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    Tripods staying still for the perfect photo

     

    When it comes to buying a tripod there are a few things that need to be looked at and checked out. All tripods will come with a replaceable head or a fixed head. Some of the tripods on the bit more expensive side will come with a replaceable head that allows the photographer to select the size of the head that will fit your camera. Some of the tripods that are great for amateurs come with a fixed head and in compact style for easier use and carrying ability. Most tripods that have the fixed heads will come with the tilt and pan handles. Tilt and pan heads have two different handles attached to them from the sides or bottom. One is used to move the camera up and down and the other is used for the side-to-side direction. These types of heads are vital to the movie industry and anyone wanting to take mpegs with a digital camera. The ball and socket heads work well with still photography and it is needed for a firm locking and an easy give for the use of one or more camera that may need to be changed during photo shoots. One of the most popular types of tripods are tabletop or mini tripods. It is quite simple to mount a camera on to a tripod; all you need to do is screw the camera on it. Yes, it really is that simple! Tripods are used to keep your camera steady and extremely still. In the photography world there is an unwritten rule of thumb on when one should be used, 1/focal length s. For an example if you have a 200 mm lens, the slowest speed that you should use without a tripod is 1/200 s. Anything over that your camera should be mounted on a tripod for a more clear and steady picture.

         
    Turn your old photo paper prints into modern digital format albums

     

    : Although digital cameras have been around for a few years and are becoming more and more popular many of us still have a large number of older film camera paper prints, slides and negatives. Most people keep their paper prints and negatives at their homes and only use digital formats for new photos they shoot with their new digital cameras. In this article we will discuss converting your old paper prints into digital format. Photos are usually kept at home in one of three formats:

  • Paper prints: the most common format, usually at sizes like 4X6 and 5X7. Over time paper prints tend to lose their quality. Depending on how well they are kept the paper might turn yellow and bend and the colors might fade.
  • Negatives: also known simply as film. This is the processed film usually 35mm from which the prints where made. Although negatives can get damaged over time they are more likely to maintain their high quality. Negatives are hardly used unless new paper prints are needed.
  • Slides: very similar to negatives used for projecting photos on a large screen.
  • There are many advantages to digital photography. Having your photo album in digital format allows you to easily print paper copies either at home or using a printing service, to view your photos on your computer, to share photos with friends and family and maybe most importantly to practically archive your photos for eternity. So if digital format is that good why not convert all those old photos from traditional paper and negatives to digital? Here is how: There are different considerations when converting from paper to digital. Professional photographers spend a lot of time and money on this process. For most amateurs and consumers very simple methods can be used which are both cheap and easy. Scanning paper prints and negatives requires different equipment and considerations. For most home users scanning the negatives is not necessary. Scanning paper photos prints Photo paper prints are easy to scan. You can choose to scan them yourself at home (purchasing a scanner that can do the job is usually cheap and costs less than a $100). You can also choose to mail them (or hand them) to a professional scanning service that will scan them for you and mail you back the originals and a DVD with the digital scans (such services include digmypics, digitalpickle, britepix and many more) There are pros and cons to scanning at home or using a professional service. If you have a small number of photos scanning at home is easier. If you have plenty of photos using a service might be easier but you can end up spending more money. In addition mailing your one and only hardcopy of your photos is a risk since they might get lost. If you are going to scan at home consider the following:
  • Resolution: the resolution of a scan is measured by the number of dots per inch that the scanner can produce. Most scanners can scan at 1200 DPI or more. Usually the scanner can be set to scan at different resolutions. The higher the resolution the slower the scan and the bigger the photo file size will be. For most paper prints scanning at 300 to 600 DPI is enough but you can experiment scanning at higher resolutions if you feel it provides better results.
  • Speed: If you have a small number of photos speed is not an issue. If you have hundreds or more of photos scanning speed becomes important. To get fast scans you would have to scan at the lowest resolution possible that results in good enough scans – for most paper prints 300 to 600 DPI is enough.. Also if you’re going to buy a scanner check the scanning speed (usually measured in the number of scans per minute make sure that you check the speed at the DPI you’re going to use).
  • Photo feeding: if you only have a small number of photos this is not an issue. If you have many photos make sure that the scanner you buy allows fast and easy loading of photos. Some higher-end scanners will let you load a stack of photos and will automatically feed and scan them for you. These scanners are the right choice if you are planning on scanning hundreds or more photos.
  • Scanning negatives and slides Scanning negatives and slides is harder than scanning paper prints. In most cases it is easier and maybe cheaper to use a professional scanning service (such services include slidescanning, myspecialphotos, pixmonix and many more). If you want to scan at home your standard flat scanner will not be good enough. In most cases you will need to spend money on purchasing a film/slides scanner. Those scanners are more expensive than the flat paper scanners. Negatives and slides are small high resolution sources and thus require scanning at higher DPI than paper prints. In most cases 2400DPI or higher should be used. The considerations for scanning negatives and slides are similar to scanning paper prints. If you need to scan just a few negatives or slides speed and ease are not important but if you’re going to scan hundreds or more you should spend more money on scanners that can feed the negatives or slides automatically or can just load a roll of film and scan it. The good news is that in most cases scanning negatives is not needed at all. For most amateurs and consumers scanning home photo paper prints is more than enough and scanning the source negatives is a not needed. It is recommended of course to keep the negatives in a safe place. You can use the digital scans for future prints or just for viewing on your computer screen and sharing with your friends and family. In conclusion scanning your photo paper prints is easy. You can do it yourself at home or you can use a professional scanning service. You can convert all your memories into digital format with a small investment and make sure that you can enjoy those photos and also keep them in their original quality for eternity.

         
    Turn your talent of photography and love for pets into profit

     

    Most households in North America own at least one pet, and most people care for their animals as much as they would for their own child. People spend thousands of dollars a year on their pets to pamper and spoil and them. If you enjoy photography and love animals just as much as their owners do, you could be making money by combining these two things into a rewarding business. All you will need is a room set up as a studio, good quality cameras, lighting equipment, tripods and of course film. You could also have different back grounds and props to make the picture more interesting, or fit certain occasions. To get the best picture you will want to get down to pet level and use toys and treats to get the pets attention. When you get the animals attention, you should have a squeaky toy, or flash that will make the animal look strait at you and perk up it’s ears. Since cats are particularly hard to get to cooperate, you will want to schedule longer appointments for them in order to become comfortable around them. You should be knowledgeable in animal psychology and also a people person, since most pet owners will be present and a lot will want to be in the photographs with their pets. If your photography skills aren’t the greatest you can take classes at your local community college to ensure you will be providing your customers with what they want. To attract customers you could make enlarged copies of some good pet photographs you have done and post them up at your local library, veterinary office or coffee shops. Make sure to include a phone number and your name so they can get a hold of you! You can also establish yourself by creating a small portfolio with pictures of your own pets, as well as the pets of family, friends and neighbors. You can then turn this into a flyer and distribute in people mail boxes. Of course you can always publish an add in the Yellow Pages as well. Offering weekend and evening hours will also attract more customers. Most pet photographers charge a basic rate of $5 to $10 per person or animal and then charge between $40.00 and $175.00 per package of photographs, depending on the number of photos, number of poses, etc. You can also sell pet photos at art fairs for about $20 to $200 per picture (as long as you have written permission from the owner), or sell your pictures as cards, or note book covers.

         
    Turning your photos to cash how can your photos make money for you

     

    : If you are an amateur or a semi professional photographer then chances are that you can make some money out of your photos. In this article you will get tips on how to turn your photos to cash. This article is for you only if you’re looking to turn your photos into some extra cash on top of your main income source. This is not for you if you are looking to live off your photos this is not for you. There are plenty of ways to make money from photography. Some are very easy and only require an Internet connection while others require more legwork and directly dealing with customers. Following are five options:

  • Sell your photos on photo stock web sites: there are many sites that let people trade and sell photos. They vary in their terms and the way they do business but the foundation is the same: they let you upload your photos, showcase them and set their prices. The site users can browse through your photos and purchase the ones they like. While some of these sites are free to use and only collect a commission from the proceeds other sites charge a setup fee or a membership fee. Examples of such sites are: photostockplus and smugmug
  • Build your own site attract traffic and sell advertisements: Many sites today generate revenues from advertisements placed on their pages. To generate such revenues the site has to attract visitors. If your photos are unique and can attract viewers you can create a blog or a site with your photos alongside with some text describing them and the story behind them. Spread the rumor about your site to your friends and family and post information about it in forums and chat boards. Once you generate traffic add advertisements to your site. To create your site you can use tools such as blogger and typepad. To place advertisements you can use advertisement syndication networks like google/adsense and publisher. yahoo.
  • Sell your photos yourself: If you created the site mentioned earlier you can also sell your photos on that same site. The photos published on your site are highly compressed low resolution versions of the original ones. If your visitors want to use the photos for prints or other photo processing they will have to buy the original high resolution photos. To easily collect funds from your visitors you can use tools such as paypal. The original photo can then be emailed to the buyer.
  • Photographer for hire: This option is more traditional and requires some more legwork. If you are willing to do some work for hire you can post your services in a local classifieds web site or paper. Many web sites such as craigslist. org let you do that for free. Make sure that you provide details about the work that you can do and your experience. It is also recommended to post examples of your work. Also – if you have a site with more of your photos post a link to that site. To get a better sense of how much you can charge try to contact other photographers in your area and get quotes for their services
  • Sell your photos in coffee shops and galleries: This option requires even more legwork and a more significant upfront investment. Print and frame a few of your best photos. Go to local galleries and try to convince them to showcase your photos. It is best to start with just a few prints to minimize both your risk and the risk the gallery takes. Another option which can work better for amateur photographers is to visit coffee shops and restaurants and convince them to hang your photos on their walls. It is very common today for such places to hang “photographs for sale” on their walls. This is a win-win option for both the coffee shop or restaurant and you. They get high quality free photos and provide their customers with an extra service buying photos that they really like. You get free exposure while most often only paying a commission from the proceeds.
  • One issue to remember when turning photos to cash is copyright. Copyright laws change from state to state and country to country. Make sure that you check beforehand that you have the rights to sell or post the photos that you take. For example taking photos of commercial symbols and logos usually requires a written permission. There are many other ways to make some extra cash from your photos. Hopefully the ones mentioned here will give you ideas for what more you can do. Good luck!

         
    Understanding photo printing paper sizes or what is 4xd

     

    : What is an aspect ratio? Every photo or movie has an attribute called an Aspect Ratio. The aspect ratio is the relation between the horizontal and vertical sizes of the photo. To calculate the aspect ratio simple divide the width or a photo by its height. For example TV in normal mode has an aspect ratio of 4:3 or in other words if we were to divide the width of the screen by its height the result would be 4/3. TV in widescreen format on the other hand has an aspect ratio of 16:9. When we take a photo with a camera light that travels through the lenses hits a sensor (a film in traditional cameras or a CCD in digital ones). The sensor in turn translates the light into a two dimensional photo. The sensor itself has physical attributes such as width, height, granularity (in films) and number of pixels (in digital CCD sensors). The connection between an aspect ratio and photo printing When photos are printed on paper the aspect ratio of the paper must be the same as the aspect ratio of the sensor that was used to take the photo. If the aspect ratios are different the result will be a blank area left on the paper or a stretched photo that fits the paper but distorts the objects in it. Why does it happen? The answer is pretty simple. For the sake of explanation lets assume a photo sensor that is 6 inches wide and 4 inches high (real sensors are much smaller). Lets assume that we are trying to print the a photo taken with that sensor on a paper that is 4 inches high. If the paper width would be less than 6 inches we will have to crop part of the photo since there won’t be enough space available on the paper. If the paper width is more than 6 inches we will have to leave a blank area on the paper since we do not have “enough photo” to print on more than 6 inches. If we want our photo to exactly fit the page we can stretch or shrink the photo horizontally to whatever the paper size is – but then the objects in the print will be distorted and look more fat or thin as they were in real life. Printing on a 4X6 paper One of the most common paper sizes is 4X6. This size was used for many years for printing photos taken with traditional film cameras. The traditional film had an aspect ratio of 3:2 and thus the photos taken with a traditional film camera would fit perfectly on a 4X6 papers. For reasons beyond the scope of this article digital cameras use sensors with a different aspect ratio than tradition film cameras. The following table summarizes popular image sizes in pixels and the respective aspect ratio (sensor pixels, width X height and aspect ratio): 2 MP – 1600 X 1200 – aspect ratio 4:3 3 MP – 2048 X 1536 – aspect ratio 4:3 4 MP – 2272 X 1704 – aspect ratio 4:3 5 MP – 2592 X 1944 – aspect ratio 4:3 6 MP – 2816 X 2112 – aspect ratio 4:3 8 MP – 3200 X 2400 – aspect ratio 4:3 As can be seen digital sensors, regardless of the number of pixels they support have a 4:3 aspect ratio. So what happens when we try to fit a digital photo on a 4X6 paper? The photo just doesn’t fit! it is either too wide or too high. For example if we want to print on the full 4 inches height we will only fill 51/3 inches (4X51/3 is a 4:3 aspect ratio) and 2/3 inches will be left blank. To solve this problem and use the full paper size many printing services allow the user to crop a part of the photo. The assumption is that instead of leaving a blank area on the print the user would prefer to cut a part of the photo that is not important and use the whole paper for the rest. Some services allow the users to choose a preference for either cropping the photo or leaving a blank area on the print and this preference is automatically applied to all his prints. What is a 4XD paper? In light of the popularity of digital cameras and digital prints many printing services are introducing paper sizes that are designed for digital prints. This means that the aspect ratio of the paper they offer is 4:3 and thus photos taken with digital cameras perfectly fit the paper. The new digital compatible paper sizes have an aspect ratio of 4:3 (the digital sensor aspect ratio) and are as close as possible to their traditional film paper sizes. So – in the digital world a 4X6 paper size will actually become a 4X5 1/3 (a 4:3 aspect ratio paper size that is as close as possible to a 4X6 size). As a marketing gimmick and instead of writing exact paper sizes many use the “digital” abbreviation of 4XD – which means 4XDigital or in other words “as close as we could make it to 4X6 that is digital camera aspect ratio compatible”. As digital cameras become more and more popular it is expected that more papers sizes which are digital camera compatible will be introduced. In a few years from now most printing services will support the digital paper size by default and the film compatible one will be the exception.

         
    Understanding red eye in photos and how it can be prevented

     

    : Why are eyes red in photos? Red-eye is a phenomenon that happens only when taking photos using a flash. When taking photos in day light or when in high ambient light scenarios people’s eyes look normal. When taking pictures in low ambient light scenarios using a flash the result many times is redness in the people’s eyes. The reason for the color red is simple – when flash light from the camera hits the eyes it penetrates and is reflected back from the retina. The color of the reflected light is red because the light is actually reflected from the red blood in the retina. In some scenarios the red-eye is evident while in others it is mild or doesn’t seem to appear at all. One of the main factors for that is the state of the pupils. If the pupils are dilated (for example the pupils dilate in darkness or when drinking alcohol) more light is reflected back from the retina and the eyes in the photo appear redder. Common way to reduce red-eye The most commonly used method to reduce red-eye is activating the camera’s built-in red-eye reduction feature. The red-eye reduction feature is very simple yet effective. When turned on the camera shoots a series of pre-flash strobes followed by one more strobe when actually taking the photo. The pre-flash strobes cause the pupils to reduce in size and by the time the photo is taken the pupils are small enough for the eye redness to substantially reduce. The red-eye reduction feature does what it is supposed to do: reduce the red-eye effect but almost never is it completely prevented. There are many limitations to this feature for example pupils reaction time to light can vary. In addition this feature can have a side-effect that results in photos having people’s eyes closed. The reason is that the pre-flash strobes blind the people and cause them to close their eyes. Other ways to prevent red-eye Understanding what causes red-eye helps being more creative in preventing it. Following are some ways to prevent red-eye other than using the built-in camera red-eye reduction feature: Increasing the light where photos are taken (for example by turning on the lights in a room before taking photos of people) causes people’s pupils to reduce in size and eye redness to reduce. Point the flash away from the eyes. Since red-eye is caused by flash light reflected from the retina the best way to prevent red-eye would be to eliminate such reflection as much as possible. In most cameras the angle between the flash and the lenses is narrow (this is especially true for built-in flash and pocket cameras) causing most of the flash to bounce back from the retina to the lenses. Increasing the angle (for example by using an external flash) reduces the reflected light. You can also use a bounce flash – by having the flash light bounce off a bright surface (a white wall or a professional reflector) most of the direct reflection from the retina can be eliminated. Red-eye can also be removed after photos were already taken by using photo processing software on your PC. Most digital cameras include a CD with PC software that embeds this feature. Although this method doesn’t eliminate the red-eye from the source it can result in a practically red-eye free photo. Some software are better than others some are manual while others automatically identify the red-eyes and process that area to revert to normal eye colors.

         
    Understanding shutter delay in digital cameras

     

    When using a digital camera to take action photos you will notice that there is a delay between the time you press the shutter button to the time the camera actually takes the photo. In most cases this delay is small enough and not noticeable but when taking action photos, when trying to capture an event that just happened or when trying to capture a moving object this delay can result in a photo that just missed the action. In this article you will better understand what causes the shutter delay and how you can overcome it. A shutter delay is defined as the time gap between pressing the shutter button to the camera actually capturing the photo. There is no shutter delay in film cameras as in these cameras the shutter button is virtually connected to the shutter itself and holding down the button results in the camera taking a photo immediately. In digital cameras the shutter button is connected to a built-in micro computer and holding down the shutter button initiates a series of events that result in capturing a photo. When you press the shutter button the camera goes through a series of setup events in order to get all its electronics ready. Only when these events are finished can the camera capture the photo. The time it takes for the camera to complete these events can vary but is usually around one second or so. When taking subsequent photos there is an addition delay as a result of the camera compressing the photo and writing it to the slow flash memory. Although a circa one second delay does not seem long it can make the difference between capturing an action photo to missing it. Some cameras will also initiate a focus process when the shutter button is held down and will only take the photo when the focus is completed. This can add even more delay. Although it is impossible to remove the shutter delay in your camera there are few practices that can help avoiding its results. For example many cameras include a burst mode. In burst mode the camera shoots a fast series of photos for as long as the shutter button is held down or until the camera’s memory is full. In this mode the camera writes the photos to a temporary memory which is very fast but small. When the shutter button is released or the memory is full the camera starts the slow process of writing the photos to the flash memory. Using the burst mode you can shoot fast photos of an action event and then choose the one that best captured the events. The speed and the amount of photos that the burst mode supports vary between cameras. Some high end cameras can take as much as ten photos over the course of one second. Another delay that is a result of the digital camera technology is the Initial Delay. Most cameras will enter into a standby mode if not used for a certain amount of time. This time can vary but it’s usually in the few minutes range. When the camera goes into standby mode it turns off most of its electronics in order to save power. Usually pressing the shutter button will restart the camera but such a restart process is long and can take a few seconds. The result is a longer delay when taking a photo after the camera was idle for some time. In order to avoid this you would have to make sure that your camera is turned on and does not go into standby mode when taking action photos. Some cameras allow you to disable the automatic standby feature through a menu option. If your camera does not allow that you can keep it on by pressing the shutter button half way down every now and then. The downside of leaving the camera on all the time is wasting battery power. In order to maximize battery life in such scenarios you can disable the camera’s LCD screen which consumes a lot of energy and use the view finder instead. Another way to minimize the shutter delay is to avoid the automatic focus process which usually starts when the shutter button is held down. One way to do that is to hold the shutter button half way down. In most cameras the result will be a one time focus process and then a focus lock. The camera will stay in focus and when the shutter is fully pressed it will take a photo without re-focusing. Another option is to put the camera in manual focus. It takes practice to get to know your camera and to get a feeling of the delays it introduces. Although there is no way to completely get rid of the delays you can master overcoming them by practicing taking action photos. New high end professional cameras have a very short delay and as the electronics improve cameras will eliminate the shutter delay altogether.

         
    Underwater cameras discover a whole new world underwater

     

    It is a known fact that over seventy-five percent of our world is covered in water, this world has just as many interesting things to take pictures of and is always changing with every ripple and wave. Underwater cameras are a great way to capture these scenes that are ever changing. Underwater cameras are great for deep-sea divers and the snorkeling community alike. They are also a great type of camera to take to the pool or lake to sneak a few pictures of the local wildlife in the water and around the water. No matter if you are new to using an underwater camera or picture taking in general, the water has a lot of offer and just waiting to be seen. These types of cameras are not to be confused with a normal camera that is used every day on land. An underwater camera is specially made to be able to be completely submerged underwater and able to take the pressure surrounding it and has a waterproof casing. The underwater camera also takes the same great quality pictures on dry land in rough and rugged conditions, but it has advanced features for a water setting. Underwater cameras come in all shapes, sizes and film format. Many digital cameras that are made for the underwater environment come with a viewfinder so you can see exactly what you are taking a picture of and what your camera sees. There are still a great line of underwater cameras that use film that needs to be developed and they work just as well as a digital camera and take the same great picture. The smaller underwater cameras are normally very good for up to two hundred feet to four hundred feet while the bigger cameras are made for deeper regions of the waters.

         
    Use multi flash card readers to overcome data storage format incompatibilities

     

    As advanced consumer electronics like digital cameras, PDAs, multimedia mobile phones, and similar devices become increasingly affordable to the everyday user, we find ourselves having to keep track of more and more types of technology, which makes keeping all of our devices compatible with each other increasingly difficult. The technological marvels that have opened up so many new avenues to the common home user, which used to be reserved for the wealthy, are all sold to us with the advice that they will somehow make our lives easier and better. Specifically looking at digital cameras, the biggest problem of this sort is the fact that there are more than 8 distinctly different types of memory storage card commonly used, and the devices that use them are rarely able to accommodate more than two types at best. SecureDigital, CompactFlash of two generations, Microdrive, SmartMedia (SmartCard), Memory Stick and Memory Stick Pro, xD Picture Card, and MultiMediaCard: Just how many of these do you use? If you know, do you know which device uses which? Fortunately, with the advent of multi-format flash-card readers, you can now safely know that no matter which camera, phone, PDA, or PC storage card you use, you can transfer data between any of your other devices quickly and easily. A multi-format flash card reader is simply a device that plugs into your PC via any of a number of different types of data cable, which has a series of slots that accept one or more of the above types of removable media. It can read and write to these cards, transferring data – be it photos, mp3's, word documents, or anything else – between the memory card and your computer's hard drive. From there, you can transfer data back to another card via the card reader, if you wish, or perhaps edit and print off photos from the computer, burn data to a data CD or DVD, or simply keep them in your collection on your PC. They are surprisingly affordable for what they deliver, and there is a very wide range available to the market. When deciding which card reader is for you, there are thankfully only a few things you need to consider that will make the difference in your purchasing decision. The obvious one is to consider what you actually need: How many, and which types of flash card do you use, and are you likely to add to this number in the foreseeable future? Naturally, then you consider which of the available readers has the features you need. It may be that you wish to be ready for every occasion, opting to simply buy the reader that offers the highest number of different formats. Since finding a range of readers that support more formats than any one user is likely to need is not difficult, a more important thing to consider is whether a reader is compatible with your PC. The majority use either FireWire or USB 2.0 to transfer between your computer and the device. While there are a few important differences between them such as the maximum speed of the connection, the difference between their connection speeds is the factor least likely to limit how well it operates, and falls beyond the scope of this brief guide. What you do need to know is whether or not you have either a FireWire or USB port on your computer. Chances are, if your computer's age is anything like your camera's, you have already have USB support. For a point of reference, USB 1.0 (which is compatible with, but slower than USB 2) began to become standard around the time Pentium III's were being released. If you're not sure, you're looking for a rectangular “female” socket – there will probably be more than one – either on the front or back of your PC measuring roughly 1/2” wide by roughly 3/16” high (or about 12mm x 3.5mm). As well as hardware compatibility, if you're not using a recent version of the Microsoft Windows operating system, you need to consider whether you system will be able to run the software for the reader you buy. While all the software may not be compatible on Linux or Mac OS, flash card readers generally just act as a fairly standard mass-storage device, and the cards often use a slightly modified FAT-16 file system, meaning basic read-write operation is usually easy to set up, even without the software. Finally, there is the cost to consider. Having laid down the criteria for judging the products, we can compare a couple of the more interesting models on the market. Obviously there are a lot more than just these two out there, however, they serve well by way of example. The SanDisk's ImageMate 8-in-1, as the name suggests, supports eight different media types: Compact Flash (1 & 2), MultiMediaCard, Memory Stick, xD Picture Card, Memory Stick Pro, and Secure Digital. While it does support it, it should be noted that SanDisk recommends against using Microdrive with this device. It has 4 physical ports, each acting as a USB mass storage device (4 virtual drives in total) with any version of Windows later than Windows 95, or Mac OS 9 and later. It uses a USB 2.0 interface, and features very fast transfer speeds from all of the card formats to the PC. If you want compatibility with just about every major flash card in use, then the ImageMate 8-in-1, manufactured by a respected brand in the industry, and usually retailing for just over $60, is a superb purchase. If you need a better guarantee of compatibility with your system, then you should consider the Addonics Pocket Ultra DigiDrive (UDD). It supports all of the formats of the ImageMate, plus a few less common ones too. Also operating as a USB 2.0 mass storage device, the feature that sets this one apart form the rest is the compatibility. In addition to being compatible with Windows and Mac OS, it includes drivers and support for Sun Solaris 8 and higher, and Linux Kernel 2.4 and higher. This device represents the ultimate in inter-compatibility, and also being priced at around $60, it is a tempting purchase. Flash card readers are highly affordable devices that take the headache of compatibility issues away. Whether for your camera, PDA, multimedia phone, PC, and any similar device you care to name, these ingenious devices are so affordable that you almost can't afford not to have one.

         
    Using filters in photography

     

    Photographic filter is an attachment that will allow certain kinds of light to be able to pass through, and able to reduce or block out other unwanted light sources. In short, the term filter really means anything that modifies the incoming light in some way and includes: polarizing screens, multi-image prisms, close-up attachments, soft focus filters, neutral density (ND) filters, graduated ND filters, and color filters for black and white photography. Filters come in two main shapes: round and square. Filters add color and a certain touch to a photo that complements the individuals style of photo taking. When you are using a black and white film with filters, you can darken or lighten the tone of the subjects color. The color filters that are used can darken the tone of an opposite color and brighten the tone of the color filter that is being used. For an example, a red filter will make the red leafs on an autumn tree look very rich and bright, while on the other hand the sky behind it that was blue, is now almost black. Neutral density filters reduce the light entering your camera so that a slower shutter speed, or a larger aperture can be used. Graduated ND filters are used to balance out bright skies against darker foreground scenes. A neat filter is called the star filter. This type of filter in photography is placed on the cameras lenses to create a star look effect form any source of light. This is very popular with television game shows and used for portraits to provide a soft overall diffusion. A split field lenses is really a full lenses but only half of it is close-up, it is great for taking a picture of something close-up at the bottom like a small flower or bug in focus. The top of the lenses is just blank or empty and the camera uses its lenses to background in focus, say the mountain in the distance.

         
    Using long lenses

     

    Using a telephoto lens to get in close to the action or sneak up on a subject from a discreet distance is terrifically exciting, and can yield great pictures. But the high magnification of long tele and zoom lenses accentuates the effects of camera shake caused by your inability to hold the camera and lens absolutely still. The effects of wind, moving or shaking floors, residual vibration from camera mirrors flipping up just prior to exposure, atmospheric haze, and heat waves can also add problems. Cold, tired, been drinking stimulants (coffee, tea, or cola)? They add to your problems. Avoid them all if you can and don't despair. When handholding your camera and lens, start with a fast film, ISO 400 or higher. This will allow you to use higher shutter speeds (1/1000 sec and above) and minimize the effects of shake in a variety of lighting conditions. Use the proper stance: arms closely tucked into the body, elbows partially supported by the chest or abdomen, lens and camera balanced by the left hand and arm. Practice supporting and focusing the camera with your left hand, aim the camera slightly above the subject, take a deep breath, let the view drop to the proper composition while exhaling, and gently press the shutter. For support, find a fence post, parked car, or folded jacket. Lean on it or rest your camera on top of it while shooting. If you have such a support, a 1/30 second exposure isn't an impossibility, even with a 500mm lens. You'll be using slower shutter speeds more often than you'd like. The minimum shutter speed rule of thumb for hand-holding a long tele or zoom lens is this: Slowest safe shutter speed = 1 over the lens focal length. For example, if you're shooting with a 500mm f/4 lens, the limiting shutter speed for a handheld shot would be 1 /500 second at the correct aperture for a good exposure. This rule applies to a properly-braced photographer standing on solid ground. Chest braces, rifle stocks, and similar devices aren't as practical as a lightweight monopod or tripod. A monopod is easy to carry, and you can set it up just about anywhere. It won't allow you to set shutter speeds as slow as you can get away with using a tripod. But it will let you shoot safely—that is, without a serous risk of image-softening shake—at speeds two or three steps slower than you'd have to use if you were shooting handheld. That may make it possible to shoot in lower light, and/or to use a slower, finer-grained film. Get a monopod that can be raised to your eye level, is quick and easy to set up. If you shoot a lot of verticals, you may want to add a good swivel ball head for maneuverability. A tripod is the best device for insuring minimal effects from vibration with a long tele or zoom lens. With a sturdy one, you can use slower shutter speeds and lower ISO-higher resolution films. If you own a shaky tripod, tie a three to five pound weight to the center column for added stability. Physically long teles should have tripod-mounting collars to attach the lens at the proper fulcrum to the tripod rather than the camera. You can also use a secondary support for the camera like Bogen's Long Lens Support. This telescoping brace attaches to most tripod legs via a universal clamp at one end and a swivel ball head for the camera at the other. The brace makes it more difficult to change camera position, but it considerably lessens the effects of vibration. If you're on shaky ground, tripods won't help. They'll actually transmit the motion right to the lens and camera. It's better to handhold the camera if you can set a reasonable shutter speed, and let your body damp the vibration. Atmospheric haze and heat waves can't always be eliminated, but using a haze or polarizing filter can help cut through the haze and increase color saturation and contrast. Also, use your lens hood, or shade the lens, to minimize the possibility of flare. Few techniques in photography require more expertise and skill than the successful use of a long tele or zoom lens. If you want to become more proficient, practice, practice, practice!

         
    Video like scorsese

     

    Video Like Scorsese When your passion and perhaps your livelihood is the creation of quality videos for people’s events, you probably have some heroes. Martin Scorsese is somewhat of an icon because he is known for his stylistic videography in his movies. Now, you don’t necessary need as much style as a Scorsese gets in movies that win him academy awards. But such professionals who are both precise and very good at their work and creative in how they get their shots are an inspiration to the rest of us. So how can you go about becoming your own version of “Scorsese” in reaching higher standards of professionalism in the video you do for your customers or friends? Well, sometimes you just have to go back to basics When you go on a shoot, think of yourself like you are going on an assignment into a war zone. Of course, hopefully, nobody will be firing guns at you. But like a battle, you have to be totally prepared going in. There is no calling “cut” if you are filming your son’s first baseball game. You will get it or not on the first take so your equipment has to be ready and you have to be ready. So think through some of your pre-shoot preparations for the big day. Inspect, clean, repair and test your equipment the night before. Make sure you have any support materials such as batteries, lights for your flash or if you use a lamp to accentuate indoor shots. And think through the various ways your equipment may have to support you and how you can support it? What if something needs electricity but is too far from the outlet? Bring extension cords. What if you need more electricity then plugs are handy? Bring power strips. What if have extension cords where people will walk? Bring duct tape. What if you have to get that duct tape up fast? Bring a good knife or cutting blade. It pays to play these situations out in your mind and be prepared as you go to battle. Framing a shot so it looks good in the final cut takes some talent and skill to get what you want where you need it to happen. If the scene is very active, like a sporting event, you need to be able to move, set, shoot and break down and do it again and again all day long. That means your equipment has to be light and self contained but you need to be armed to swap things out on your feet. A well prepared supplies bag that you can get into, swap out a lens, a battery or other needs on the fly is essential to being that mobile. And you have to know your equipment so well that you can literally lock and load in seconds so important shots don’t leave you behind. Some practice with your camera, tripod, lights, supply bags and anything else you have to have for such mobility will pay off big time during the shoot. You may have cringed when you saw the word tripod but get used to it. Don’t cut corners on this “accessory”. The tripod should be as flexible as your body so you can drop it for a ground shot and have it up and set quickly each time you need to reposition. But despite the “bother” this might cause, the tripod alone may make your shots 100% more professional. Knowing your gear and being prepared are the two top commandments of producing high quality professional video. It may not make you a “Scorsese”, but it will take you a long way in that direction in the improvement you will see in your work. PPPPP 625

         
    Video slideshow production

     

    Slideshow production companies are popping up all over the internet. People are taking their pictures, negatives, slides, and videos, and placing them on CD’s, DVD’s, or VHS for personal use and for gifts for all occasions. People everywhere are hiring professional slideshow production companies to make wedding slideshows for receptions, graduation slideshows, anniversary slideshows, birthday slideshows, memorial service slideshows, vacation slideshows, holiday slideshows, and just about anything you can think of slideshows. But how do you know which slideshow company to choose? It use to be that when we took our photos of our special occasions: weddings, vacations, reunions, birthdays, holidays, anniversaries, family, friends, pets and so on, that we’d get the photos developed and place them in a photo album or a shoe box. A couple of our very favorites would be placed in frames. But, the photo album or shoebox would then sit on a shelf or under a bed or in a closet or somewhere where they’d be neglected and hardly ever looked at. In the meantime the photos themselves are drying out, cracking, and turning yellow. When we do go to look at them they’re never as good as we remember because they’ve aged. Placing our photos on CD, DVD, or VHS preserves the photos forever. They will never crack, fade, yellow, or get damaged. Future generations can enjoy the same quality in a hundred years as we can today. Turning your photos into slide shows, video albums, or photo montages makes the photos fun to watch. and more people will enjoy viewing them with you. So how do you know if you've found a quality slideshow company? An important rule of thumb to remember is, "If the price seems too good to be true, then it usually is". No real slide show creating company can give you quality work without putting quality time into it. The less the price, the less the amount of time going into it. You might as well go buy yourself the cheapest slide show software you can find and do it yourself. A quality slideshow creating company has invested thousands of dollars to be able to produce the highest quality work for the consumer. And they will spend the time needed to clean up your photos and create a quality CD, DVD or VHS that you can be proud of. The more time a company puts into creating your slideshow, the higher the cost of that slide show. Of course a higher price doesn't always mean better, there will always be those who overcharge. When comparing prices, don't forget to compare the contents of the package. This will make a tremendous difference in the pricing and the quality of the slideshow you receive. But don't fall for bogus charges such as transition charges. What are slideshows without transitions? So shop around, compare prices, packages, and view some slide show samples. Viewing samples is very important to choosing your company. If you’re satisfied with just the simple fade-in, fade-out photomontage style slideshows, then you have a lot to choose from. If you want something fun, exciting, emotional, creative and unique, then there’s very little to choose from. Your memories are precious and your slide shows should reflect each occasion in a unique and creative way. To a true slide show creator, such as Sandra Clukey with Sands of Time Multimedia Creations, creating quality slideshows is comparative to an artist who is creating yet another masterpiece: each one is unique, creative, evokes emotion, no two are exactly alike, and all are worthy of displaying to everyone you know.

         
    Videography tips from the pros

     

    Videography Tips from the Pros Making videos or “videography” is a different animal from photography. When you are trying to capture great pictures for a portrait or an event, you think in terms of still shots. In your mind the objective is “what will make a great picture.” Video opens up whole scenes to be captured on film, for better and for worse. But it also opens up a lot of opportunity for mistakes, unexpected results or interruptions and surprises. Not only do you have to continue to think about what makes a great shot, you now have sound and movement issues to factor in. So while videography is much more fun, it also can be a lot more work. You are trying to find a middle ground when you start offering video as part of your services. You know that anybody can bring a camcorder and capture video streams. These days they can even do it with their phone. But you want to create a more professional shot than the high school kid with a camcorder. Then again, you are not trying to win an academy award here. So the level of professionalism has to be better than amateur so you can justify charging for it but it doesn’t have to be great art to be a good video that the customer will be happy with. To accomplish this mix of perfectionism and compromise, a few tips from the pros who have already set up a video business can help a lot. Here are what many of the old pros tell us to focus on especially as we are getting our video business up and running… The cornerstone advice that the pros give about making great video is plan ahead. The more you know about your shoot, the better equipped you are when you show up. If you are shooting a wedding, visit the chapel, perhaps the reception hall and plan where you will set up to capture the best images. Plan your routes as you move around so you can create a smooth flow that works with the wedding procession rather than interrupts it. The same is true of any event. Even a sporting event, as spontaneous as that is, will offer some less traveled areas where you can position yourself to catch the action. If the best location for capturing video is above or a distance from the activity, then you know you will need to use zoom and focus differently than if you can be in the middle of the action. This helps you plan how to prepare your equipment and your crew who will be supporting the shoot. Lighting is something that must be part of your preplanning so you have sufficient light so the action and facial reactions are easy to pick out on the video. Outdoors, keep the sun behind you if at all possible. Indoors, scout out how the existing lighting will look on video during the hours that you will be shooting. If they are not sufficient, you should get in there and set your lights in place well in advance of the event and work with the event organizers so they know your lights will be on during the event. The people who hired you want a great video so they will work with you. But you have to let them know what is going on. A good video is a combination of stability of the camera and constant movement. So use a tripod to stabilize the shots when the video is being actively shot. But you have to be able to move the set up quickly to a new location. So make sure that your equipment is well maintained and that cameras, tripods and that all supplies are quickly accessible for field changes or repairs. One of the most valuable insider tips is to shoot with the intention of editing. In that way, you will shoot more footage than you need, knowing you are going to edit it together later. You can go back and capture connecting video shots to smooth out the action and you don’t have to get upset if you get some bad footage. These and many other talents you will develop will take you to that level of professionalism you want to reach. And your customers will notice it too and come back for more of your talented videography. PPPPP 736

         
    Wedding pictures with style

     

    Wedding Pictures with Style Your wedding album will be one of the most precious memories of this big day that you will have. But have you ever noticed how so many of those “professional” pictures are all the same from wedding album to wedding album? In fact, one thing that jumps out about the wedding photographer is that for a little while on the wedding day, everything halts and it’s all about him. You know the drill. The ceremony is exciting and fun and full of joy, some tears and plenty of meaning as the bride and groom kiss and become one family. Then it’s all over and everybody files out to go to the reception to dance, have cake and celebrate this union. But wait, the whole proceeding has to grind to a halt while the photographer stages the wedding party for as long as an hour or more to “recreate” the ceremony and make those perfect wedding photos. Meanwhile the reception may be getting underway and many of the guests that the bride or the groom or others in the family want to hug and share the joy with may have to go because they just can’t wait out a fussy photographer. Somehow this complete disruption to the day has become accepted as just part of what the wedding day is all about. And the worst part about it is that the photographs, while nice and well staged, look like a bunch of mannequins being arranged for a store window. The joy and fun of the ceremony is over. For decades to come everybody will say they are beautiful and meaningful but if you look closely the wedding party looks nervous, uncomfortable, bored and like they wish they were somewhere else. Well maybe its time to throw that tradition out and put some creativity into how the wedding photos and the wedding photographer works in your wedding. By finding a photographer who will put together some wedding pictures that have some style, some creativity and some sense of inventiveness, you will have that wedding album that really is full of memories worth remembering. To get that kind of photographer, you are going to have to start early. You have to find that maverick photographer that “gets it” that the wedding is about the people, not the gowns and the hall and that his photographs must shout out “this was a wonderful day and we celebrated this union.” You may have to look outside of the conventional “wedding photographers” listing in the phone book. An artistic photographer may be more appropriate. But be patient and find one that is just as professional as any photographer in that yellow pages but can bring some creativity and investment of getting to know this wedding party to the job of taking your important wedding pictures. That wedding photographer should become as much a part of the wedding party as the groomsmen. After all, if he is going to capture the personality of this couple, he will have to get to know you. Spend some informal time with him and share those fun memories of when you met, those special times while you dated and certainly those very special places where important moments in your relationship took place. Armed with that kind of creative individual in charge of your wedding photographs, you will look forward with great anticipation to what he comes up with. Many of the best shots will be created before the wedding, at some of those special places and he can Photoshop them to blend them with wedding day moments. Above all that wedding photographer will understand that he is there to serve this wedding and capture those special moments as they occur. Sure, you may “pose” for a picture from time to time but this whole business of bringing the wedding day to a grinding halt to take stilted pictures of bored wedding party members will go out with the trash. The outcome will be wedding pictures with style, with life and a lot of love in them to reflect the love that was exchanged in those vows and the love of family and friends as they enjoyed this magical day with you. PPPPP 706

         
     
         
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