Ultra-gloss photo paper and white Inkjet water-resistant Vinyl

So now you have a nice digital photograph. What do you want to do with it? Print it? If so Planet Labels. While Planet Labels specialises in labels, they also have Premium Ultra Gloss Photo Paper 4 x 6 and White Inkjet Water-Resistant Vinyl 2 x 8 Rectangle on offer. See Premium Ultra Gloss Photo Paper and White Inkjet Water-Resistant Vinyl.

Planet Labels says their Premium Ultra Gloss Photo Paper uses a 10 mil paper that is coated with a UV and water resistant gloss topcoat that instantly "locks" the ink in place, making a shiny, smear free photo which is acid free and PH neutral, ensuring that your photos will not yellow and which you can enjoy for years. They guarantee that their inkjet printable photo paper will match the quality of the branded companies products or you get your money back.

Planet Labels also claims that their White Inkjet Water-Resistant Vinyl inkjet water resistant vinyl rectangle uses a topcoating which causes the inkjet inks to dry instantly and permanently even when exposed to moisture, are made with an extra strength adhesive and can withstand temperatures in extreme heat and sub-zero conditions. They say their brilliant white face stock can be printed using the highest dpi setting, allowing you to create beautiful images. You can use them to stick on items like water bottles and other items which are exposed to water. How you put them up to use is completely up to your imagination and creativity.

Check them out for your digital photo printing needs.

How to Take Big Suns in Photography

How to Take Big Suns in Photography
by: Jan Linden

Sure, these pictures may border on cliches, but they are cliches that never fail to grab us. We're all suckers for that frame-filling drama of Ol' Sol looming large on the horizon.

And we all know how to get those shots of big suns - just shoot the horizon with that fabulously expensive, super-speed, extralow-dispersion glass, apochromatic tele, right?

Wrong. You need a long lens, sure, but it needn't be a budget buster. Some very good 500mm mirror lenses come in under $200, store price. There are all-glass 400mm, 500mm, and 600mm designs from major independents that sell for $300-500. And you can make an existing tele longer by using a teleconverter. That fine 300mm f/4 you bought for nature work, for example, can be converted to a 600mm f/8 with a 2X converter. That's a pretty good focal length for big suns. Using a 3X converter will make a 900mm f/12, and so on.

Besides a tele, you need a sturdy tripod - flimsy travel models need not apply. For one thing, focusing and framing through a long tele is far easier if the rig is well supported. For another thing, even a little shake can blur a long-tele shot.

A spot or limited-area meter helps, although it is not essential. An overall meter reading with an SLR will generally be far too high, resulting in a shot that's too dark - even if the desired effect is a silhouette. Most big-sun shooters use the strategy of spotmetering an area of the sky near but not immediately adjacent to the sun - an area in which some sky tone appears. This will give you a silhouette reading that will still maintain a little shadow detail.

And how do you focus and compose with that big burning disk staring you right in the eye? First, if everything in your frame is a long distance from the camera, setting the lens to infinity is the easiest way to focus without being dazzled. Otherwise, you may prefocuse the camera with the sun just out of the frame. You can often recompose the scene by holding your eye a little away from the finder to avoid being temporarily blinded by the sun.

The best big-sun shots are the ones that don't rely solely on the sun; the big sun, in fact, is best used as a background. The landscape, the harbor scene, the city skyline - each picture should stand on its own for it to work with a big sun behind it.

There is a pitfall here, though. Even with objects at a far distance, they can still be out of the plane of focus of the sun, due to the effective shallow depth of long lenses. Generally, the sun can stand to be a little soft, so try focusing on the nearest large object in the composition. Also, use small apertures and check the depth-of-field preview.

Big-sun shots can, on occasion, be surprisingly colorless; the sky around the sun can range from blank white to dull gray. A filter is called for here, from the standard warming (81A and similar) for a warm sky tone, to amber for richer color, to full orange for an exaggerated effect.

About The Author
Jan Linden is a professional photographer and designer runs Photos 4 Interior

A Guide to Touching Up Your Digital Photos

A Guide to Touching Up Your Digital Photos
by: Gary Hendricks

One problem I faced when starting out with digital photography was how to touch up my raw digital images. Perhaps an image was slightly dark, perhaps it had to be rotated or cropped. Digital photos usually require some form of manipulation before final output. So here's a short guide which I've compiled to help you touch up your photos.

Step 1: Start Up Your Image Editor

The first step, of course, is to fire up your favorite image editing program. For beginners, it's best to get a program like Ulead PhotoImpact. It's a great tool that allows you to achieve professional photo effects using simple, easy-to-follow steps. You may also want to check out my scoop of the top 5 beginner photo editors for Windows. Open the picture you want to edit within the program and save a backup copy.

Step 2: Remove Red Eye

If you're taking photos of people, chances are you may have taken a photo with red-eye problems. This is easily removed with image editing software. In Paint Shop Pro, select the Red-Eye Removal tool in the menu and voila, the program does all the work for you. In Ulead PhotoImpact, there's an equivalent tool called Remove Red Eye in the Tool Panel.

Step 3: Rotate and Crop

If you've taken a photo in a wrong orientation, it's easily corrected with little loss in quality by using a rotate tool. You'll also want to do some cropping of your photo to remove cluttered surroundings that draw attention away from your subject. For example, I find cropping very useful if my subject is occupying only the middle portion of the photograph. Cut away the two sides of the picture and you have a much more professional look.

Step 4: Play with Color

Don't be afraid to experiment with colors. Image editing programs put a lot of power in your hands. You can make the leaves purple, change the entire photo to black and white, add a sepia effect - almost anything you want. A good photo editing program will have automatic color balance options to adjust color defects in your pictures.

Step 5: Blurring Effects

Sometimes I like to add a blurring effect to my photos. What you can do here is to select areas of the photo which are unimportant and blur them out. This will bring more attention to the main subject of your photo. For example, if I had a picture of a flower and I wanted to play down the details in the leaves in background, I might add a blurring effect to the background.

Step 6: Sharpen Up

Sharpening the image is the next step in the photo touch up process. Contrary to popular belief, you can't actually sharpen an out of focus image. What I typically do when sharpening an image is to selectively sharpen. That is, I select a part of the image, maybe a person's eyes and sharpen only that area. Leave unimportant areas unsharpened.

Step 7: Resize

Depending on your needs, you may want to resize your photo. If you're emailing a picture to a friend, you'll want to resize the picture down to a much smaller size. If you're printing the photo on a greeting card, you can scale down the image to the size of a 4x6 print.

Step 8: Save Your Work

Ok, you're pretty much done. Remember to save your work in the appropriate image format. Use the large TIFF image format if you want to retain all details for subsequent image editing. On the other hand, you can use the JPEG image format if you want to just send the picture via email or upload them to your website.

Conclusion

Alrighty then! Now you know the secret to touching up and preparing your raw digital photos for output. I'd say that not all the above steps are truly necessary in a given situation. Remember to use your discretion to see which is necessary. Don't be afraid to experiment and learn - practice makes perfect when it comes to touching up your photos.

About The Author

Gary Hendricks runs a hobby site on digital photography. Visit his website at Basic Digital Photography for tips and tricks on buying digital cameras, as well as shooting great photos.

gary_hendricks@basic-digital-photography.com

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!