can arise. A 10X digital zoom can be done to any camera just by using some simple PC software.

Once you have compared different cameras zooms then always compare their optical zoom capabilities as well. Really you can totally ignore the digital zoom figures that you will be provided with.


About The Author
Allison Thompson who lives in Spain and is a work at home mum has set up a site with her husband Mark that is specifically tailored to the needs of those interested in digital photography. If you would like to learn more then please visit Photo Report.

This article was posted on October 26, 2006

Digital Photography Is Art

Digital Photography Is Art
By: Read more articles by: Kevin Rockwell

Well we used to all go out and shoot images on our film cameras, run the film to the corner store or kiosk to get it developed and then once the prints were hand we tended to stick them away without much more than a few minutes notice. Those days are no more as digital photography has grabbed hold of the consumer marketplace. Now we have tons of images in our cameras, on our hard disks and the options of what to do with them are growing and growing every year.

Digital photography has now found its way into more than half of the homes in America. However most people still order out to get their images printed. Maybe it is not the corner film kiosk of the old days but there is still a very strong market for image printing. Nowadays you can take your images to Costco, the nearby photo store where they might have a digital printing kiosk in the store, or you can upload them to the various internet sites devoted to printing your images such as Shutterfly, Ofoto, and Snapfish to name a few.

Since the year 2000 the number of images converted into conventional prints has been steadily sliding down and could go 5% further this year. However due to the interesting rise of alternative ways to print your images the industry predicts that revenues will rise overall this year. Now why would that be?

Well it turns out that there are some very lucrative ways for companies to make money in the digital age including printing reproductions from digital photographs onto posters, stamps, postcards, T-shirts, chairs, wallpaper, and bronze plaques. Even ceramic tile is being used as a medium for digital printing as designers are using images to decorate them for spas, restaurants, and fireplace mantels.

We have now entered the era of functional art versus just decorative art. Now you can touch it and get a more personal feeling from your digital photography. In addition you can put these digital images on wood, stone, plastic, and metal as well as conventional paper of every type. Either through software on your own computer or through vendors consumers can print their images on birthday cards, calendars, and storytelling photo books that actually get used instead of being tucked away in a drawer like most of our albums of old.

The camera makers have done a fine job of selling digital cameras to the population, but now that they are so infused to the marketplace it will take some creativity to for them to make money off of these sales going forward beyond just getting us to upgrade our digital cameras every year or two.

That will require some new methods for organizing digital photos, new methods of displaying images (perhaps along the lines of the wireless digital display frames that have shown some promise of late) and the ability to print our own custom books using our own digital photographs. That is something that would stay out on display in my home!

Did you know that in the past ten years digital cameras have managed to be sold into over half the homes in the US? The prediction is that number could go as high as seventy per cent by the yearn 2009. Old line film companies like Kodak have had to scramble to move into the digital camera game, with a fair amount of success as they applied old film lessons to their line of digital cameras such as consumer simplicity first, but even they are still leaning on the sales of inks used to print images on computers to hold the profit line.

They have over 75,000 in store kiosks installed throughout the country and are planning for new ones that can handle 900 prints per hour! Retail is strong for getting your digital prints as the big stores such as Wal-Mart and Costco battle it out for your business and in the on line market the field has been whittled down to the strongest. That means that the price per print that was once in the high twenties has now dropped to around 17 cents per print on line and 21 cents per print in store.

So where do you go for these art versions of your digital images? Be prepared to spend more for the experience but get a nice artistic version of your digital photography. Some of the spots to check out are Zazzle.com, Photopetgifts.com, and Matthewsbronze.com. For custom digital photo books you should check out Shutterfly. Imagine the look on your kids face when you give them storybook and it features images of them in the story!

About the Author:

Kevin Rockwell worked in network TV for 20 years shooting news and sports. Now a devoted fan of digital photography he works to gather tips and news for digital camera users. Great Digital Cameras

Read more articles by: Kevin Rockwell

Article Source: www.iSnare.com

Pure Photographic 'Special Effects' Without a Computer or a Darkroom!

Pure Photographic 'Special Effects' Without a Computer or a Darkroom!
by: John N. Cohen

The discovery of this technique was the result of an accident. The chance projection of a slide without having the screen in place resulted in a portrait appearing partly on some fabric and partly on the wallpaper. The curved fabric distorted the image and when the picture was clearly focussed the weave and texture of the materials forming a type of screen became part of the portrait. This result was sufficiently intriguing to leave the projection as it was and to study the possibilities of this occurrence.

If this effect could be photographed, then one can photograph projected images on other textures or even on other objects. This proved to be the basic approach to gain full control of all images. Providing a completely new way of superimposing and controlling every aspect of photographs. Obviously if one can see it, one can photograph it!

The projector however offers so many more possibilities than the darkroom enlarger to create pictures. Take any image on any film; it is just as easy to project negatives or transparencies in colour or black and white on to what ever is desired. Consider the potential when projecting an image on to; fabrics (not always flat), textures, or even on to other objects, then try bouncing the projected photograph off a reflective surface and focus it on to a screen, or have a look at what happens if a crystal is placed near to the projector lens (behind the lens as well as in front). Colour filters can be used, or parts of the image can be masked (again compare the results obtained in front, as against behind, the projector lens).

With more than one projector it is possible to combine and superimpose with perfect control more than one image. By projecting these images, one on top of the other, and then masking away the overlapping parts of each image, that are no longer required, a totally new picture can be formed.

These are the basic principles, which with infinite variety are used to mould, form and relate at will, all that has ever been photographed. It is in fact the projector that provides all the magic; such is the diversity that can be achieved with it. The older type of projectors are often of more use than the modern automatic ones, as it is then likely to be easier to gain access to the space behind the lens. That facility is of great advantage with these techniques - so one should look out for cheap second hand ones!

ADDING TEXTURE

The easiest way to begin is to experiment with the projected image, try projecting a favourite portrait on to a selection of textured surfaces, to be used as a screen. An enormous variety of textures are possible to use, they do not always need to be white, nor do they always need to be flat.

There is likely to be an element of distortion, as it is not possible to have the camera lens in exact alignment with the projector, but do not worry about this yet, distortion can be useful as described later.

The use of a texture in portrait work is particularly attractive, some of the beauty and character found in painted portraits is lacking in photographs. But the realism of the photograph becomes more abstract simply by adding a texture and this can bring out more expression or character than was evident before. This does not mean that one is copying paintings as totally different images are created from those ever painted, but that this abstract quality that so enriches portraits, can also apply to photographs.

DISTORTIONS

The only way of avoiding distortion is to project square on to the choice of screen and to rephotograph the image with a plate camera. Then one can correct the angle of view with the lens movements as used for architecture or perspective correction.

However, more often than not, distortion can be a very interesting effect if used carefully. It can even be a very dramatic tool. Any image can easily be elongated and stretched, or squashed and made wider. It just depends on the angle of the projector, or the camera, to the screen.

REFLECTIONS

So far it has been shown how an image can be influenced by; the addition of a texture, the effect of distortion, the use of colour filtration, and the use of negatives or black and white films.

Another fascinating way of manipulating a projected image is to consider reflections. The principle involved is basically to rephotograph a projected image as seen in a mirror, or bounced off a mirror. But instead of using a mirror, there are many other options. Try a piece of acetate film as this material allows one to bend or twist it, and so distort the image seen, by forming a flexible mirror.

There are two quite different effects achievable even with the flexible mirror in a fixed position and the same image projected. The first method is to project the image on to a screen and to photograph the reflection seen. The other is to project the image into the flexible mirror, so that it bounces off it, on to the screen; it is this new image that is then to be photographed.

There are many reflecting surfaces that can be used. They do not always need to be smooth, a highly polished old silver cigarette case, with a machine finished pattern as an over all design, has been used to advantage.

All photographs including those techniques already described can be made into patterns rather like a kaleidoscope by the use of mirrors. By positioning mirrors at right angles to each other, with the image projected on to a choice of screen in such a way, that the reflections are repeated in the mirrors will then form a pattern that can be photographed. The possibilities of scale and size are no problem when projecting images, the biggest building in the world can easily be projected between a couple of small mirrors or on to a small object!

CRYSTAL PATTERNS

Spectacular patterns can be created by the use of crystals or prisms. Apart from the special effect types available for use on the camera, remember these can be used with the projector too, it is also interesting to use old crystals designed to form a chandelier.

Experiment with different crystals placed in front of the projector lens, not always square on, and see how the image scatters according to the cut. The best results are often found to be with a fairly small image within the transparency frame.

Quite a different pattern will be formed, by moving the crystal behind the lens. Obviously as these crystals are not optically perfect, the projected image will lose some definition, but it can still be useful as a background image.

COLOUR, BLACK & WHITE OR NEGATIVE IMAGES

Photography has the advantage of instantly reproducing an image in a number of ways. Just by the selection of film the image can be in black and white, colour or in either of these choices it could also be in negative form. All these can be projected!

Negatives can be unusually beautiful in themselves and they should not just be regarded as the means of obtaining a print. The choice of projected images should not be restricted to transparencies but include film in all its forms. Black and white images positives or negatives can be projected and used. Colour can still then easily be added to the black and white projected images by the choice of screen, as well as by the introduction of colour filters.

FILTERS

Many filters are available for the camera, and these can be used with the projector too. But any bits of coloured cellophane can also be used with the projector. There are hundreds of colours easily available, as one only needs such small pieces.

Even if they are not optically of use with the camera, if used between the projector condenser lens, and the film, they can influence the colour of the projected image, without any optical problems. With care it is also possible to change the colours of specific parts of the projected image.

MAKE THE SUBJECT THE SCREEN

It is not difficult to move on to other objects that can do more than just act as a screen. These are items that become an important part of the subject of the new photograph just as essential as the projected image.

For example an original portrait was projected on to a clamshell, amongst other shells, and the contours of the shell influenced the projected image. With careful masking using a diffused mask behind the lens, allowed light to illuminate other parts of the scene too.

There are a number of other objects that have been used in this way; a butterfly with a river scene, an orchid, a ball of wool and a Siamese cat, a coin, or a decaying holly leaf.

Even a highly reflective surface can be used such as coins. The camera was directly in front of the top coin, so that the projected image from the projector was to the left of the camera. This meant that the camera lens avoided the very bright reflection. Even the edges of the pages of a book have been used.

It can be fascinating to take your projector for a walk! Use an extension lead and just project a selection of slides on to everything in sight. By focusing on to a wide range of objects, you will be able to see what happens - expect to be surprised at some of the possibilities that will no doubt come to light!

MASKING

Masking is best achieved by using black card that is stiff enough to stay upright; yet is easily cut into whatever shape is required. It works well in front or behind the projector lens. If masking in front of the lens it will quickly become apparent that the nearer to the screen the mask is placed, the sharper the shadow cast. The ideal is to always use a soft edge shadow so the mask will not be very far forward of the lens.

If it is possible to work behind the lens, then the nearer to the film, the sharper the shadows edge will be. It is then simple to perfectly blend different images when working with more than one projector.

There have been times when instead of masking with black card a transparent opaque plastic has been preferred, this avoids a black shadow forming, especially if the second projection is not adding much in that particular area. Tracing paper has been effective for this purpose normally placed behind the lens near to the film.

Before considering a second projector, with just one, there are now an amazing amount of possibilities that can be achieved with the projected image. However with two projectors the additional special effects are quite sensational.

DOUBLE EXPOSURE - PROJECTOR STYLE!

The first option with the projector is to mount two pieces of film, sandwiched in the same mount, and project the combined images on to a screen. By focusing on one of the images, the one in true focus will dominate and soften the other. Much depends on the slide carrier used, but if there is room to insert more than two mounts in to the carrier, then the more space between the two films the greater the effect of one image dominating the other. Should both images need to be in focus then the closer they are to each other the better.

When sandwiching films in this manner it is possible to insert one or the other upside down, on its side, or the other way round. But there is little more opportunity with this technique of controlling the end result, so it is only a little bit better than double exposure as at least one can see what the result looks like first.

TWO PROJECTORS

This method involves using two projectors, but one has then an exciting way of blending any two previously created pictures, with far more control!

The technique is simple; just project both images separately on to the same choice of screen. However, these images can now be positioned whichever way one might wish, one image could be much larger than the other, or by masking parts of each image, a different blend of the two pictures can be created. This is how any parts, of any picture, can be blended together and all the time one can see exactly what is to be photographed.

Ideally, two identical projectors should be used, if possible with zoom lenses. Should this prove impractical then variations in performance of the second projector can be allowed for, by masking the brighter of the two, just in front of the lens to achieve the same brilliance from both projectors.

To enhance the quality of the results one can achieve with this technique, there is an advantage in obtaining a screen designed for rear projection.

IMAGE BLENDING

Once the full potential of using two projectors is realised, there will be a need for quite different types of images, these are what are referred to as background shots, in the advertising world. A completely new stock of photographs will have to be taken, with blending potential in mind, no matter how many pictures are available from the past.

Now each image can be simply modified: The brightness of one image, as against the other, can be controlled. By masking and shading just parts, of each image, can be blended. Colours of certain areas can be altered with filters. The position of each image, relative to each other, can be adjusted. Or even the size, of one image as against the other, can easily be altered. One of the images could be distorted, reflected, or be changed in to a pattern by the use of a crystal. The possibilities are quite staggering!

Best of all, the combined images are there to be seen all the time, until the desired result is formed. There is no need to rely on guesswork, as so many other special effects seem to demand, with these methods so no film really should ever be wasted.

With two projectors it becomes possible to mix film effects together in a way not possible before. It is so easy to blend negative images with transparencies, in colour or black and white. Instead of transparencies in both projectors, one of them could be projecting a black and white negative or a colour negative just as easily.

PLATE 3

'Spirit of Spring' is a well-known award winning study that won much acclaim for the author. This transparency of a portrait was projected over; a second projected colour negative image of a red tulip. A variation of this concept is plate 59 (Poetic portfolio) where another profile of Susan was blended with a colour negative of the centre of a tulip. (See this and other photos in the author’s ‘Poetic portfolio’ link below).

MORE PROJECTORS

There are no reasons why more than two images should not be projected all at once, providing the projectors are available.

There have been a number of occasions when four projectors were in use together. However three have been the most that have normally been used, with the fourth one occasionally; simply projecting the author's signature in to the scene.

REAR PROJECTION

There are some valuable advantages in having a rear projection screen especially when owning more than one projector. The first advantage that comes to mind, after the obvious one of avoiding distortion, with at least one of the images, is the opportunity to add a light coloured background when photographing projected images on to other objects.

Should the rear projection screen simply be used to provide a background scene, often expected to be in a softer focus, an expensive screen is then not needed. Even tracing paper will do!

INSPIRED ACCIDENTS

Hoping that readers having reached this far will agree that the possibilities described, offer photographers working in colour so much more than simply recording reality. Trusting readers will also agree that this form of photography really justifies recognition in the art world, as it has certain qualities that are quite unlike those of any other media.

This has been published with the hope that photographers will not just create strange pictures or gimmickry, but produce works of true artistic merit.

The most satisfying time spent is without doubt in the creation of the work. Frequently regardless of the medium used, if an artist is truthful, the end result obtained is not always exactly as initially conceived.

Often the author has decided on a theme, or it could be just a thought about a pattern or composition that exists in the mind, in an abstract way, as yet unexpressed. Perhaps the last portrait taken inspires the desire to do more with it. Whilst considering and projecting certain images, to blend with such a portrait, something can suddenly be seen that fires the imagination.

At other times an idea occurs and a clearly defined image forms in the mind. However, whilst trying to create this picture, it is not so unusual that one strays across a certain amount of accidental inspiration. This can be the chance blending of two images in a way never thought of before, that looks just too good to ignore! The best thing to do then is to be prepared to change direction, and pursue the new study, rather than the original concept. The first attempted creation can always be tried again later on.

The excitement and pleasure one feels when inspired in this way is hard to describe. So even if one starts with just a vague concept, it is worth spending some time experimenting. Think of it as being the stage where the artist is selecting and mixing the paints on his palette, still unsure of what he might paint, but just feeling the need to make a start. Whilst thinking of the various possibilities, surprising relationships can develop, that might well become the basis of the final picture. It is only really by actually making a start that you create the opportunity for something exciting to happen.

To see a more detailed version of this article with all the Plates please visit: - It was the accidental chance projection of a slide, without having the screen in place, that resulted in a portrait appearing partly on some fabric and partly on the wallpaper. The curved fabric distorted the image and when the picture was clearly focussed the weave and texture of the materials forming a type of screen became part of the portrait. This was sufficiently intriguing to leave the projection as it was and to study the possibilities of this occurrence.

If this effect could be photographed, then one can photograph projected images on other textures or even on other objects. This proved to be the basic approach to gain full control of all images. Providing a completely new way of superimposing and controlling every aspect of photographs. Obviously if one can see it, one can photograph it!

The projector however offers so many more possibilities than the darkroom enlarger to create pictures. Take any image on any film; it is just as easy to project negatives or transparencies in colour or black and white on to whatever is desired. Consider the potential when projecting an image on to; fabrics (not always flat), textures, or even on to other objects, then try bouncing the projected photograph off a reflective surface and focus it on to a screen, or have a look at what happens if a crystal is placed near to the projector lens (behind the lens as well as in front). Colour filters can be used, or parts of the image can be masked (again compare the results obtained in front, as against behind, the projector lens).

With more than one projector it is possible to combine and superimpose with perfect control more than one image. By projecting these images, one on top of the other, and then masking away the overlapping parts of each image, that are no longer required, a totally new picture can be formed.

These are the basic principles, the projector provides all the magic, such is the diversity that can be achieved with it. The older type of projectors are better than the modern automatic ones, because it is easier to gain access to the space behind the lens. An important advantage with these techniques - so one should look out for cheap second hand ones!

ADDING TEXTURE

The easiest way to begin is to experiment with the projected image, try projecting a favourite portrait on to a selection of textured surfaces, to be used as a screen. An enormous variety of textures are possible to use, they do not always need to be white, nor do they always need to be flat.

There is likely to be an element of distortion, as it is not possible to have the camera lens in exact alignment with the projector, but do not worry about this yet, distortion can be useful as described later.

The use of a texture in portrait work is particularly attractive, some of the beauty and character found in painted portraits is lacking in photographs. But the realism of the photograph becomes more abstract simply by adding a texture and this can bring out more expression or character than was evident before. This does not mean that one is copying paintings as totally different images are created from those ever painted, but that this abstract quality that so enriches portraits, can also apply to photographs.

DISTORTIONS

The only way of avoiding distortion is to project square on to the choice of screen and to rephotograph the image with a plate camera. Then one can correct the angle of view with the lens movements as used for architecture or perspective correction.

However, more often than not, distortion can be a very interesting effect if used carefully. It can even be a very dramatic tool. Any image can easily be elongated and stretched, or squashed and made wider. It just depends on the angle of the projector, or the camera, to the screen.

REFLECTIONS

So far it has been shown how an image can be influenced by; the addition of a texture, the effect of distortion, the use of colour filtration, and the use of negatives or black and white films.

Another fascinating way of manipulating a projected image is to consider reflections. The principle involved is basically to rephotograph a projected image as seen in a mirror, or bounced off a mirror. But instead of using a mirror, there are many other options. Try a piece of acetate film as this material allows one to bend or twist it, and so distort the image seen, by forming a flexible mirror.

There are two quite different effects achievable even with the flexible mirror in a fixed position and the same image projected. The first method is to project the image on to a screen and to photograph the reflection seen. The other is to project the image into the flexible mirror, so that it bounces off it, on to the screen; it is this new image that is then to be photographed.

There are many reflecting surfaces that can be used. They do not always need to be smooth, a highly polished old silver cigarette case, with a machine finished pattern as an over all design, has been used to advantage.

All photographs including those techniques already described can be made into patterns rather like a kaleidoscope by the use of mirrors. By positioning mirrors at right angles to each other, with the image projected on to a choice of screen in such a way, that the reflections are repeated in the mirrors will then form a pattern that can be photographed. The possibilities of scale and size are no problem when projecting images, the biggest building in the world can easily be projected between a couple of small mirrors or on to a small object!

CRYSTAL PATTERNS

Spectacular patterns can be created by the use of crystals or prisms. Apart from the special effect types available for use on the camera, remember these can be used with the projector too, it is also interesting to use old crystals designed to form a chandelier.

Experiment with different crystals placed in front of the projector lens, not always square on, and see how the image scatters according to the cut. The best results are often found to be with a fairly small image within the transparency frame.

Quite a different pattern will be formed, by moving the crystal behind the lens. Obviously as these crystals are not optically perfect, the projected image will lose some definition, but it can still be useful as a background image.

COLOUR, BLACK & WHITE OR NEGATIVE IMAGES

Photography has the advantage of instantly reproducing an image in a number of ways. Just by the selection of film the image can be in black and white, colour or in either of these choices it could also be in negative form. All these can be projected!

Negatives can be unusually beautiful in themselves and they should not just be regarded as the means of obtaining a print. The choice of projected images should not be restricted to transparencies but include film in all its forms. Black and white images positives or negatives can be projected and used. Colour can still then easily be added to the black and white projected images by the choice of screen, as well as by the introduction of colour filters.

FILTERS

Many filters are available for the camera, and these can be used with the projector too. But any bits of coloured cellophane can also be used with the projector. There are hundreds of colours easily available, as one only needs such small pieces.

Even if they are not optically of use with the camera, if used between the projector condenser lens, and the film, they can influence the colour of the projected image, without any optical problems. With care it is also possible to change the colours of specific parts of the projected image.

MAKE THE SUBJECT THE SCREEN

It is not difficult to move on to other objects that can do more than just act as a screen. These are items that become an important part of the subject of the new photograph just as essential as the projected image.

For example an original portrait was projected on to a clamshell, amongst other shells, and the contours of the shell influenced the projected image. With careful masking using a diffused mask behind the lens, allowed light to illuminate other parts of the scene too.

There are a number of other objects that have been used in this way; a butterfly with a river scene, an orchid, a ball of wool and a Siamese cat, a coin, or a decaying holly leaf.

Even a highly reflective surface can be used such as coins. The camera was directly in front of the top coin, so that the projected image from the projector was to the left of the camera. This meant that the camera lens avoided the very bright reflection. Even the edges of the pages of a book have been used.

It can be fascinating to take your projector for a walk! Use an extension lead and just project a selection of slides on to everything in sight. By focusing on to a wide range of objects, you will be able to see what happens - expect to be surprised at some of the possibilities that will no doubt come to light!

MASKING

Masking is best achieved by using black card that is stiff enough to stay upright; yet is easily cut into whatever shape is required. It works well in front or behind the projector lens. If masking in front of the lens it will quickly become apparent that the nearer to the screen the mask is placed, the sharper the shadow cast. The ideal is to always use a soft edge shadow so the mask will not be very far forward of the lens.

If it is possible to work behind the lens, then the nearer to the film, the sharper the shadows edge will be. It is then simple to perfectly blend different images when working with more than one projector.

There have been times when instead of masking with black card a transparent opaque plastic has been preferred, this avoids a black shadow forming, especially if the second projection is not adding much in that particular area. Tracing paper has been effective for this purpose normally placed behind the lens near to the film.

Before considering a second projector, with just one, there are now an amazing amount of possibilities that can be achieved with the projected image. However with two projectors the additional special effects are quite sensational.

DOUBLE EXPOSURE - PROJECTOR STYLE!

The first option with the projector is to mount two pieces of film, sandwiched in the same mount, and project the combined images on to a screen. By focusing on one of the images, the one in true focus will dominate and soften the other. Much depends on the slide carrier used, but if there is room to insert more than two mounts in to the carrier, then the more space between the two films the greater the effect of one image dominating the other. Should both images need to be in focus then the closer they are to each other the better.

When sandwiching films in this manner it is possible to insert one or the other upside down, on its side, or the other way round. But there is little more opportunity with this technique of controlling the end result, so it is only a little bit better than double exposure as at least one can see what the result looks like first.

TWO PROJECTORS

This method involves using two projectors, but one has then an exciting way of blending any two previously created pictures, with far more control!

The technique is simple; just project both images separately on to the same choice of screen. However, these images can now be positioned whichever way one might wish, one image could be much larger than the other, or by masking parts of each image, a different blend of the two pictures can be created. This is how any parts, of any picture, can be blended together and all the time one can see exactly what is to be photographed.

Ideally, two identical projectors should be used, if possible with zoom lenses. Should this prove impractical then variations in performance of the second projector can be allowed for, by masking the brighter of the two, just in front of the lens to achieve the same brilliance from both projectors.

To enhance the quality of the results one can achieve with this technique, there is an advantage in obtaining a screen designed for rear projection.

IMAGE BLENDING

Once the full potential of using two projectors is realised, there will be a need for quite different types of images, these are what are referred to as background shots, in the advertising world. A completely new stock of photographs will have to be taken, with blending potential in mind, no matter how many pictures are available from the past.

Now each image can be simply modified: The brightness of one image, as against the other, can be controlled. By masking and shading just parts, of each image, can be blended. Colours of certain areas can be altered with filters. The position of each image, relative to each other, can be adjusted. Or even the size, of one image as against the other, can easily be altered. One of the images could be distorted, reflected, or be changed in to a pattern by the use of a crystal. The possibilities are quite staggering!

Best of all, the combined images are there to be seen all the time, until the desired result is formed. There is no need to rely on guesswork, as so many other special effects seem to demand, with these methods so no film really should ever be wasted.

With two projectors it becomes possible to mix film effects together in a way not possible before. It is so easy to blend negative images with transparencies, in colour or black and white. Instead of transparencies in both projectors, one of them could be projecting a black and white negative or a colour negative just as easily.

PLATE 3

'Spirit of Spring' is a well-known award winning study that won much acclaim for the author. This transparency of a portrait was projected over; a second projected colour negative image of a red tulip. A variation of this concept is plate 59 (Poetic portfolio) where another profile of Susan was blended with a colour negative of the centre of a tulip. (See this and other photos in the author's 'Poetic portfolio' link below).

MORE PROJECTORS

There are no reasons why more than two images should not be projected all at once, providing the projectors are available.

There have been a number of occasions when four projectors were in use together. However three have been the most that have normally been used, with the fourth one occasionally; simply projecting the author's signature in to the scene.

REAR PROJECTION

There are some valuable advantages in having a rear projection screen especially when owning more than one projector. The first advantage that comes to mind, after the obvious one of avoiding distortion, with at least one of the images, is the opportunity to add a light coloured background when photographing projected images on to other objects.

Should the rear projection screen simply be used to provide a background scene, often expected to be in a softer focus, an expensive screen is then not needed. Even tracing paper will do!

INSPIRED ACCIDENTS

Hoping that readers having reached this far will agree that the possibilities described, offer photographers working in colour so much more than simply recording reality. Trusting readers will also agree that this form of photography really justifies recognition in the art world, as it has certain qualities that are quite unlike those of any other media.

This has been published with the hope that photographers will not just create strange pictures or gimmickry, but produce works of true artistic merit.

The most satisfying time spent is without doubt in the creation of the work. Frequently regardless of the medium used, if an artist is truthful, the end result obtained is not always exactly as initially conceived.

Often the author has decided on a theme, or it could be just a thought about a pattern or composition that exists in the mind, in an abstract way, as yet unexpressed. Perhaps the last portrait taken inspires the desire to do more with it. Whilst considering and projecting certain images, to blend with such a portrait, something can suddenly be seen that fires the imagination.

At other times an idea occurs and a clearly defined image forms in the mind. However, whilst trying to create this picture, it is not so unusual that one strays across a certain amount of accidental inspiration. This can be the chance blending of two images in a way never thought of before, that looks just too good to ignore! The best thing to do then is to be prepared to change direction, and pursue the new study, rather than the original concept. The first attempted creation can always be tried again later on.

The excitement and pleasure one feels when inspired in this way is hard to describe. So even if one starts with just a vague concept, it is worth spending some time experimenting. Think of it as being the stage where the artist is selecting and mixing the paints on his palette, still unsure of what he might paint, but just feeling the need to make a start. Whilst thinking of the various possibilities, surprising relationships can develop, that might well become the basis of the final picture. It is only really by actually making a start that you create the opportunity for something exciting to happen.

To see a more detailed version of this article with all the Plates please visit: - http://www.jncohen.net/Photo_magic/index.htm

For those preferring pure photography, rather than digital manipulation, this is an exciting technique that anyone can do with very inexpensive equipment. The projector is all that is required (the magic lantern) is really magical.

About The Author

John N. Cohen (now retired) was an international top award winning photographer that created new techniques of 'special effects' without any darkroom or computer!

"...regarded as one of Britain's most original photographers." The Times

"To Cohen, the impossible in colour merely takes a little longer..." Photography Year Book

To see a more detailed version of this article with all the Plates please visit: - Photo Magic (close new window/tab to return to this page

12 Steps to Successful Slideshow Productions

12 Steps to Successful Slideshow Productions
by: Sandra Clukey

Planning is the key word for creating successful slideshow productions. This is not difficult, but does require time and effort on your part before hiring a professional slideshow creating company to create your unique video slideshow. Here are some steps you can follow to insure a beautiful slideshow production.

1. Determine how long you want your slideshow to be

The length of your slideshow will determine how many photos you can use. If you are using the simple fade-in fade-out style, you can usually use about 80 pictures for a 10 minute show. And that is about all most audiences can handle. However, if you use choose a slideshow creating company that has more creative elements included in the slideshow production, then you may only be able to use 50-60 photos for a 10 minute slideshow. However, the upside of this is that a more creative slideshow can last longer and seem shorter. A 20 minute creative slideshow can feel like only 10 minutes, where a 10 minute fade-in, fade-out slideshow can feel like 30 minutes to a lot of people. As we all know, we don’t always enjoy viewing one anothers photos for a long period of time. So, the more creative the show, the longer it can play and your audience will not even realize how much time has passed.

For instance: Sands of Time Multimedia Creations did a video slideshow for a church that went on a mission trip. They were given hundreds of photos to work with and the end results were a one hour video slideshow presentation. As the youth gathered around to see this, they were not at all excited at the prospect of watching photo after photo for one straight hour. However, as soon as the video started they noticed immediately that this was not your photo-after-photo slideshow. Their attention was captured from the beginning to the ending as they laughed, cried, and cheered. At the end they were surprised it was over and stated that they had no idea an hour had passed! They all purchased their own copy of the video. Creativity - the key to a truly great slideshow presentation!

Click here to view a short sample of a Sands of Time creative style slideshow: http://sandsoftimemultimediacreations.com/samples/Opening1C.htm

2. Pleasing Your Audience

– If possible include some photos of the people who will be viewing the presentation. Everyone loves to see themselves light up on the big screen! It will make them feel a part your special event and keep their interest peaked to see who will be showing up next. Also, consider giving credit to those who played a significant role in your event.

To view a sample of a Sands of Time Multimedia Creations slideshow credits page click here: http://sandsoftimemultimediacreations.com/samples/extras/endings/ending4C.htm

3. Decide Your Theme

- Choosing your theme will help you choose your photos.

A. Do you want your slideshow to span the life of an individual?

B. Is more than one person’s life going to be featured in this slideshow? If so, do you want their lives shown separately or simultaneously?

C. Is the slideshow going to focus on a specific aspect of the person’s life such as a sports video? A particular hobby? Or a particular quality aspect of a person’s life such as in a Mother’s Day Slideshow or Father’s Day Slideshow?

D. Is the time frame very specific as in a vacation slideshow? Or Christmas slideshow highlighting the current years events?

4. Choose and Organize Your Photos

– These are very crucial steps and also very challenging. After all, almost every photo of Jane or Bobby is truly unique and beautiful and shows different character qualities. Sometimes it’s good to have a friend help you because they can be more objective. As cute as Jane or Bobby is, most people get the point after about 3 - 5 pictures in a certain time frame. Organize your photos chronologically or by theme. Or depending on your slideshow, both. Ask Your Sands of Time Multimedia Creations Slideshow Consultant for advice

An example for choosing your photos – Becky is doing a slideshow of her daughter’s graduation. She wants the photos to be from the time she was born to the day of her graduation. She goes through her photos, picks out her favorites and organizes them according to the year. Then she goes back and selects her very favorites from her favorites. Sometimes a third time is necessary, by then you will need to determine which ones MUST be in the slideshow and which ones can be omitted.

5. Choose Quality Photos

– This will help you in the choosing process. Ask yourself these questions:

A. Is the photograph clear, not blurred or hazy? The blurring and haziness will be enhanced the more enlarged the photo is.

B. How is the lighting? Too dark or washed out?

C. Is the photo too grainy? Grainy photos do not scan well.

D. Has the photo been cut in an odd shape? – Although these work great for scrapbooking, they work poorly for slideshows.

Even though a high quality slideshow creating company such as Sands of Time Multimedia Creations can fix, enhance and correct your photos, the better quality you start with - the better the finished product.

6. Choose Your Captions

– Captions can add to the appeal of the picture for the audience to help them understand what is happening in that particular photo. They can also add to the humor or sentimental value of the video. Not every picture should have a caption; for the most part the photos should be able to speak for themselves. Your audience may not enjoy the slideshow as much with too many captions. But in certain circumstances such as creating a slideshow for a loved one who is away serving in the military – captions can be quite effective. Ask a Sands of Time Multimedia Creations consultant for their expertise in this area.

7. Choose Your Music Carefully

– Hollywood producers will tell you that the right or wrong music can make or break a movie production. Choose the music according to the feeling you want to give your audience. Happy, sentimental, funny, nostalgic…. it’s all in the music. Choose music that means something to you or the person you are creating the slideshow for. Check the length of the music to the number of photos you want to use and the type of slideshow you are choosing. Sands Of Time Multimedia Creations can help you with this process.

8. Add Video Clips

– Adding short video clips to your slideshow can help break up the slideshow and 10 – 30 second video clips can enhance any slideshow.

View a sample of a Sands of Time slideshow with an added video clip: http://sandsoftimemultimediacreations.com/samples/wedding.htm

9. Use Voiceovers

– This can add a sentimental touch to any slideshow. This can be done using a video camera, or with some digital cameras that take video. Just be sure to tell your slideshow company that you just want to use the voice, not the video.

View a sample of a Sands of Time slideshow with a voiceover http://sandsoftimemultimediacreations.com/samples/star.htm

10. View Samples, Choose Your Slideshow Company, and Place Your Order

–There are several slideshow companies out there to choose from, so how do you know which one is for you? Always view the online samples. If you are looking for the simple fade-in, fade-out slideshow, any slideshow company can do that. If you want the Ken Burn’s effect with the pan and zoom this is very nice and some slideshow companies can do that. However, to narrow your search even more look for unique and creative slideshows. Very, very few slideshows can do this. Sands of Time Multimedia Creations is highly creative and extremely unique. Combining the Ken Burns effects with creative elements, scenery, and backgrounds make them a most highly desired slideshow creating company and they work on a first come first serve basis, so if creativity is what you are going for, be sure to call Sands of Time Multimedia Creations as soon as possible as to avoid being turned down or placed on a waiting list.

View our samples now and experience the difference! http://sandsoftimemultimediacreations.com/index-1.html

11. Back up your photos.

Are you sending film photos? Make sure you have copies of your photos or the negatives. Sending scanned photos on disc? Make sure you have a copy. Sending videos – make a copy. Although lost mail is rare, slideshow companies are not responsible for what happens to your photos while in the mail. And unless you have a back-up, photos are irreplaceable.

12. When packaging your photos place them in Ziploc baggies.

This will protect them from any possible water damage and also works great for separating your photos chronologically. You should also place your discs or videos in Ziploc baggies. And always insure your package. Although lost or damaged mail is a rare occurrence, it’s always best to be prepared. And always opt for priority mailing services. The less time in the mail – the better.

This is where your professional slideshow production company now takes over. They will be in constant communication with you and you will have a good idea as when to expect your slideshow to be finished. Sands of Time Multimedia Creations slideshow creators work closely with you to help you receive the ultimate video slideshow production.

About The Author

Sandra Clukey, lead slideshow creator for Sands of Time Multimedia Creations, has years of experience and an intense passion for turning still pictures into beautiful, sentimental slideshow video albums for people everywhere! sandsoftimemultimediacreations.com/ (close new window/tab to return to this page). View some of her samples: sandsoftimemultimediacreations.com/index-1.html (close new window/tab to return to this page) and experience the difference!

Quick Guide to Taking Better Photos

Quick Guide to Taking Better Photos
by: Marilyn Lyons

In my business I see a lot of snapshots taken by ordinary people. They aren't professional photographers. The "Average Joe" is usually just trying to record a moment or subject, not win a prize in a photo contest for technical excellence. However, here is something very important to remember before taking that spare-of-the-moment picture. You won't be able to take that exact image again. That moment in time will be gone. So, it's best if you record that image the best you can at the time you hear the click of the shutter. Call it an insurance policy. Better to do it correct when taking the photo now than years later saying ..."what if" or "I wish I had..."

These tips are very simple things to do and to make a habit of when taking pictures. If you are already doing them...great. You probably will have fewer "second thoughts" years from now. However, if you think your photos are lacking "something", these tips could be the key to saying "wow" today and tomorrow. I guarantee you will see major improvement in your photography, if you follow these steps.

---Move in as close to the subject(s) as possible. Unless you're taking a scenic shot, a lot of background in the picture is not important. (more about that later) We want to see the person/subject, not the trees or grass in the background. When looking at the printed photo later, we want the eyes to be drawn to the subject(s). The subject should be the focus of the picture. Also, unless what the person is wearing is important, it it not necessary to include the subject from head to toe in the picture. You'll be able to get much closer if you take the picture with the subject(s) shown, at most, from the waist-up.

---How you hold the camera, vertical (up & down) or horizontal (left to right), will help in framing the subject. This will also help you to get as close as possible. Can you get the subjects in the camera's viewfinder when holding it vertically. If so, that's how you should take the photo. If not, switch to horizontal. Usually, in general, 1 or 2 people should be taken vertically. Three or more people should probably be taken horizontally. This is probably the most common, but easily correctable, problem with snapshots that I see. If there is one person in the photo, rarely should the picture be taken horizontally. Yet, I see it a lot. It's understandable if the person is standing in the Grand Canyon. That's a wide scenic view and one that you want to include in the image. But, that is rare. Here is another important tip concerning positioning of the camera. Move the camera before you move yourself. If you are the photographer, stand 5-10 feet from the subject(s) and position the camera in the vertical or horizontal position following the guidelines stated above. If you can't fit everyone in the frame, then take a step(s) backward. Remember, we're trying to be as close as possible to the subject(s). Experiment with repositioning the camera before repositioning yourself!

---Too much needless background in a photo is a common problem with snapshots. Moving in closer and positioning the camera correctly can eliminate needless background. But, how do you decide when to curb it and when to expand it? Ask yourself these questions. Is the background unique or interesting? Does the background help in telling a story about the subject or what was happening at the time the picture was taken? If you are taking a picture of a clown in front of a building or in front of trees and bushes, the background is not unique, nor is it telling a story about the clown. So, move in close and take the picture vertically. However, if the clown is standing in the middle of the midway of a carnival or circus, that is very appropriate to show in the background. It helps to tell a story about the clown and it's interesting. It also tells a story about the photographer. It lets us know that the photographer was at a carnival or circus. This would be an ideal situation to step back and allow more of the background to be seen in the viewfinder. Use this tip when considering where to take your picture and how to position the camera.

---By following the tips above, you will not only see more appealing photos but it will also be a major benefit if you should decide you want any of your photos enlarged in the future. You might even find it more cost effective. Here's how. A top reason why a lot of people have a photo enlarged, is because they want to see the subject(s) bigger and have needless background eliminated. An issue that wouldn't be an issue if the steps outlined above were followed. If when taking your photos you move in closer and position the camera correctly, vertical vs horizontal, (A) The image/subjects will be closer and easier to see, therefore enlarging may not be necessary. (B) If you want a photo enlarged, you probably will find it will not have to be enlarged as much to get the size of image/subject you desire.

---Let's debunk a myth! The best pictures are those taken in bright sunlight. Right? That's WRONG! The best lighting conditions in which to snap an outdoor photo is...overcast skies. Bright sunlight, especially from an afternoon summer sun, washes out color on the subject and causes upheaval with your camera's eye or lens. For more appealing skin tone and color saturation, take your outdoor photos on an overcast day or in the shade. A trick that professional photographers use when shooting in these conditions is to use flash on a low setting. The flash adds a little light to brighten the scene (highlights) and add "catch lights" (those little white dots) to the eyes. A yellow filter can be attached to the front of the flash to add a bit of yellow light, mimicking the sun. The flash will also be very beneficial if the subject is wearing a hat or cap with a brim. The hat can overshadow the eyes and top of the face. By using flash, you'll reduce the shadow by throwing light under the brim.

Speaking of the sun...don't pose your subject(s) facing the sun (causes eye squinting and wrinkles) or with their back to the sun (causes lighting issues) . Position the subject with the sun to their side.

A GOOD sun in which to photograph outdoor pictures, is a late afternoon autumn sun. The deeper yellow lighting adds warmth to a photo. Done correctly, the lighting alone can make a photo extraordinary.

---Want to eliminate "red eye"? The scary, glowing "red eye" affect is caused when the flash is reflected in the eye and bounces back to the camera's lens. I won't bore you with a physics lesson, but that reflection bounces back in an almost straight and level line from the eyes. So, if your flash is attached to the camera, do not take the picture on the same level as your subject's eyes. (A) Have the person look towards the camera but not directly at it. (B) The photographer should move the camera slightly above or below the subject's eye level.

If your camera has a detachable flash, hold the flash above and to the side of the camera when snapping the shutter.

Photographing animals without "red eye" is more difficult because you can't control where they look and usually have to snap it quick. Suggestions include...photographing them in action and not in a posed position, therefore their eyes more than likely won't be directed towards the camera. Secondly, you can try quickly moving away from the animal's eye level a split second before snapping the shutter. But, that is dangerous because you may have "camera shake" when clicking the shutter, which will lead to a fuzzy image.

About The Author

Marilyn Lyons is an awarding winning photographer with a Photographic Technology degree from the Ohio Institute of Photography & Technology. She has worked with a variety of photographers and owned her own studio. She currently is a veteran of the photo sculpture industry, working with photographers and the general public to produce stand-up 3-d cutouts and popouts of their photography. You can check-out a gallery of her creations at Fun Fotos (close new window/tab to return to this page).

Getting to Know Your Digital Color Printing

Getting to Know Your Digital Color Printing
by: Kristine Llabres

Digital simply means the implausible high resolution printing result of the files that you have from your computers. Since it is always better to use original things rather than the copied ones for the authenticity and originality is there. And that was digital printing will do to you. The number of copies would solely depend on you, your needs and desires.

Color attracts the customers and it utilizes the sophisticated as well as full color production using the latest innovations in printing technology. CMYK colors or Cyan, Magenta, Yellow and Black are the best recommended color variety that should be used in digital color printing since it is clearer and the tiny details in the printing material are dealt with in a better manner and can produce the best output than those that were printed in RBY or Red, Blue and Yellow colors.

Since what you can see in the monitor is different from the actual print result of the printer. It may be darker on the screen but light or just fair in the printing output. But with today’s digital color printing customers are being satisfied with the outcome wherein there can be reduction, enlargement, and change portions of the original by coloring it again as well as the mix and match of texture pattern and others.

The paper where the printing will be should be in accordance with the desired effect of the printing. Matte paper has poor resolution with color black so it is not advisable to use this paper if large amount of color will be black for large prints but if it is of normal size matte paper will do just be partnered with compatible ink. Glossy paper is the widely used paper in digital printing for it matches almost all in the colors available in the printer.

Furthermore, in digital printing it will always be a verdict that lies in the hands of the printer that could be a commercial printing service or just an individual guided with the principles of digital printing. What is essential is that the printing result is of good quality and not of wasted ones.

Appropriate blending and harmony of colors should be observed to have the flourishing effect and compatibility among the materials. Colors that stir up emotions where the most valued colors of the customers for they could relate and intermingle with it. So much with it, digital color printing is what everyone needs. For high quality printing, personalized printing, customized printing and precise sharpness and clearness of images and photographs in a paper.

About The Author

Kristine Llabres

A devout reader of classical novels and Marxist books that boost her stand with regards her philosophies in life and a young lady who wants her life to be documented in every single detail of it. A diary and photograph addict, a young writer who wants to grow and excel in her writing career.

For additional information and comments about the article you may log on to Digital Room (close new window/tab to return to this page).

antony@rushprintingservices.com

Light and Depth of Field

Light and Depth of Field
by: Jakob Jelling

With such a fantastic device as the digital camera for the recreation of magic in arts, a lot of care needs to be taken so as to maintain the perfection of the end product. This perfection is not only obtained by the artistic feeling of the photographer but also with the intricate knowledge of every minute aspect of the medium of creation of art (in this case the digital camera). And these minute aspects play a vast role in defining the ultimate perfection. The digital camera, light and depth of field are one such factor that would come into light in this subsequent discussion. Basically, the depth of field is a measurement of the acceptable sharpness. Yet this is very strictly a personal preference, and varies from person to person. Thus to be more formal, the depth of field can be defined as the area inside an image that demonstrates an ample sharpness that can be considered more or less in focus. So the depth of field is the range of distance, measured along the lens axis, as per which the image is caused to be sufficiently well and sharp in the photograph. The rest is as follows!

The depth of field defines the zone where all elements show clearly from foreground to background. Three factors control the depth of field in an image, they are the distance of the subject, the focal length, and the aperture used to capture the photograph. For people using compact digital cameras, one of the subjects of out of the ordinary interest is the depth of field because depth of field is more easily said than done to control with a compact digital camera than with earlier conventional analog film cameras. The minute imaging sensors of compact cameras need the use of short focal lengths, and this in sequence gives these compact digital cameras an extraordinarily long depth of field when compared to other cameras. Thereby, with intent obtaining a shallow depth of field is more complicated.

Considering a general acceptable fact, the depth of field decreases, as the image gets nearer to the camera. This means that as the focal point reaches closer to the lens, the achievable scope of the depth of field ebbs. On the other side, if the image is far enough distant from the camera, and for digital cameras, this must not be very far, the depth of field approaches out to infinity. Another important point to be noted is that the depth of field is proportional to the lens opening.

Having discussed the above important aspects of the light and depth of field of a digital camera, it is clear that the minute details make such great subjects whose knowledge becomes equally important for making appropriate use of the fantastic device, the digital camera! And the digital camera, light and depth of field comes out to be such important factors that can make all the difference if a photographer remains oblivious about this knowledge. A small factor thus can meal a big divergence!

By Jakob Jelling
Snap Junky

About The Author

Jakob Jelling is the founder of Snap Junky (close new window/tab to return to this page). Visit his digital camera guide and learn how to take better pictures with your digicam.

The Secrets That Lead To Great Colour Photo Prints

The Secrets That Lead To Great Colour Photo Prints
by: Erik Vlietinck

You've carefully composed that shot. You sat there, waiting hours on end to get the colours of that beautiful sunset just right. Then, finally, you shot your great sunset. Everything seemed like OK, but when you print your beautiful photo, it comes out dull, with little of the vibrance you expected to see. What a disappointment!

Most disappointments with photography being output on an inkjet photo printer have to do with the colour workflow. If your colour workflow is not set up well, you're bound to get results that look nowhere near what you expected from the shot in the first place.

So, how should you proceed to get the best looking output on an inkjet photo printer? It all starts with setting up your workflow correctly, and to do that, you need to make up your mind about a few things first. The first issue is to determine which level of output quality you want. If all you want is to output decent looking photographs without much afterthought — more or less like you've shot them — then let the printer decide the colours for you.

Most inkjet photo printers will allow you to either hook up a camera directly through PictBridge or a USB connection. You can then download the images into the printer and have them output immediately. Most driver software will allow you to select the printer as the decision maker for the colours it will print. But if you're passing through the PC or Mac, you should have an idea of how to set up a proper colour workflow.

The Colour Workflow

When printing an image through the printer driver on your PC or Mac, you should open the photograph in an image-editing program like Photoshop, Photoshop Elements, or any other image-editing application. If you shot the photo using a digital camera, and you have used JPEG or TIFF as output file format, the camera will have 'tagged' the photo with a colour profile. This colour profile will be sRGB in almost every case.

A colour profile describes the colour space — the number of colours and which colours exactly — a device can produce or recognize. A working colour space is described by an abstract profile, which serves to give you a device-independent space to edit images in.

sRGB has seen excessively wide use, as especially HP and Microsoft were promoting it as the standard RGB profile. sRGB as a colour space has serious weaknesses — there are a lot of colours today's printing presses as well as other output devices like photo printers, large format printers and many inkjets (not to speak of up to date monitors or digital cameras) can produce that cannot be stored in sRGB. If quality is important, sRGB is not an option.

Nevertheless, you should always use the correct source profile for the data at hand, and only if absolutely necessary convert from that colour space into a better one like Kodak ProPhoto, a colour space that is far larger than sRGB. ProPhoto's ICC colour profile is delivered with most Adobe applications. In your colour workflow your first choice should be to honour your camera's setting and keep the profile attached to the file.

If an application asks you if it's OK to throw the profile away, click 'Cancel', and shout "NO!" very loudly. If you do throw it away, some information about the image's colour gets lost. We can make that up by attaching another colour space's profile but you always risk to throw away a tiny amount of data due to the rounding errors inside the image-editing application's calculation engine.

If you shoot in Camera RAW mode, you're basically taking a picture without any interference of software algorithms at all. The camera will save the image exactly as it 'sees' it. Camera RAW is a format that you can only deal with on a PC or a Mac by using either the camera manufacturer's dedicated software or an application like Adobe Camera RAW in Adobe Bridge or Photoshop CS2, DxO, or another specialised application for editing RAW files.

With Camera RAW you can in theory attach any colour profile as you see fit, but in reality you will want to choose a working colour space that is large enough to encompass all possible colours the camera could detect.

Such a colour space could be the Kodak ProPhoto space and its associated profile. For Camera RAW photos and JPEGs which have no associated colour profile (anymore), Kodak ProPhoto makes the most sense. The colour gamut (number of colours it supports) is larger than AdobeRGB.

So, now you've tagged your photo with a colour profile. You're busy editing it in Photoshop or your favourite image editing application. And now you're almost ready to print it on your brand new n-colour inkjet photo printer. But first you want to check how the colours will look when they've been printed.

Softproofing

In Photoshop and some other image-editing applications, you can see how results will look by checking the image on-screen. To make sure that what you see on screen will be close to what will be on the paper, the monitor should be calibrated and profiled.

If your monitor has been set up properly, you can select the soft proofing feature from your application. Immediately, you will see the colours turn darker, more dull, less vibrant. That is because paper displays colours differently from a monitor (that emits light instead of absorbing it — there it is, now you know). If your monitor is well profiled and calibrated, what you see when softproofing will be close to what your printer will deliver.

The profile used for the softproofing process will be the paper colour profile for the paper on which you intend to print.

Finally, when you're ready to print the photograph, you will select that same paper profile in the printer driver for output. The colour profile that you select in the printer driver will describe which colours the printer/paper combination can output and will translate those colours that it can't but nevertheless are in your image to colours it can.

For photographs you will select a Perceptual Rendering Intent — think of this as the method by which colours are translated in such a way that they match the originals the most visually.

Why Translating?

The question that a layman will ask is why you should translate colours in the first place. The answer to that is: "Due to the differences between devices when it comes colour capabilities".

An inkjet photo printer may be capable of printing many colours, but it will always be more limited in that capability than a digital camera. This is due to limitations in the technologies used in both types of devices. Even the best printer will not be capable to print all the colours a digital camera can represent. (The same can be said of a monitor, by the way).

In order to somehow output those colours on paper as well, the original colours that lie outside the printer's 'colour gamut' are brought inside that gamut using an appropriate calculation method. The Perceptual Rendering Intent is most appropriate to photos because it will shift all the colours in such a way that the overall visual appearance still looks 'right'.

The reason why you should keep a profile attached to an image, or attach a nice, large working colour space profile to RAW images is that you want to be sure that no colours are thrown away from the start. As such a colour profile describes all the colours the image may contain, it pays off to choose a large gamut. That way you're always sure that your image colours will lie inside the gamut.

There are many different ways to come to these translations, and each will have its own slightly different result. That is the domain of colour management.

Where Do You Find Colour Profiles?

Each inkjet manufacturer delivers its own colour profiles for each of its printers with the printer you're buying. However, there may be problems with some of those profiles. Some manufacturers regard profile creation as an afterthought, while all manufacturers will deliver profiles that represent an average of the printers they make.

Unfortunately, every printer is slightly different from the next. Manufacturers will also provide you with printer profiles for all of the papers they make themselves. Again, the manufacturing process is not perfect and differences between batches of paper will exist. And papers that were not manufactured by the printer vendor come without profiles altogether.

While paper mills will create their own profiles, these may not have been created with your printer — most likely they have not.

The only way to get perfect or near-perfect results therefore, is to create your own profiles. You can do so by buying a X-Rite or GretagMacbeth spectrophotometer like the Pulse or Eye-One Pro. These are excellent-quality measurement devices that come with the necessary software. The disadvantage of these packages is obviously the price. You won't get such a device below 1,000.00 Euros, which makes them too expensive for amateur usage.

The one product that is inexpensive enough to be reasonable for any amateur photographer, is ColorVision PrintFIX Pro. Unfortunately, this device has been tested and the results were mixed: sometimes you get an acceptable profile, sometimes you just get failures. You can read the test results in the Colour Management section at IT-Enquirer.

The third, and probably most cost-effective solution, is to have a third party create your printer/paper profiles. Such a service can cost from 40.00 Euros to well over 200.00 Euros, but most remote profiling services as they are called, are reasonably priced. One good profiling service is Thinck.

For 45.00 Euros they will create a RGB inkjet profile for you. As they are specialised in semi-professional and professional photography, their profile will be specifically checked and tuned for photographers' needs. On Thinck you can also order A3+ prints from HP's newest Photosmart Pro B9180 printer, an excellent 8-colour printer that they drive with EFI's Designer RIP.

About The Author
Erik Vlietinck is the Publisher of IT Enquirer (close new window/tab to return to this page), an online magazine for desktop publishers, graphic designers, and photographers. He also runs a remote profiling service, at www.thinck.com (close new window/tab to return to this page).

Nine Hints For Taking Great Digital Photos

Nine Hints For Taking Great Digital Photos
by: Christopher Thomas

Introduction

Modern cameras are highly automatic in operation. They have auto focus and auto exposure. The camera will focus on the subject - often identified by a small circle or square at the centre of the viewfinder - and calculate an appropriate exposure by detecting the level of reflected light - usually from the same spot. A slight pressure on the shutter release will activate those two functions, without taking a picture. Further pressure on the shutter release will result in a photo being taken.

1 Take care to Focus and Expose on the Subject of the Image

Imagine you are taking a picture of your girl friend against the background of an interesting harbour. Your girl friend is six feet away while the harbour is around 50 feet away. You position your girl friend carefully - she is important to you - at one side of the picture with an interesting view of the harbour in the distance. Now do you want to focus on the harbour - or your girl friend? Position the square or circle at the centre of the viewfinder over the spot that you want to focus on and correctly expose - take a slight pressure on the shutter release - and keep that pressure while you move the camera to frame the image you want to take - then, and only then, push the shutter release fully down and take the photo.

If you want to have everything in focus - then see 7 Depth of Field.

2 Carefully Compose Your Shot

Before taking the picture take a careful last look through the viewfinder. Check the composition, and particularly that heads and feet are included, and that all faces are visible in anything other the smallest of groups. With the camera taking care of focus and exposure - you have the time to concentrate on getting the composition perfect. Photographic amputation of limbs is unforgivable!

3 Set the Colour Balance Correctly on the Camera

Digital cameras have controls that allow the operator to set the nature of the lighting illuminating the subject. In general they will default to daylight, since shots are likely to be taken outdoors. On this setting, pictures taken indoors under artificial tungsten lighting will look yellow - they will have a yellow cast. Pictures taken under strip lighting will look green. Setting the camera appropriately will produce consistent balanced photographs. Look in the camera manual to see how to set the control - it is very easy. Flash guns produce a light, which is very similar in colour 'temperature' to that of daylight.

4 Don't Expect Too Much from the On Camera Flash

The on camera flash is designed for convenience when shooting a small group of people. It will not illuminate a hall. When watching public events on the television it is somewhat surprising to see members of the audience in the Albert hall take a pocket camera out and shoot a picture with their flash. This is unlikely to be successful. Better to turn the sensitivity of the camera up - say to 800ASA - the 'film speed', or sensitivity. This might produce a better result. Do not confuse sensitivity of the camera with shutter speed. They are different.

An on camera flash will illuminate only a short distance - as a guide pick up your cat firmly with two hands by the tail and swing it around at arms length - that is the sort of distance the flash will illuminate!

5 A Tripod is Essential for Long Distance Shots

Most modern digital cameras come with a zoom lens that can take both wide angle and telephoto shots. This is extremely useful. However remember that when the camera is on its furthest telephoto setting, camera shake will become a problem. If you are taking a telephoto shot and the camera chooses a slow to medium shutter speed, the result might be blurred due to the movement of your hands while taking the exposure.

Use a tripod - all wildlife photographers use them. They are a pain to carry but improve quality by orders of magnitude.

6 Fast Moving Subject Require a Fast Shutter Speed

The shutter is that part of the camera which opens briefly to allow light to strike the sensitive surface of the detector to produce an image. Fast moving object require extremely short shutter speeds in order to capture a crisp sharp image. Slower shutter speeds will produce a blur as the object moves.

In general outdoor photography a shutter speed of 1/60th or 1/125th second will be acceptable. In contrast, shooting a formula one car in motion will require shutter speed of say 1/1000th of a second.

7 A little About Depth of Field

In days past, a photographer would measure the level of light at a location with a light meter and then calculate the best combination of shutter speed and aperture to correctly expose the film.

This is now done automatically by the camera. Aperture is the measure of how much light is passing through the lens. The lens has an iris, which can be 'stopped down' to reduce the amount of light passing through the lens. A fully open lens will pass the greatest amount of light - full aperture - but this also reduces the 'depth of field'. The depth of field is the band of distance over which the subject is in focus. In 1 above, with full aperture either your girl friend or the harbour is in focus - but not both. By 'stopping down' the lens - reducing the aperture - both can be brought into focus. But as a consequence the amount of light passing through the lens is reduced. The length of time which the shutter is open will have to be increased to compensate.

8 When taking Landscapes Avoid Putting the Horizon Across the Centre of the Image

Drawing the picture horizon in the middle of the image simply looks naff. It divides the picture in to two and fails to engage the viewer. Best to concentrate on the sky or the foreground. Photograph a setting sun with red sky, or a rainbow with the horizon low in the picture. Or concentrate on the landscape and place the horizon high in the picture.

9 Be Aware of the Effects of Back Lighting

Let us go back to the example given in Hint 1. Imagine that in the picture of your girl friend in front of the harbour, the sun is setting, casting its golden rays across the sea and reflecting on the masts and other metal objects of the harbour with white clouds illuminated red in the dying rays of the sun. An evocative and romantic shot.

Taking the shot with the camera will result in a beautiful background but a black shadow of a girl friend! Now that might be appropriate should you have had a particularly bad day with her and it might correctly reflect the mood. However using the on camera flash to fill in the darkness - to illuminate her face and show her features might be more appropriate on a better day!

by Christopher Thomas
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About The Author

Christopher Thomas is both keen photographer and company director of Viewlink Ltd, based in Amersham Uk.

For more information please visit View Link (close new window/tab to return to this page) where you can find a range of online photo developing services, gifts and industry related articles.

Camera Tricks For The Trigger Happy

Camera Tricks For The Trigger Happy
by: Della Magin

How to be an expert photographer

How many times have you returned from a fantastic trip only to find the photos that you have taken don't really do justice to your memories? This was very common when everyone used old-fashioned film to take their shots, and had to wait for days for the prints to arrive - often excitement followed by disappointment.

Digital photos haven't changed much besides shortening the wait for the photos at arrive. The preview screen on the digital camera does not give the exact idea of the end product. The snaps usually are a let down as a result. But you could keep some pointers in your mind that would allow you to take great photographs.

The first thing is to look around for some good photographs of the spot you are visiting. There is a likelihood of there being a variety of picture post cards at the local shops. See which one appeals to you and why. These are normally photographs by professional photographers so you can learn from them. Try to envisage from where the photographer has taken the picture. If possible take it from the same angle. You can benefit from the experience of the professional.

Some people will say why bother copying a postcard. Well, you don't copy it - first of all the light will be different, the trees, the colors will all be unique to your shot. And you can make it personal by including travelling companions in the foreground - at least this way the background will be great! What's more, it's only a starting point... you can take it on from there to shoot whatever appeals to you.

When taking your shots, take you time. It doesn't mean you have to spend hours setting up a tripod and so on, but don't just point and press. Think about the shot - what's going to make it interesting? If it's the monument you want to photograph, will it look best in the center or slightly off to the left? If you walk twenty feet to the left will you get those trees to make a nice background rather than that car park?

The camera should be held steady while taking the snap. You may not use a tripod like the professionals. No problem. Use a railing or a wall to steady your hands. This would improve your shots.

The snaps should be taken in the morning or the evening. This is so because the light is great for taking photographs at these times.

You can make a picture interesting by paying attention to details. Sometimes a simple detail is magnified and this is more interesting than photographing the whole monument. Develop an eye for detail. Having a digital camera is a blessing. You can take as many pictures as you wish without bothering about the cost. You don't have to get all of them developed so it is a big advantage if you are trigger-happy. So, go ahead and shoot.

About The Author

Della Magin is the administrator and delegate of All About Digital Cameras, your one stop shop for your photo and camera needs. Find all of your photo needs at: All About Digital Cameras

Digital SLR Photography - How To Take Stunning, Lively And Ravishing Pictures

Digital SLR Photography - How To Take Stunning, Lively And Ravishing Pictures
by: Connie Fillmore

Photography is digital SLR photography, at least to any self-respecting photographer. Suggest otherwise, and he is sure to give you a piece of his mind and proceed to praise the virtues of digital SLR photography.

Digital SLR photography uses a digital SLR (Single Lens Reflex) camera that uses a movable mirror placed between the lens and the film to project the image on to a focusing screen.

Digital SLR photography churns out the most amazingly realistic photographs, in fact much better than the ones turned out by the conventional fixed lens cameras. But its prime appeal to photographers, both amateur and professional, is in the fact that he can work out a large amount of control over how his pictures end up as.

Digital SLR photography is all about customized photographs that are stunning to look at, to say the least. This is because the cameras come with extremely good lenses. This is why the discerning photographers are not miserly about getting a lens, frightfully expensive they may be.

However, digital SLR photography enthusiasts should never think that a swanky Nikon or a Canon is the passport to great photography. The apparatus notwithstanding, good photography depends a lot on the skills of the person brandishing the camera. The basics of digital SLR photography are not hard to pick up.

The first and foremost tip about digital SLR photography is to equip yourself with the nitty-gritty of lighting. If you are shooting outdoors during the day it is best to have the sun directly behind you. It is also essential that your subject also does not have to face the sun so that he has to squint. You should know that the best time to film landscapes, buildings and outdoor portraits is either dawn or the twilight hours.

If you want to impart the warmth of the rising or setting sun to your midday photo shoot, then a skylight or a warm filter is your key.

Tips to great digital SLR photography insist on maintaining control over the camera's flash property. To be precise, don't have your camera have the last word about where the flash should come on. Take the reins yourself and ensure that your photograph subjects are not lost in a maze of bright light.

Good photography, digital or analog, SLR or otherwise, is all about being able to use the filters right. You never know when that polarizer or the gradual filter or the skylight/UV filter might come to your rescue at times when the light situations are tricky.

The Macro Mode atop the camera just happens to be the most underrated and under-used feature. But unknown to many, this mode is great for taking enchanting close-ups of tiny objects.

Realistic and stunning digital photography is actually the norm with plethora of controls that come with modern day digital SLR cameras. And photography tips harp on tinkering with the controls to get a hang of the controls and the outcomes they produce.

Experimenting for instance, with really slow (30 seconds) extremely fast (1000th-8000th/second) shutter speeds can produce dramatic results. The ISO setting is another area for experimentation. In fact, high ISO values come in quite handy when you cannot use a flash in low light situations.

Get well up on your digital SLR photography tips and tricks and shoot at sight willingly.

About The Author
Connie Fillmore is a successful writer and publisher of photography related issues, for more informative articles go to Digital Photography Guy (close new window/tab to return to this page).

Digital Photography: What Does It Mean?

Digital Photography: What Does It Mean?
By: Dominic Ferrara

Digital photography is very popular these days. If you have recently shifted from film cameras to digital photography, it is essential that you understand the various terms and abbreviations associated with it:

A PIXEL It is the smallest part of a digital image. Pixels are combined with millions of other pixels to form a photo image. The resolution of digital cameras is expressed in terms of pixels.

The total quantity of pixels in a photo image is the RESOLUTION. The quality of the picture becomes sharper and better with the increase in resolution; more pixels mean better the quality.

One million pixels make a MEGAPIXEL. A picture with three or four megapixels will have much better quality than a picture with just one.

DPI (dots per inch) is used to describe the quality of a printer or computer monitor. Laser printers have about 300 dpi resolution, while monitors only have 72. Photo quality inkjet printers have a dpi of at least 1200 dpi. Here again, more the dpi, better the quality.

MEGABYTE represents computer memory. One megabyte equals one million bytes of file storage capacity.

JPEG stands for joint photographic experts group. It represents a format for storing images in digital cameras. JPEG files can be displayed easily on the Internet and e-mailed.

The digital files of all digital cameras need to be stored on a MEMORY CARD. The sizes of these cards depend upon the amount of storage capacity required. For convenience, buy as big of a card as you can afford. This is one computer-related storage space you’ll use all of, routinely.

LCD is an acronym for liquid crystal display. Most digital cameras have this feature so that the photographer can check the scene before clicking, then review the picture after taking the photo.

Happy clicking!

About the Author:

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Article Source: www.iSnare.com (close new window to get back to this page).