The Wonders Of Winter.

You may travel the world in search of the most glamorous locations, but sometimes there's no place like home.

Its winter time again, and while some folks are ready to reside indoors, its time for all landscape photographers to gather their winter gear and start the quest for some great seasonal images.

For many of us, the greatest joy in photography is to travel to far-away lands, seeking idyllic locations, that we can only dream about, and then do our very best to capture them. But do we need to travel to capture perfect sights? All around us are places of beauty waiting to be captured and we pass them every day.

We don't need to go to great expense or travel thousands of miles; dramatic places are found in every corner of every land. But then I do have one of the world's best locations on my doorstep: the west coast of Ireland.

While the wet weather can keep me indoors for weeks on end, the winter months bring harsh, but inspiring light, where a rugged Irish Landscape thrives.

No more so than a scenic National Park, five miles outside Killarney town, on the west coast of Ireland. Killarney National Park, filled with towering hills and romantic lakes, still remains one of Irelands most unspoiled treasures.

It's one of those places where my senses come alive; its varied landscape and rugged, yet accessible, mountain range, is a favourite spot with many and a place where I like to spend a lot of time. Its shapely mountain peaks make it a perfect spot to photograph, especially during the cold and icy winter months.

All we need in photography is a different approach. Each season brings its own elements, and winter is no exception. Using our photography skills at the correct time of day can vastly improve our pictures. If you are serious about photography, dawn is the time to be up and about. At this hour, the colours of the sky cast a brilliant orange-red hue that will add mood and character to any setting.

There are also other elements which make winter special. An early morning ramble through the woods can be a perfect start to any day. Our forests are full of great photo opportunities, and an early stroll around deserted woodland can be a remarkable experience.

Rivers and valleys are also prime locations for early morning snaps. If a damp day is followed by a cold night there may be some low-lying mist hanging around. Mist or no mist, an early start works best.

Last light of the day is also an excellent time to be out and about. The evening sun can explode a variety of colours across the sky as it sets for the day. If the sun shines at the beginning or the end of the day, the colour of the light will be much warmer, and will lead to a much more dramatic scene.

So as winter looms, I gather my belongings and head west to capture the mood of the harsh Irish winter, and start the quest for new seasonal images. It certainly isn't time to put away the camera. Winter brings plenty of great photo opportunities, tougher conditions to work in, but just as satisfactory as any other season.

Each homeland can be a paradise in its own special way: Ireland is, and I'm sure, winter brings special elements to your homeland too.

Scene Modes and Your Digital Camera

Most people don't want to mess with their digital camera's settings. The rest of us may not understand what they are for and what they can do. Camera manufacturers realize this and are making it easier to take great photos. It is done through a feature called scene modes. Scene modes are mini-programs designed to automatically adjust your camera's settings that are best suited for the situation. By merely twisting a knob or pushing a button a few times, you are able to quickly and easily adjust your camera to get a great shot nearly every time.

Here are some of the more common scene modes and what they do:

Backlight - eliminates dark shadows when light is coming from behind the subject or when the subject is in the shade.

Beach/Snow - this mode is used when photographing beach, snow and sunlight water scenes. Exposure times and white balance are set to help prevent the scene from becoming washed out looking.

Fireworks - shutter speed and exposure are set for shooting fireworks: pre-focusing and the use of a tripod is highly recommended.

Landscape - this mode is used to take photos of wide scenes. The camera automatically focuses on a distant object.

Macro - is used to take close-up shots of small objects, such as coin, flowers or insects. The lens can be moved closer to the object than in other modes. The use of a tripod is highly recommended.

Night Scene - is used when photographing night scenes - what else? Slow shutter speeds are used. You'll need that tripod again. <




Panning or Action - this mode will "freeze" the action of the subject while blurring the background to give the feel of motion or speed.

Panorama - is used to take a series of shots from one point and "stitch" them together with software to make a wide angle scene.

Party Mode - is used to take photos in a dim lit room. Exposure and shutter speeds are adjusted for room brightness. The camera must be held very steady in this mode.

Portrait - this mode automatically focuses on the subject and puts the background slightly out of focus.

Sports - is similiar to action modes. Fast shutter speeds "freeze" the action. Best shots will result when taken in bright lighting conditions and when you are pre-focused on an area.

Sunset - is used to take photos of sunsets and sunrises. This mode helps keep the deep hues in the scene.

Some cameras have as many as 20 different scene modes. Some modes will automatically adjust the size of your photo for on-line auction. Some are supposed to take 10 pounds off the subject. Regardless of how many scense your camera has, always read the instruction manual. Each manufacturer has their own terminology. By understanding and using scene modes, you will get a great shot every time.

Why I've gone Digital - And Still Keep My Old Camera

There has always been a debate about what is better. Traditional cameras using film, or the so called new technology, storing pictures in digital form on memory cards, in computers or on CD-Rom.

As being a photographer for more than half of my life, I stuck with traditional film for very long. About 7 years ago I started to supplement my work with photos taken the digital way. A point and shoot camera with just 640x480 pixel resolution was the most attractive gadget I had these days. Its lens was even capable of doing close-up work, using a macro switch.
That Fujifilm DX-7 was upgraded with a bigger Memory-Card and the camera served me well for several years.

Anyway, over time, I was still more satisfied with the possibilities my collection of Pentax SLR cameras gave me. It started with using the best lenses for each picture or just using a Zoom (which offers a range from wide angle to telephoto), changing the shutter speed to either stop or blur the motion of objects in the picture, use external flashlights, change the aperture openings to adjust the range of sharpness and lots more. Not forgetting the better picture quality I could get from a 35mm negative or slide. I was happy to use my heavy, solid metal camera.

The world changed for me when camera makers like Nikon and Canon introduced their Digital SLR Cameras. I went to my local camera shop every week and debated with the salesman about advantages and disadvantages of the models they had on sale. Also I checked with lots of users in online services to get first hand feedback on how these cameras performed. Finally, when Pentax introduced their Digital SLRs, I couldn't wait much longer. I needed to have one of those.

With the Pentax 1st DS have a whole list of advantages over smaller Digital Cameras:

I can use the same lenses that fit my traditional camera
Have full control over speed and aperture
I can see the picture immediately after it is taken
I can shoot a series of pictures and choose the best (at no extra cost for film or paper)
A good resolution of 6 Megapixel which allows quite big prints
It weights more than a compact digital camera, so you can hold it steady more easily
Make use of all the filters, flashlights, lenses and accessories I have collected over the years.
Storing the pictures on the PC via a fast USB connection
Up to 1 GB storage on a SD Memory Card (about 380 jpg photos)
Selecting only the best photos for printing

With all these advantages of digital SLR Cameras, you may wonder why I still keep my old 35mm film cameras with me. First, it is emotional, and second, photographing the old fashioned way keeps me calm. You just need more time to produce an excellent, satisfying photograph (because you cannot see the result right after the shot).

Digital Photography and the Printed World

Photo collections – for traditional photographers the phrase conjures thoughts of bound albums and mounds of shoeboxes, stuffed to capacity with 5 x 7 inch pictures. For today's ever growing ranks of digital photographers however, it brings to mind thoughts of a stamp-sized memory card, a pocket hard drive, or CDs and DVDs. Welcome to the world of digital photography, which is fundamentally changing the way we capture and preserve images.

Digital photography today is a rapidly growing consumer pastime with many advantages versus traditional film-based cameras, including the ability to immediately review, erase, annotate or categorize images, speed and ease of operation, and quality at the high end of the digital photography scale. Although some film cameras can operate without batteries, minus the flash, most consumers are unconcerned with use in wet or poor weather environments and are drawn to digital cameras by all of the advantages that they offer.

Because of this, the entire photography industry is changing to embrace different consumer preferences, including a reduced desire for printed photos. The market for printed photos from film in the United States peaked in 2000 at over 30 billion, and then fell to under 26 billion by 2004. Initially, there were problems with quick-service photography shops "cropping" digital images in order to force them to print properly on the same paper used by film cameras – as more and more people move to digital however, services and products emerge to make it easier to transfer your memories from electronic to tangible.

Some people feel that a picture just isn't a picture if you can't put it into a frame (although wireless, internet-enabled miniature LCD 'picture frames' ARE available) or store it in a photo album. But many of today's young people are much more comfortable with technology than their parents and grandparents. It is not uncommon for a college student to feel more secure with electronic images than paper ones.

No one is certain whether digital photography will eventually reduce our demand for photo prints, but it is guaranteed that the way of the future in photography is digital. Additionally, there are far more snapshots being taken than ever before, due to the ease with which they can be reviewed and removed from digital cameras. So whether you're partial to electronic or shoebox image storage, be ready for photos to get easier, better and cheaper in coming years – and of course, keep smiling.

SLR Film Photography Special Effects (Part 2) - Impressionist Effect

This is a second article addressing SLR film photography Special Effects techniques that can be accomplished "through the lens", being immediately immortalized on the film and ultimately the negative.

It requires no special instructions to the developing agent, whether your local photography shop or mail in developing service. Your prints will be developed with perfect exposure.

The Impressionist Effect, like the Ghosting Effect detailed in Part 1, , is accomplished by using your SLR's multiple exposure feature, with a simpler procedure than outlined in your SLR user manual. The Impressionist Effect is more like photo art, ideal for still life or landscape photography, where all is motionless. This effect works particularly well for photographing flowers but would create an equally impactful and artistic photograph of any still life shot that exhibits lots of different colors; like brightly painted houses, fishing boats or toys.

You only take two exposures on the same film frame, one in-focus and the second out-of-focus. This will give your photograph that Monet-style look. The key is that nothing within the frame moves between the first and second shot.

The simple steps to execute the Impressionist Effect are:


1. Stabilize the camera using - a tripod is best, a stable surface is a second option. You might even want to use a remote shutter release cable to avoid any camera jitter.

2. Set number of multiple exposures on your SLR to '2';




3. For the roll of film in your SLR, determine the film speed (S);

4. Reset the camera film speed (Yes, you can override the setting) to (2 × S) or, if not an exact match, set it to the absolute closest speed ((2 × S) ± adjustment);

5. Turn OFF the camera's LENS Automatic Focus feature (located on the Lens itself);

6. Take your first shot with the frame in sharp focus;

7. Take the second shot with the frame completely out of focus (Yes, turn your lens to extreme out of focus.


REMEMBER: Check and reset the SLR film speed and number of exposures to their original settings before continuing with your next shot. Some SLRs will automatically reset the number of exposures back to '1' before advancing the film to the next frame. It's always better to verify this.

All of the SLR Film Special Effects for the Impressionist Effect, detailed in this and the previous Ghosting Effect article, require no special instructions for developing your film. Normal developing at the rated film speed will ensure the picture is properly exposed and developed.

This truly artistic photograph will have you considering a number of display options - maybe an 8" x 10" enlargement, or alternatively, a 4" x 6" print in an 8" x 10" double mat – accentuating the Impressionists Art with the classic beauty of a pewter frame. What a thoughtful gift idea for someone special or that special occasion.

Get The Most Out Of Your Camera. (Part 2).

In part 1 of: Get the most out of your camera, we looked at how to use the aperture and the creative uses of depth-of-field. In this part we'll look at how to use the shutter button on your camera and how both the shutter and the aperture control exposure.

The shutter is a mechanical device that controls the length of time that light is allowed to act on the film.
Most standard cameras allow us to use a range between 16 second and 1/1000 second. You might be wondering, why anyone would use a long shutter time of 16 seconds: I've used this and even longer shutter times when taken lowlight landscape images. I would always advise the use of a tripod with these long exposures time to avoid blur images.

Using a shutter speed of 1/125 second should safely avoid overall blur due to camera movement if you hold the camera by hand. Any longer shutter time should require a tripod.

Each time you open the shutter by one, we double the light, when we close down the light by one we half the light. Open the shutter at 1 second allows twice the light as that of a ½ second.

The shutter can also be used creatively when taking landscape images or sport images. If you want to add motion to your image a slow shutter speed can give an image an extra bit of sway. No more so than taking images of streams. Using a slow shutter speed when photographing water will cause the water to blur, resulting with the image expressing motion.




By contrast, a fast shutter speed of 1/250 would be used in shooting wildlife or where the subject that you're shooting needs to be still and sharp. Most wildlife photographers would use a fast shutter speed.

By using the shutter and aperture together we control exposure. Both allow light to enter the camera: the shutter by time and the aperture by the size of the hole in the lens.

For example: you're shooting a landscape scene; you get an exposure reading at f/11 at ¼ second. You know that by using f/11 that the entire image wont be sharp. You want to shoot at f/22, which is four times less light than f/11. You need to quadruple the light through time; each time you open the shutter by one you double the light, so open it by two stops and your exposure time will be 1 second. Your final exposure should read f/22 at 1 second.

At the best of times, calculating the correct exposure can be a difficult task, but with a few simple tips our images can produce eye-catching colours that we see all around us every day.

What are digital picture frames and how do they work?

A relatively new product in the digital imaging industry is what has become known as the digital picture frame. These clever devices use a flat-panel TFT (usually just referred to as LCD) screen to electronically store and display digital photos, which can be transferred directly between the picture frame and your digital camera. They can be powered by either batteries or an AC adapter power supply that plugs into your mains wall socket, and are capable of storing between thirty and more than a thousand digital photos, depending on the frame, the size of the files, and the capacity of the memory card being used. While most people are probably aware of the numerous advantages of digital photography, there have always been a few areas where modern digital imagery simply didn't offer what people wanted out of their photos. With only a slightly wider profile than a normal picture frame, a digital picture frame retains all the benefits of digital photography, combining them with the convenience and most of the features people liked about conventional paper photos.

Digital picture frames solve most of the remaining problems people have about digital photography in a simple, easy to use, and cost effective manner. One of the main problems people have is that they don't have the time, opportunity, or knowledge required to view their pictures on the computer any time they feel like going through their albums. Digital picture frames solve this easily, as all prominent models on the market can store multiple images, and display them as a slide show. Most models allow the user to flip through each photograph one by one, much like they would with an old photo album. Older users, or the very young, who may not be familiar with computers, or may have no desire to learn, will enjoy the practical and straight-forward interface offered by these products. Learning how to use one could be compared to learning just the basic functions of a new television remote-control.

Digital picture frames allow the user to leave a photo on display for the long term, much like a conventional picture frame. This eliminates the cost of maintaining a printer and buying consumables, and allows you to have your picture of choice on display without tying up the computer.

When making a purchasing decision, you should compare the feature set offered by the different models available, with regard to your budget, and what you want from digital picture frames. Some things to consider include:

• Media types: The number of different storage media that a single device can use - for example, SmartCard™, CompactFlash™ etc, and whether the device can accept multiple types. Remember to check which media type your existing digital camera uses.
• Power options: How long the photo viewer's batteries last, what type of batteries it takes, and whether it has a power supply to run plug straight into the wall socket are all important to consider.
• Physical dimensions: What size it is, how heavy, the look you're after, and how you intend to use it. If you want to carry a digital picture viewer around in your briefcase or pocket, you'll want a smaller, lighter model.
• Data transfer interfaces. Some models allow you to transfer pictures between your computer and picture frame via serial or USB interface, in addition to the normal camera memory cards.
• Various advanced features: The ability to connect the device directly to the Internet, and use it to send pictures to someone else who also has one is an example of just one deluxe feature.

Having laid down the criteria, it is possible to have a quick look at some of the products on the market today. The very cheapest digital picture frames start at about $85. These offer a very narrow feature set, with a tiny viewing area, rarely no larger than 3", with relatively low quality image reproduction. For something of this size, you're probably better off simply viewing with your existing digital camera, or viewing its image on your television, a task most digital cameras are capable of doing to some capacity. Most of the frames on the market, however, fall between $200 and $450, so we'll have a very brief look at three such items.

VideoChip Wallet
While being a smaller model, the VideoChip Wallet has an appealing set of features, and is probably the choice for portability. If you prefer to carry your photos around with you wherever you go rather than setting a frame up on a side-table, then this is probably the one for you. The Wallet uses only CompactFlash card media, meaning that the number of photos you can store is limited only by the size of the JPEG or Bitmap files (.jpg, .bmp), and the storage capacity of your CF card. While the viewing area is just 4" with a 230x200 pixel display, it still manages to impress, weighing in at less than 11 ounces! It can be run directly off the included AC adapter, which also charges the internal 3 volt lithium batteries. This allows 3 hours continuous viewing between charges, and you don't have to worry about changing batteries, as you can simply just plug it in again to recharge, much as you would a cell-phone. VideoChip Wallets offer rudimentary viewing options, either as a static image, a slide-show, as well as the option of several animated image transitions. They can be bought for about $350, making a Wallet a hefty purchase, considering that the main feature is its compact profile. But if you're always on the move, or delight in showing your friends and family your photos wherever you are, then maybe this is the one for you.



Ceiva Internet Connected Picture Frame
This really is a remarkable product. Ceiva boasts this as the world's first web-enabled digital picture frame. When you buy one of these, Ceiva signs you up with a subscription for their service for a period of time – usually a year – then you simply plug a spare phone line into the rear of the frame. At a scheduled time, say, at night when you're not making calls, the frame's integrated dial-up modem connects directly to Ceiva's servers and synchronizes with your account on their service, which you can configure from your home Internet connection, or by phone if you don't have a PC! In this way, you can download new pictures every day, or send them to family and friends also on the service. The frame itself stores only 30 JPEG images, however, your Ceiva account can store thousands, in almost any digital picture format you care to name. Viewing options are wide and flexible, with a full complement of features. The frame is powered only by an AC adapter for constant use, meaning it is not especially portable. It features a large 8.2" LCD display, making it easily one of the biggest on the market. Ceiva is currently offering a deal for three frames plus a free digital camera with new subscriptions for $340. For what is included this is an excellent purchase, however, if all you want is a digital picture frame, and you are not so much concerned with the Internet capabilities, then you may find the small storage capacity and lack of other more rudimentary features too restrictive.

DigiFrame DF-560
If what you're after is a medium sized viewing area, with high-quality image reproduction and the most flexible range of features, then the DF-560 is for you. The DF-560 accepts both SmartCard media and CompactFlash cards, stores up 1,500 images on board, which display on a 5.6" high resolution 640x480 pixel LCD display. Also designed for constant, or all-day use, it is not battery powered, but runs off the included AC adapter. It offers changeable cosmetic frames, which allow the user to have a wood finish, if they're after the authentic look, or something sleek and modern, giving an impression of brushed stainless steel, as well as everything in between. Again, you don't need a PC to run this, as it has everything it needs on board, and images can be transferred via either of the storage card slots. However, if you do wish to use it in conjunction with a PC, it has a 9-pin serial port on the side, and includes a cable and software to allow you to transfer files directly between your PC and the frame, at a theoretical maximum transfer rate of 128kbps, or slightly better than twice the speed of a dial-up Internet connection. The DF-560 offers the widest range of slide-show transition effects, and allows you to prepare a number of customized slide shows using the images of your choice, all on the same card. As well as scaling large images down on the fly, which it is able to do with the inclusion of its relatively powerful processor, this digital picture frame packs a host of other features. All of this comes at a price, however, and while the feature set is great, the DF-560 retails somewhere around the $560 mark.

If you're in the market for something to put your digital photographs on display or to show to friends, then one of these could be for you. There are more than just the three digital picture frames reviewed here out there, and this brief examination is by no means exhaustive, but it should give you an idea of what the different features on offer are, and what to base your decision on. If you're after portability, then VideoChip's Wallet may be for you. If the idea and the possibilities of an invention such as an Internet digital picture frame really appeals to you, the Ceiva frame is a logical choice, and cost effective at that. If all-round solid performance and flexibility is what you're after, and you've got a budget to match, then give the DF-560 serious consideration.

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.

Photography Q&A: The Basics Of Developing Photographs

* Can I develop my own photographs?

Yes, you can. By having your own darkroom, it is possible that you can develop your own photos. You first need to set up your own darkroom and buy darkroom equipment.

* What equipment and supplies do I need in a darkroom?

A darkroom requires many kinds of equipment to get you started in developing your photos. It is expensive, so you should prepare a sufficient amount of money to get into this hobby.

The darkroom necessities are:

• Enlarger
• Negative carrier
• Lens Board
• Lens
• Safelight
• Print trays
• Timer
• Thermometer
• Funnel
• Chemical jugs
• Developer, stop, fixer
• Printing paper
• Mixing rod
• Print squeegee
• Dust brush
• Graduates
• Negative Storage
• Dark Bag/ Dark room
• Film tank
• Film reels
• Film

Above is the equipment you need for a darkroom. However, you still need additional equipment to set up a complete darkroom above and beyond the former, which includes:

• Paper cutter
• Color print drum
• Motor base for print drum or rotary processor
• Color head or filters
• Color printing paper
• Color chemicals
• Jugs and graduates for color chemistry
• Color print viewing filter kit
• Light table
• Dry mount press
• Mounting tissue
• Bulk film loader
• Film cassettes
• Darkroom sink
• Water board
• Film drier
• Print drier
• Toners
• Jugs for toners
• Exposure/color analyzer
• Repeating printing timer
• Photo Oils/pencils
• Print tongs
• Hypo clear, photo-flow
• Easel
• Polycontrast Filters
• Film clips
• Print washer
• Blotter book
• Projection scale
• Antistaticum
• Canned air
• Loupe
• Cropping guide
• Film washer
• Cotton gloves
• Spotting dyes
• Spotting brush
• Contact printer
• Grain focuser

* What makes a good darkroom?

A good darkroom should be light-proof, spacious, have dry and wet areas, have ventilation, have bench space, be organized, have a safe light, and be comfortable to work in. Since you will be working with chemicals, it is important that you have enough space to maneuver to avoid tripping over dangerous chemicals.

Buying Digital Camera Batteries

A digital camera battery is probably the most important digital camera accessory. Some digital cameras can consume power at an alarming rate, providing no more than a few hours of continuous shooting time before the battery is drained. Other cameras are renowned for the long life of their digital camera battery which allows users to snap away with barely a thought to power consumption. It is important to know how you intend to use your camera and what type of battery it needs.

There are two types of digital camera battery. The most widely available digital camera battery is a standard AA-size battery. The other type of digital camera battery is a rechargeable battery that is made by the manufacturer, otherwise known as a proprietary battery.

A proprietary digital camera battery offers the advantage of being lighter and more compact, but they are substantially more expensive, making the prospect of buying one or two backup sets much less appealing.

The alkaline AA-size digital camera battery usually has a very short life - less than an hour in extreme cases - when used in a digital camera. This type of battery makes an acceptable emergency backup, especially if you are travelling with your camera. However, the Nickel Metal Hydride (NiMH) digital camera battery can be used instead of the alkaline ones with a charger and this rechargeable NiMH digital camera battery has a substantially longer life at an affordable price.

Another type of AA-size battery is the non-rechargeable Lithium batteries and rechargeable Nickel Cadmium (NiCD) batteries. The lithium digital camera battery has a superior life to alkaline AA's and offers good cold-weather performance but their price and non-rechargeable nature make them less useful than rechargeable NiMH batteries. It is also important to ensure that your camera can take a lithium digital camera battery. On the other hand the NiCD digital camera battery offers the advantage of retaining their charge while unused, unlike NiMH cells, but have shorter lives and need to be discharged completely before recharging which can be extremely inconvenient.

The LCD screen of a digital camera is responsible for consuming the most power from a digital camera battery so it is worth only using the LCD when necessary to help conserve the battery life. Always try to carry at least one backup set of batteries, especially if you plan on being away from power outlets for an extended period of time. The universally-available alkaline AA-size battery can make a convenient emergency backup if your regular digital camera battery fails.

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.

Taking Professional Quality Pictures

By now I'm sure you've used Either a digital or film camera. You've taken pictures and had them developed and just weren't satisfied with the Quality. You don't need to be a professional or have a really expensive camera to take good photos. Here are some tips that can help you take your photo's from 0-100 in no time.

# Master your camera (Focus, Flash, Red-Eye, Shooting Modes, etc)
# Take more pictures (especially with Digital)
# Mix up your photos (portrait/Landscape)
# Center your image around your target
# Never shoot into a source of light
# Try to use non-distracting backgrounds
# Get Close - Zoom with your feet not with a button
# Take advantage of shadows and reflections
# Try different angles
# Pay attention to vertical/horizontal lines
# Shoot at the highest resolution available
# Use appropriate film for shooting scenario's
# Pay a little extra to have photo's developed at a quality shop

These are several tips that you can use to take higher quality pictures. It's important to take time to learn how your camera works, and to test different shooting scenario's (light, etc). Try some or all of the above tips and I'm sure you will satisfied with the quality of your photos.

Feel free to reprint this article as long as you keep the following caption and author biography in tact with all hyperlinks. p

People Skills for Portrait Photography

Taking great portraits is as much about people skills as it is about technical ability, or using the latest and greatest photographic equipment. Sure, refining your technical skills and knowledge may expand the extent of your capabilities, and using superior equipment may indeed boost your edge. But, unless you can first see through your subject's eyes, and understand her as a unique individual, and then build rapport with her so you can unveil and accentuate her finest qualities, your portraits will remain mediocre at best. Some lessons learned along my journey as a photographer may help those who choose to follow.

1. If using a tripod, compose your portrait and then take one step just to the side and forward from the camera. Do not look through the viewfinder as you capture your subject's image. This allows you to make eye contact initially with your subject, and then direct her in mood, expression, position, and the angle of gaze you are aiming for. When your subject interacts with your camera, the result can be a cold or lifeless rendering, but when you engage your subject through eye contact, expression, gestures and words, the result can be a warm and candid reflection, charged with mood or emotion.

2. If you are not using a tripod, you really should redouble your effort to maintain constant interaction with your subject. Many photographers tend to keep their eyes in the viewfinder of the camera, but this leads to your subject interacting more with the front glass in your lens than with you. Again, you do not want the sterile and lifeless rendering that most often comes when the camera serves to isolate you the photographer from your subject. Interaction with an inanimate object (your camera) can never be a substitute for interaction with another human being (you), when your goal is to capture the essence of your subject, and reflect the attitude and emotion she was feeling at that moment in time.

3. Allow your subject to be herself. A little girl dressed up in fairy wings for a special picture is very cute, and I suppose there is a place in this world for cute. But, contrast this with the little girl who just loves to dance. You put her in her everyday clothes, stand her in front of a plain backdrop, put on her favorite music and say to her, "can you show me how to dance to this song?" You should have no difficulty in capturing timeless expressions there. Now imagine a jeans and t-shirt kind of guy whose true passion in all of life is sailing. You dress him up in a tailored suit; formally pose him in front of a low key backdrop, seated in a Chippendale chair, and use classic loop lighting. What would be said of this portrait years later? "Who was this guy, an executive?" But just suppose, you photographed this same guy in his favorite t-shirt and blue jeans, at the helm of his beloved sail boat, on a beautiful late afternoon, just as the boat was coming about? What would be said of this portrait years later? "This was Charlie, doing what he loved most! That was such a glorious day." The point is, "keep it honest". Fantasy can be cute, but your subject being herself, years later this will be much more meaningful.

4. Allow your subject's expression to be honest. A frown or a grimace that is genuinely felt can be more interesting than a smile that is forced. I try to never just pose my subject and then say, "Okay, now smile for me." If you want your subject to smile then tell a joke, put on a face, or perhaps merely smile at her and she will smile back at you. People generally tend to reflect in their face what they see in yours, but in my experience this is not always so. Nevertheless, interaction with your subject is the key. That being said, the next time you have a difficult subject ask him to tell you a joke, to bring out a smile, if that's the expression you are after. If you are a professional, you know that smiles sell, but if you're an amateur, you are under no pressure to sell, so make your portraits interesting. Not everything in the world is to smile about.

5. Direct your portraits. Take control of the composition of your portraits! Do not be afraid to tell or show your subject what you want. Sometimes showing is best. I often find that actually demonstrating a pose I have in mind, works better than trying to direct my subject through words alone. If you are photographing a group, your life will be easier, if you arrange and pose the adults first. Then, work your way from oldest (or more mature and settled) to youngest of the children. The point to remember is, as the photographer, you should take charge of the shot. The success or failure of the portrait will be your responsibility, so take charge.

Engage your subject to establish and build rapport with her, to take your photos to a higher level. Make your portraits more meaningful by keeping them honest, and natural. We all know a fantasy photo can be cute, and a formally posed portrait can be graceful and dignified, if that is your subject's personality. But, a portrait that is true to the subject is always more meaningful. Allow your subject to be herself, and never force an expression. Learn to take charge and direct your portraits and you will move far ahead in your journey as a photographer. Practice your people skills with each portrait you take. People skills are the prerequisite to all else, if you want to take great portraits. Good day and happy clicking!

Photography Techniques.

For most photographers the most important factor in their photography is the sharp quality of their images. To get the very best quality we need to know which lenses to use and the best time to use they. There are several lenses on the market today that should become part of our every day tool.

Standard lenses: are the most common use on today market. A standard lens has a focal length between 40 mm and 60 mm, which can be used for all types of photography. It's the most flexible of all the lenses and should remain on the camera body at all times.

Telephoto zoom lens: for any one interested in wildlife photography a telephoto lens should become your standard lens. With a focal length of between 60 mm and 300 mm, this is also a perfect lens for the sport enthusiast. The telephoto lens allows you to capture the far away object and can also be used for landscape images

You can use this lens for close-ups, but be careful with your composition. Large areas of the image will become blank and could destroy your picture.

When using a telephoto lens always make sure that you have the camera supported with a tripod. If you cant use a tripod try using a beanbag - rest the lens on the bag when taking your images.

Wide-angle lens: is the choice of most landscape photographers. They allow you to include as much of the scene as possible when you look in your viewfinder with a wide focal length of 17 mm to 40mm. The wider the lens you use, the closer you need to be to an object of foreground interest, to add impact to your photography. Ultra wide-angle lenses have a focal length of 8 mm to 28 mm.

Macro lens: is perfect for ultra close-ups shots with an average focal length of 100 mm. If you are looking to take images of small objects, such as: flowers or insects, a macro lens should become part of your camera bag. A macro lens will also allow you to take unique abstract images. By using a wide aperture with a macro lens on natural shapes can create the perfect abstract image.

Be careful with focusing when using a macro lens, it is tough on a good day and can be impossible if the weather is windy.

Powershot S3 and Powershot S5 - Two Generations of Ulta-Zoom Cameras by Canon

S3 AND S5 - TWO GENERATIONS OF ULTA-ZOOM CAMERAS BY CANON

In common practice, the comparative test aims at distinguishing the advantages of one producer over another within one and the same price category and functional group. That is why models by different producers representing the same section of the market are taken for observation. Canon cameras are usually compared with their group-mates from Panasonic, Sony or Nikon. But we at DigiCamFriends.com ( http://www.DigiCamFriends.com ) have agreed to take another way and get to know what obvious innovations may be found in the Canon PowerShot S5 IS (hereafter, Canon S5) in comparison with the Canon PowerShot S3 IS (hereafter, Canon S3) that used to be extremely popular.

Let's imagine we know nothing about new features developed by Canon for the new model S5 that appeared after the Canon S3…

PHYSICAL VIEW

Canon models of S - series, being different from another Canon PowerShot "subclass" (that is models of A-series), are characterized as "amateurish" but with some skills of "professional". This is for report or art-report shooting, but not for the motionless photos, something like "a tree and me" type. From this point of view both models have a very handy design.

In fact physical view of the camera has not been changed, except first- the enlarging of the movable screen from 2 to 2.5 inches and second- the replacement of one of the control buttons. And while the latter novelty hardly seems to be pleasant, the first one fits quite natural- it's become more convenient to take photos with a larger screen.

Pic.1: Canon PowerShot S3 IS and PowerShot S5 IS; front.

Pic.2: Canon PowerShot S3 IS and PowerShot S5 IS; rear.

Pic.3: Canon PowerShot S3 IS and PowerShot S5 IS; movable screens.

OPTICS

The cameras have the same lens construction type with identical settings (the market interpretation of the term construction - the quantity of the optical elements and it's groups). Unfortunately, there was no information found on the manufacturer's Web-site mentioning that these lenses are identical; so I won't insist on theoretical view point, but make a display with some photo examples.

Example 1 : Shots with max. depth of field (the aperture priority mode, the shutter is closed down; Flash is on; ISO80 sensitivity; the white balance - "Flash"). The distance between the objects is about 15-25 cm. Auto focus on the handle of the cup. On the left is a shot taken by the Canon S3, on the right, by the Canon S5.

Example 2 : Shots with min. depth of field (the aperture priority mode, the shutter is absolutely open; Flash is on; ISO80 sensitivity; the white balance - "Flash"). The distance between the objects- about 15-25 cm. Auto focus on the handle of the cup. On the left is a shot taken by the Canon S3, on the right, by the Canon S5.

These cameras are recognized among the majority of digital cameras for equally good color reproduction and quick focusing on the objects, even if they are trying to escape from your camera.

Example 3: Focus on objects moving to and fro with 12x optical zoom in. On the left, a shot taken by the Canon S3, on the right, by the Canon S5.

It doesn't make much sense if we start making a display of numerous examples of similarities between these cameras. We'll stop making trivial comparisons of their features and proceed to noting peculiar and individual characteristics discovered during the experiments.

THE IMPERFECTNESS OF THE LENS

Practical optics has very little in common with the geometrical sums in the physics lessons that students solve while learning about cameras as a kind of equipment. But however accurate the calculations may be, even the most carefully developed ( and rather expensive) model of the lens is not completely perfect. For example, there can be chromatic aberrations, when the objects on the image are colorfully haloed. Test results show that both cameras have the same level of chromatic aberrations. Surprisingly, in spite of the progress of the competitors, Canon hasn't manage to overcome this problem when developing the Canon S3 into the Canon S5, even after the evolution within internal toolkit. On the whole, in my point of view, the number of drawbacks of cameras for ultra-zoom class is high.

Example 4 : chromatic aberrations are the colourful halos around the bridge footing. This example also displays the difference of the sharpness of the objects in the photo taken by different cameras, but we'll discuss it later. At the top is the whole shot with the testing area highlighted. On the left is a shot taken by the Canon S3, on the right, by the Canon S5. For both cameras we set semi-auto "Landscape" mode with completely closed aperture, 12x optical zoom in.

SHOOTING CLOSE-UPS - MACRO MODES

Macro-shooting is not an easy task for a camera, designed as the "the mater of landscape photography". The technical characteristics for shooting bugs and spiders are just opposite of those for shooting sun-sets and mountain landscape. There are numerous items that can be evaluated to identify the macro capacity of the camera. In particular, there is a famous test based upon not simply measuring the distance from the lens surface necessary for focusing, but making a photo of a small object wthin the whole shot. The smaller the object, the higher degree of macro capacity of your camera has.

We agreed to experiment upon the monetary unit of our country - coins of different values.

For both the Canon S3 and the Canon S5, macro-shooting is available in two different modes: "macro" and "super-macro". We had expected to get the similar results, but it turned out that, with the Canon S5, the borderline between these modes suffers influence of its predecessor. While "macro" mode of the Canon S3 enables you to take a photo of 5 coins, that enlargement is not enough for the Canon S5 for it's limit is 6 coins (shooting of 5 coins requires "super-macro" mode).

Example 5: On the left, a shot taken by the Canon S3; on the right, by the Canon S5.

After experimenting at length with "super-macro" mode we managed to take the image of a single coin. By the way, the coin is 15.5 mm in diameter. Unfortunately, this test can't be characterized as complete. It might be possible to take photos of much smaller objects on the whole screen provided there is extra lighting ( the cover around the lens prevented the addition of more light…in fact the lens was resting on the object; we had to build up a flash reflector, manually-set ISO200 sensitivity, and at last lighten the image with an image editor program.

Example 6: "Super-macro" mode. On the left, a shot taken by the Canon S3, on the right, by the Canon S5. The lack of light forced us to set the sensitivity to a high ISO level, and the bright halo around the coin is nothing but a flash, spread all over the tightly-stretched piece of white paper.

SENSOR AND ISO SPEED

Both cameras have sensors of 1/2.5' size, the number of effective pixels (pixel value) is 6 - 8 megapixels. Nowadays 8 megapixels for that type of sensor seem to be the limit (A greater number is quite possible, though it might be not economically feasible).

An important characteristic of digital camera, referring to its sensor, is ISO speed. The manufacturer gives the ISO speed scale from 80 to 800 for the Canon S3 and up to 1600 for the Canon S5. Let's experiment to evaluate data in low light condition.

Example 7: ISO80 speed. At the top is the whole shot with the testing area highlighted. On the left is a shot taken by the Canon S3, on the right, by the the Canon S5 (shutter speed priority mode, external light; for better observation the highlighted areas are enlarged in an image editor).

Example 8: ISO100 speed. At the top is the whole shot with the testing area highlighted. On the left is a shot taken by the Canon S3, on the right - by the Canon S5 (shutter speed priority mode, external light; for better observation the highlighted areas are enlarged in an image editor).

Example 9: ISO200 speed. On the left is a shot taken by the Canon S3, on the right, by the Canon S5 (shutter speed priority mode, external light; for better observation the highlighted areas are enlarged in an image editor).

From the examples above we may see that an ISO speed within 80- 200 scale makes good results for both cameras, although the results with the higher ISO speeds are not so clear.

Example 10: ISO400 speed. Same cameras and same conditions as above.

Example 11: ISO800 speed. Same cameras and same conditions as above.

While shooting with ISO400 sensitivity gives equally good results, the setting of ISO800 sensitivity enables the new internal algorithm of noise reduction in the Canon S5 to come into play (Heaven knows how it happens - either via auto or programmed mode). As for ISO1600 sensitivity, it is absolutely useless; even the above mentioned noise reduction mechanism doesn't cope with the noises. Though the manufacturer doesn't hold this option back from customers.

Example 12: ISO1600 speed of the Canon S5. The same image patch, as in the previous examples (the shutter speed priority mode, external light; for better observation the marked out areas are enlarged in image editor).

By the way, during the experiments with ISO speed, another peculiar feature of both cameras had been noticed. They manage to operate the white balance mode equally good, except when the white balance mode should be set manually at high ISO speed (800 and 1600). The noises of the sensor seem to appear in the program accepted averaged color, that is white.

It is not a great obstacle to overcome for usually the candlelight is used at such a high ISO speed (the dim light of a table-lamp and dingy street-lamps, for example) and you may choose the appropriate manual setting. Still, it is strange why such an imperfect algorithm inherited from its predecessor didn't go through any changes.

FOCUSING ON THE DISTANT OBJECTS

It has already been mentioned (discussing chromatic aberrations) that we get different results when focusing on distant object by Canon S3 and Canon S5. To check the fact we shot a series of landscape images with 12x optical zoom in. The semi-auto "landscape" mode was set to provide completely closed aperture along with the other auto-set characteristics (in other words to realize the greatest possible depth of field). To meet the non-stop character of the experiment, the test shots were taken at once without choosing the object to focus on but as soon as the camera informs that its ready to shoot (as soon as it has focused on). In addition, to avoid different views of nature by the cameras, we set "Spot focus" mode. Let me show you the effect referring to the series of shots of a TV tower.

Example 13: Focusing on distant objects with 12x optical zoom in ( "Landscape" mode, "Spot focus" mode). At the top is the shot of the landscape without enlargement; in the middle- the same landscape with 12x optical zoom in (with highlighted testing area). At the bottom to the left is the image by the Canon S3, at the bottom to the right, the image by the Canon S5 (both shots have been enlarged in an image editor).

The results show the pre-eminence of the Canon S5 working in auto focus mode. Probably, the Canon S3 might have shown not as bad results, if it were used in manual focus mode, but then it would break the conditions of the experiment.

TOOLKIT

"Sharpness" is available for both cameras, being called "Rezkost" in Russian texts. It attracted most attention among the other settings, because in a way it may be regarded as the equivalent of the internal noise reduction option (it doesn't reduce the noise but highlight the edges, that make impression of a high-quality shot). To test that no changes had been made within the algorithm, we took a number of shots with 400ISO speed (the noises are already conspicuous, but they do not prevail).

Example 14: Internal algorithm of increasing "Sharpness" for the Canon S3 and the Canon S5. At the top the photo with highlighted testing area. In the middle, a shot to the left, taken by the Canon S3 without increasing sharpness, a shot to the right, taken by the Canon S3 at a "high" level of "Sharpness". In the row below the same operations with the Canon S5.

Based upon the examples above, we may say that this algorithm as well didn't go through great changes: such a "delicate" way of increasing sharpness with a few artifacts left. It seems as though the manufacturer had not intended to update toolkit for a new model.

THE ALGORITHMS OF COMPRESSION

It's a pity, but neither of the cameras deals with RAW files (despite the Canon S5 sporting a new feature which is characteristic of a professional camera; that is, the flash hot shoe for external flash); all the image files are saved in JPEG format with various degree of resolution and compression (both are manually set). To compare the internal algorithms of compression we shot 2 series of photos in "Landscape" mode (to provide the best depth of field on the small far details). The center of the shot had been taken for the testing area to eliminate possibly the influence of the imperfect optics; all the changes were made in BMP format in order to make JPEG artifacts more conspicuous, and at the same time, not to add any extra while preparing shots for publishing; all the image patches were enlarged in the end.

Example 15: The comparison of the internal algorithms of compression for the Canon S3 and the Canon S5. At the top- the photo with highlighted testing area. The shots with the increasing degrees of compression follow below. On the left are the shots taken by the Canon S3, on the right, by the Canon S5.

The above examples display that the Canon S5 inherits from its predecessor the Canon S3 the visual effect of compression even for the high-quality images. I would recommend either increasing the super-quality of JPEGs (by any possible way) or contribute RAW-format (TIFF/ BMP- any of the formats that compresses without faults); the cameras really suffer from the lack of one!

FEATURES

Among the pleasant innovations for Canon S5, such have been noticed (though not checked):

*extensive work with the same set of batteries (170 shots in stead of 110 - according to the results of the standard test by the manufacturer);
*a hot shoe and sync-contact for external flash.

SUMMING UP

AFTER PRACTICAL WORK WITH BOTH CAMERAS, WE AT DIGICAMFRIENDS.COM ( http://www.DigiCamFriends.com ) MAY CONCLUDE THAT SOME CHANGES INDEED HAVE BEEN MADE FOR THE NEW MODEL. THIS CAN BE OBSERVED IN SUCH OPERATIONS AS FOCUS ON DISTANT OBJECTS WITH HIGH OPTICAL ZOOM OR WITH HIGH ISO SPEED. THESE NEW FEATURES HELPED TO CORRECT UTTER DRAWBACKS FOUND IN THE CANON S3, IN COMPARISON WITH THE SUCCESS OF THE SIMILAR PAIRS OF CAMERAS BY OTHER MANUFACTURES. THE QUESTION IS WOULD YOU AGREE TO PAY FOR THESE INNOVATIONS?