Clues For Improving Your Photography

noreply@blogger.com (Isi68) — Wed, 04 May 2022 16:15:00 +0000

Check out viewbug, a community that challenges and rewards creativity with the best photo contests. And if you win a prize, I win it too!

www.viewbug.com

Recognition received!

noreply@blogger.com (Isi68) — Mon, 24 Jan 2022 19:16:00 +0000

I have received a new badge!

The people at VIEWBUG could not be more inspired by me and those in the community. 😌

A lot has changed since they first started developing VIEWBUG and growing the community, but one thing remains constant - our collaboration means everything to them.

My new Karma badge shows how my participation in the community helps them push the VIEWBUG train forward.

Creators like YOU and I inspire them, and they hope that their work will help take YOURS and my craft in an exciting new direction.

Why not jump onboard?!

noreply@blogger.com (Isi68) — Mon, 15 Feb 2021 14:59:00 +0000

You're going to love this!

There is this new series of 29 videos that will take any DSLR beginner and make them a pro...

Including *YOU*!

If you've been struggling to get better photos with your camera...

(Or even if you don't know what DSLR to buy)

Then you're going to LOVE THESE VIDEOS:
http://www.PhotographyMasterclass.com

You see, Photography Masterclass was put together by Evan Sharboneau.

He's helped over 9.2 Million people with their photography skills. BUT he's also a regular guy willing to show you where he started.

Catch his "beginner-to-professional" story on the website:
http://www.PhotographyMasterclass.com

(You'll even see some of his old, UGLY PHOTOS there!)

Listen, no matter where you are with photography - just starting out, a hobbyist, or want to get 100% comfortable in Full Manual Mode -

You owe it to yourself to check this out:
http://www.PhotographyMasterclass.com

(Because you'll see also GORGEOUS PHOTOS and learn how they were created)

Anyway, I'm just passing along the good news that you can stop digging around blogs and forums...

*Finally* you can get the photography training you've been looking for!

How Improve Your Portrait Photography

noreply@blogger.com (Isi68) — Sun, 17 Nov 2019 18:49:00 +0000

People are such a great subject in photography and many have expressed a desire to improve in this area.

Although portrait photography can be a fun subject, some are still struggling to really enjoy it.

Here we are going to see how practicing, using the right equipment and having a different perspective can help you to improve your portrait photography skills!

Portrait photography may not be the easiest field to master. You often see photographers struggling to arrange a good pose, for example, and sometimes things can get awkward when the photographer and the model can't agree on the pose.

If this happens to you what can you do?

Talk to your model and make him/her understand how you want to get the best out of them; that you are looking for that special glow that only he/she can show. Of course, you then should listen to their feedback and see what perhaps they would like in their picture. Especially if they are the ones that have commissioned you to be their photographer.

It is important for your model to be relaxed, to be themselves. Some friendly chatting, perhaps even some joking, can often achieve this. Once your model is relaxed, study your them carefully. Look at their face and see what is so special about them. A good portrait photographer can see the character of a person from his or her face and know how to put the lighting to properly illuminate their model. Some say that you can even tell a person's story from their portrait, when done correctly.

Try looking from a different perspective. Everyone is unique in their own way. You could ask your model to look away from the camera and focus on their face. Or you can get your model to rest their head on their palm so that you can focus on their gaze. You need to be creative and ‘think outside the box’, so to speak.

You can improve as a portrait photographer using the equipment you already own. New equipment may improve your results but there’s no need to initially spend 1000’s in equipment when you could easily use natural lighting, or some DIY equipment, for example. (More of this in a future post.)

Tip: Zoom in to your model when taking a portrait, because wide angle lens might make your model look "wide" and your model might not be very happy!

Finally, practice makes a photographer better. There’s absolutely no way around it! As in anything, there’s more chance in improving things that you do over and over again. Initially you may have to spend a lot of time experimenting and trialling how your model needs to pose for you, how to get the lighting right, and so on. But once you have acquired the experience, you will know how to get these things right with just a single glance 😉

What about post-processing, re-touching, and ‘photo shopping’?

I know there are very strong opinions out there regarding this in model photography. I fully understand both sides.

Then again, which model would object to some light re-touching, for example gently smoothing out the skin of their blemished face?

This may sound like a difficult thing to do, unless you have extensive experience in using photo editing software. Thankfully, this has now been made very easy with the latest software from Skylum – Luminar 4 (coming on November 18, 2019).

It has a feature called “AI Skin Enhancer”. Its unique human-aware technology finds all the skin in your picture (not just the face), smooths it out, and removes blemishes while preserving pores, texture, and hair. All in one click and with adjustable strength. It works for any age and skin type.

Another feature, “Portrait Enhancer”, uses revolutionary new technology to help you create the perfect portrait in 15 to 60 seconds. It helps make face, eyes, and mouth picture-perfect. Twelve tools give photographers of any level absolute precision and control.

You can pre-order Luminar 4 at a special price before launch (click banner below). But HURRY UP! Time is running out…

The easiest way to replace a dull sky in a photo!

noreply@blogger.com (Isi68) — Tue, 12 Nov 2019 15:45:00 +0000

Order your copy of Luminar 4

at a special

Pre-Launch price here

Earn up to $200 per photo!

noreply@blogger.com (Isi68) — Fri, 28 Dec 2018 17:38:00 +0000

If you've never heard of Chris Page, then here's the skinny.

Like you, he's a photographer. But he's a photographer with a difference.

Because he discovered that he could actually get paid to submit photos online.
So, he eventually quit his job and started to make his living simply taking photos and submitting them online.

He takes pictures of his favorite subjects such as pets, beach, food and travel photography.

And, for some pictures he takes, Chris got paid up to $200 per photo! Sweet!

But Chris didn't stop there, because he saw there were tons of blogs and websites that needed photos - which is where you're set to cash in BIG TIME.

Because he's forged strong links with all these top websites (especially the biggest payers!) and set up a private web site to put these guys in touch with guys like you who are smart enough to know that they can make serious money selling their photos online!

So check this out, right now and take the dollar test drive: photography-jobs.net - you'll be glad you did!

Sincerely.

Krister

P.S. And here's the best bit, you can start making money today with just your camera and laptop. Here's the heads up again: photography-jobs.net

Using Instagram To Market Your Business

noreply@blogger.com (Isi68) — Mon, 03 Dec 2018 10:46:00 +0000

Instagram, as a social networking site, has grown rapidly in popularity and is set to continue in that direction.

Given the popularity of visual content online and the fact that it is owned by Facebook has given it a real boost.

Most users of Instagram purely use it for sharing 'moments' of their life or images of things that they're passionate about.

But more and more business owners are seeing it as a great opportunity to gain exposure to their website, products, and/or services.

Indeed, whatever your niche, Instagram enables you to access new marketing avenues for your business.

How can You use Instagram to promote your business?

Instagram gives you an up to date channel to gain exposure for you business, engage customers with your brand and introduce special offers or new products to a rapidly growing audience … without a big marketing budget.

This platform enables its users to take pictures and videos, and share them either publicly or privately on the mobile Instagram app, as well as through a variety of other social networking platforms, such as Facebook, Twitter, Tumblr, and Flickr.

An up-to-date online course has been designed to give you a complete introduction to Instagram marketing, teaching easy-to-apply methods to get the most from this platform.

The tutorials in this course will walk you through how to:

* set up your account

* the functionality of the platform

* how to build a following on Instagram

* how to promote yourself and your business properly on this network, using both free and paid methods.

Course Programme :

What is Instagram & How to Register
Why Instagram & Key Statistics
How to Navigate Instagram on Desktop
How to Navigate Instagram on Mobile
How to Customise Instagram Profile & What to Include
How to Post Pictures, Video and Use Hashtags
Instagram Lingo
What to Post & How Often
How To Build A Following
Instagram for Business
How To Get More Exposure & Generate Leads
How to Turn Followers into Website Visitors
Advertising on Instagram
Manage Multiple Accounts
How To Use Instagram ‘Moments ‘
Pre-scheduling & Analytics Tools
Case Studies / Instagram Photo Licensing Rules & Resources

About Your Instructor

Stas Prokofiev, Internet Marketing Consultant

From a young age Stas Prokofiev has always been aspiring to make money from the internet. After trying his hand at many different business types he finally found his passion in Internet Marketing.

Ever since going through the 3-day Internet Marketing Diploma Course, he has gone from strength to strength by mastering the art of building and launching websites. He now works closely with business owners as their Internet Marketing Consultant to create a professional online presence as well as building many start-up sites and projects along the way.

Stas now divides his time between various businesses and working as an internet business school coach sharing his knowledge and experience with others while building a sustainable income from the internet.

Learn How To Market Your Business, Attract New Leads & Increase Sales Using Instagram

Get Started With Instagram Today!

Buy this Course

Great stories start here!

noreply@blogger.com (Isi68) — Sat, 07 Oct 2017 16:56:00 +0000

Shutterstock has paid over $500 million to its contributors.

Keep your copyright. License non-exclusively. Earn up to 30% of the sale price of your content.

The Importance of Effective Keywording

noreply@blogger.com (Isi68) — Tue, 17 Jan 2017 13:41:00 +0000

Uploading your photos on to a photo stock agency is often quite easy...

With a few mouse clicks your photos are available to be bought through that site by brands and creatives. However you have to make sure that your photos don't get lost in the multitude uploaded photos by using correct keywords. Intentional visibility will help your photos get the attention that they need in order to sell.

The biggest misconception about key words is that "more is better". The truth is, however, that less is more when it comes to keywords. You must ensure that every keyword used is relevant to what your image portrays. When choosing keywords, ask yourself: "If I were searching for this kind of photo, what keywords would I use to find it?"

Here is a guide to picking relevant keywords for your images:

Focus on Adjectives, Nouns, and Verbs

What are the main objects or subjects in your photo? What do they look like? What are they doing? The keywords chosen at this stage will help you identify what is present in your photo.

Larger Concepts Portrayed

What does your photo represent beyond the surface level? Buyers very often purchase images in order to portray an idea, a feeling, and a way of life. If you include keywords that tell a story, your photos will be more relevant to buyers.

Location Is Important

Purchasers often look for specific locations (a country, city, or specific site). If you include the photo's location in the keywords it will increase the chances of your photo being found and therefore sold. If you, for example, use the keyword "China" your photo will have to be sifted through perhaps hundreds of images. But if you also add the keyword "Beijing" it may only have to compete with a couple of dozen images. By being location specific in your keywords you make "the net tighter", so to speak, allowing your photo to be more easily found.

Let's use the photo below as an example:

What keywords should be used in line with the guidelines above?

Adjective: barefoot, green, purple, red, dry

Nouns: traveler, nomad, woman, person, rocks, desert, road, route, hat

Verbs: wandering, exploring, walking

Concepts: journey, freedom, time off, wanderlust, leisure, landscape, scenery, travel, solo

Location: United States, America, American state, United States of America, Death Valley, Utah

As a successful photographer you must 'feel' and get into the head of a buyer when shooting, selecting, and keywording your photos. Taking great shots is only the first step. Choosing correct and precise keywords for your photos will drastically increase their visibility. And sales!

Photo credit: Gitte Kama (https://www.snapwi.re/photo/detail/574bf5d8572d110f2b0d3d60)

Hate your job?

noreply@blogger.com (Isi68) — Wed, 14 Dec 2016 19:51:00 +0000

Photography Tutorials

noreply@blogger.com (Isi68) — Sun, 11 Dec 2016 20:22:00 +0000

Check out Serge Ramelli's Youtube channel!

He has over 400 tutorials on photography, he is the number channel on Lightroom worldwide. If you want great tricks and tips photography check him out!

https://www.youtube.com/subscription_center?add_user=cmoeu

Great Car Photography - 10 Tips

noreply@blogger.com (Isi68) — Sat, 19 Mar 2016 20:58:00 +0000

If you have ever tried to take a great picture a car, you know that it's not as easy as you thought. Although it can be simple enough to take a clear and simple shot of the vehicle, it's far more difficult to capture the design, detail and essence of the car. Here are ten steps which will help you take greater shots of cars.

To begin with

There is a lot of things involved in car photography, so much so that there are entire websites and books dedicated to it. We won't cover everything here, but hopefully this will give you an insight into the world of car photography and get you started with the basics.

To begin, you'll need a car! Any car will do really, but your work will look more professional and exciting if you're working with more interesting vehicles. If all you've got is your everyday Fiat, that is fine. But if your mate has a Lambo, you'd better buy him a couple of drinks and ask nicely if you can borrow it for the day!

Photo by matthiasschack

Location

So you've got your car, now you need a location. You don't see many car adverts in which the car isn't set within an amazing location and bathed with the warm sun in the distance. Most likely you will be shooting on a budget so it will be hard to match the shoots you see in glossy magazines. Still, there are plenty of options to choose from.

You need to make sure that the car is the centre of attention - you don't want your location to steal away attention from the car. You want it to the car look better. Decide, therefore, whether you want to shoot the car in a natural setting, somewhere more unusual or whether you want a more studio feel to it.

Photo by alendrathril

A Natural Setting

In a natural setting, you could have the car either on the road, in a car park, or on the drive. These settings wont necessarily add much to your shot though. Imagine what sort of feel you'd like for your shots. Do you want a gritty and moody feel? Then perhaps head to the top level of a multi-storey car park with views across the city, or to the industrial estates with perhaps some derelict warehouses. Do you want a clean and classy image? Then head to the business district of the city with all the the reflective glass of the office blocks and modern buildings.

As an alternative, you could go for the more classic shot, at the top of a hill with an open vista overlooking the landscape, preferably with the sun setting in the background. Finding a great location will make your photograph stand out more. Try hard to find somewhere that will really enhance the atmosphere of the shot and the features of the car.

Photo by gmeurope

An Unnatural Setting

If you'd rather try an unnatural setting for the car, think whether you'll make the car look alien in it's surroundings. For example, a car doesn't look very mush at home even when shot parked on grass. Still, you'd want to avoid cliché car shots. At the same time don't be overly ambitious and end up having a series of shots that take the car too far out of context.

Possibly the best option is to go for a studio-type shoot. Hiring out a studio large enough can be very expensive though, so explore the alternatives first. If you know someone with a large garage with white walls it may be the perfect alternative. The greatest advantage of using a studio is the opportunity to light the subject creatively. (More on that later.) This can give you the chance to get some great interior and detail shots, but full body shots can end up looking fairly cold and bland.

Finally, when considering your location, think carefully about how the surroundings relate to the colour of your car and whether the tones in the shot compliment each other.

Photo by nairoozdotcom

Lighting

Next comes the matter of lighting - the essential element of every photo shoot! Natural light is always best. The golden hours, just before and during sunrise in the morning and through sunset in the evening would be most recommended. That way, you'll get a lovely warm side wash of sunlight on the car and you can avoid the overtly harsh brightness of the midday sun, which will also cause problems with reflections.

There is also the option of using artificial lighting. There are many ways to light a car for a shoot. The best thing is to set up lights or flashguns one by one, highlighting aspects or angles of the vehicle as you see fit. Then, take a few test shots, ensuring that the lighting setup is just where you want it. This way you wont light the car excessively and you can avoid letting the light sources double up on parts of the car. Use your eyes and take your time, the lighting is a very individual preference and can define the personal style and mood of the shot depending on you.

Photo by 900hp

Angles

Having now set your car up in a great location and figured out the lighting it's time to actually start taking pictures! It's important to think about how you want to portray the car, whether there are any particular features that you want to highlight.

Shooting from eye level, even when done technically correct, can make the car look boring. So to make your shots stand out you'll need to use different angles and vantage points. An interesting point is to shoot from just above the ground. This gives the car an overbearingly menacing look! Experiment and see what works for you and your car. (More tips can be found here.)

Once you've decided which angles work best and show the car in the way that you want, try moving the car to varied positions to get it to work well in the setting. Make sure you avoid distractions behind the car such as trees and telegraph poles / cables. Depending on the angles you've chosen, for full body shots, using a tripod is recommended for extra sharpness. However, for those wonderful angles, you'll need to go handheld...

Photo by uhho

Exterior Details

Once you've taken the full body shots, you can start thinking about any exterior detail shots that might want to highlight. Take a good look around and try to capture any details such as bodywork shapes and lines, logo badges, wheel rims and grills. Here too, it's important to consider the lighting and angles - don't presume that your previous set up will work the same for the various detail shots.

Photo by nairoozdotcom

Interior

Don't forget that there are many interesting interior details worth shooting too. The manufacturers logo, for example, will appear many times within the car's interior. There will likely also be a few nice design features that may be worth capturing. Make sure there is enough light available, especially if you're on location during the evening. You may want to actually take the interior shots first while its still bright, as it would be a shame to miss out on the details. Obviously, if you're in a studio the order of things doesn't really matter.

Photo by DeusXFlorida

Panning

Panning is a technique that is utilised in the world of motorsport photography, but also a fair amount in promotional car photography. The aim is to capture the car in motion, as it hurtles at speed either around a racetrack or some stunning mountainous road. This creates an effect where the car is in focus whilst the background is blurred, indicating motion.

The simplest way of using this technique is from a handheld point and requires you to turn and move in line with the moving car whilst taking your shot. It's important to know the expected movement of the car before you start shooting and as you move around in line with the subject. This is actually not that difficult! It just takes a little practise to get right.

Another panning technique is to shoot the car from another moving vehicle. If both are moving at same speed, you won't need to move the camera, achieving still a similar effect as stationary panning. However, be careful when sticking your camera out the window of a car. It is perhaps best to start with the basics first before you consider the dual car shoot!

Photo by grantuking

Have a go!

Hopefully these suggestions and tips will get you started and give you grounding for taking some great shots of the cars you admire. As mentioned earlier, don't expect to be matching the high quality of the car manufacturer's advertisements straight away, but they're great for inspiration and ideas. There are so many beautiful cars, both modern and old, just waiting to be 'immortalised', so get out there and have a go!

Photo by macieklew

Rules for photographing people and property

noreply@blogger.com (Isi68) — Thu, 13 Aug 2015 18:22:00 +0000

Do you worry about what you can and can’t take photos of while on your daily travels? You can stay safe and avoid legal issues when photographing people and property following these tips:

People

Laws differ from country to country but more often than not it’s illegal to take and sell an image editorially that contains people without their permission as long as the photo was taken in a public place.

Obviously, if you can get model releases for everyone in your shot then that’s great - the photo can be used commercially!

Public property

In general there's no need for permission to shoot in public places. You can take photographs of private buildings or property, as long as you do it from public land. There might be exceptions but usually, the rule is, if you can see it, you can shoot it.

Private property

If you’re taking photographs whilst on private property that’s open to the public (like museums, shopping centres, and the like) make sure you’re following the property owner's own rules on photography. If you’ve paid to get in somewhere, they most likely have a policy against commercial photography. Look out for signs of their photography policy or ask someone. If they allow it, get written proof of this in the form of a property release to cover your back!

These are just the basics. For more information on what rights photographers have when shooting in public, there’s a great article on the Digital Camera World website.

Remember, every country has different regulations so make sure you check out your local laws.

Top tip: when you’re selling stock photography, it’s important you annotate, or categorise, your images correctly. Is there recognisable property/people in the shot? Did you get a property/model release to sell the image commercially? It’s fine if you didn’t, it can be sold for editorial uses. If you want more info on when you might need a release check out this handy releases guide for customers (it will help you as a photographer too!)

Disclaimer, I'm not a lawyer(!) and this advice could change.

Quick definitions…

Public property – Any property that is not owned by a private individual or a company
Private property – Any property that is owned by an individual or a company
Property release – A legal release form signed by the property or brand owner, giving permission for the photographer to use or sell the photo
Model release – A legal release form signed by the person or people in a photograph, giving permission for the photographer to use or sell the photo
Commercial use – Commercial use generally means that an image is used to sell a product, promote something or raise money for a cause.
Editorial use – Editorial use generally means when an image is used to illustrate a newsworthy article, a critique or an educational text

Why You Should Consider Profit before You Start a Photography Business

noreply@blogger.com (Isi68) — Tue, 30 Dec 2014 14:55:00 +0000

Each year over ninety percent (90%) of small business fail. This includes the photography business. I find this figure frightening. Most people in those statistics move on to another venture or start again and become successful either the next attempt or the one after.

Many photographers simply throw themselves straight in the ‘deep end’ because they can already take excellent photographs and are remarkably creative.

There is a big difference between starting a profitable photography business and opening a photography business. You should read that sentence again!

1. It’s likely that you have a strong passion for photography because you are reading this. This is not enough. A strong passion for photography is different to a strong passion for succeeding in business. There are exceptions off course because some photographers have such a strong passion for photography they seek out advice or guidance to ensure success in their business.

2. Telling everybody - your parents, partner or your best friends - that you are throwing yourself into a photography business won’t bring success on its own either

3. If you’re on a budget, as most people are, it is foolish to run out and buy state of the art camera equipment and other advanced photographic accessories when you are unsure you will use it in the earlier stages of your business venture. At the outset you should try to keep costs at a bare minimum.

4. There's no argument that you must still have a grasp on your profit and loss sheet and cash flow in order to succeed. Your balance sheet is a snapshot in time but is still important. Have a chat with your accountant. Accountants worth their value won’t charge you for this.

5. Some of these issues are understandable because the drive to earn a living from something we like is like pursuing utopia. Therefore, people rush in trying to make it all happen as quickly as possible. This often ends up a disaster with a lot of hard earned savings and borrowings being thrown to the wind.

6. The interesting point is that all this is easily avoided. It is so easily avoided that it is frustrating to see people reject the opportunity of advice or guidance when it’s so easily available, and then they wonder why they have crashed and burned! It is so easy to avoid all of the above. The fact is – it’s much easier to avoid failure than undertaking the risk of going through the above and still being successful. Why? Because knowing what to do brings confidence.

7. Often toward the end of a failing business many owners become desperate and do things they otherwise would not. Sometimes depression shows its ugly face. Then you have the difficult task of collecting yourself and your self esteem again and starting from scratch.

8. Here’s another little gem: Don’t even think about starting a photography business unless you are sure you can show persistence when required. Like with all small businesses, there will be some heart breaks and wins. When you lose a good client, don’t go to the nearest bar and whine to your friends. Take stock of why you lost the client and make sure it doesn’t happen again. Let go of your pride and approach your client with a solution and something a little more than last time.

9. The biggest dud cop-out is “I lost my business to a cheaper photographer!” Give me a break! If this is a concern for you, then beware, because there’s a chance you don’t have the solutions to run a profitable business. That issue will always be around. The highly successful photographers don’t concern themselves with that at all.

10. Only you know if you are a truly keen photographer. You are the only person who knows whether it would please you to earn a living from such an enjoyable vocation.You won’t find theanswer on the internet, in a book, or from your grandmother. Your own ‘gut’ will translate your desire. Remember this, if you decide to proceed, be smart and do it correctly the first time!

If you are still keen then I suggest you purchase this Book sstarting your own profitable photography busines.

I hope this has been of some to you…

Krister

PS. You must plan to make a profit. Don’t be like so many and get taken to the cleaners …so to speak!

Great Travel Photography Tips

noreply@blogger.com (Isi68) — Fri, 08 Aug 2014 13:58:00 +0000

by Geoff Harris

Planning on travelling soon and need some practical advice? Geoff Harris shares ten tips to help you get excellent photographs wherever you choose to go.

The beauty of travel photography is that it encompasses so many different styles and approaches – portraiture, landscapes, wildlife, architecture, even documentary photography. Most people have been on holiday with a camera, but that doesn’t make them travel photographers – so what is good travel photography? Good travel images are usually well composed, well exposed and go much further than the average snap in capturing the flavour of a place. Good travel images tell a story. They’re interesting to people beyond your immediate circle, and who’ve never even been to the places you’ve photographed. Here are ten practical tips for getting memorable shots from your travels.

1. Plan

Even if you book a trip at the absolute last minute, you should do a bit of research on the best places to photograph in your destination(s). With the internet, you don’t even have to buy guide books any more. Simply do a Google Image search of where you are going and you’ll be hit by a barrage of photographic inspiration. Be ambitious with your photographic itinerary, but realistic; if you’re planning a 40km taxi drive a to a temple, make sure you time it right so you don’t spend the whole morning stuck in traffic. If you have longer in a more exotic destination, it’s often worth booking a photographic guide to make things easier and find interesting subjects. Contact them directly via websites or social media or visit travel photography forums and get some recommendations.

2. Pack carefully

It’s very tempting to take everything but the kitchen sink on a once-in-a-lifetime trip, but don’t overpack. At the very least, you need a compact with a decent zoom lens, or a Compact System Camera or DSLR. If you can change lenses, try to take a standard wide-to-telephoto zoom (eg 24-70mm), a 50mm or 85mm fixed-length ‘prime’ lens with a wide aperture, and, if space permits, a longer zoom, such as a 70-200mm lens. Try to include a lightweight travel tripod (carbon fibre is ideal) and a cable release for night and long-exposure shots too, and possibly a couple of filters. You may also choose to take a flashgun but this is arguably less important. The crucial thing is to try and fit everything into a comfortable shoulder bag or rucksack that you can take into a plane’s cabin, rather than taking the risk of checking it in. Spare batteries and spacious memory cards are essential too.

3. Get acclimatised

Once you’ve arrived, spend some time just wandering around and getting your bearings. If you’re itching to take some photos, markets are a good place to start, particularly in more exotic locations such as the Far East. Stall-holders want your custom, so they are often fine about being photographed (it’s polite to buy something small in return), and you will find lots of distinctive colour, sights and smells. Remember, shooting small details of a place, or the local produce, can capture its essence as well as any shot of a famous tourist spot. Be sensitive to local customs (hopefully you did some research in advance) and respect religious sensibilities. Take a break if you get hot and thirsty at a local cafe; often you can get great images just watching the world go by.

4. Chase the light

Good light is key to all good photography, travel included. Getting up early to catch the best light is really worth it, and it can free you to work on your photos while family and friends are asleep and crowds are light. Failing that, the last hour before sunset is another great time. Use a free app such as The Photographers Ephemeris to find the exact times of sunrise and sunset, or just work out where the sun will be in relation to iconic buildings you want to photograph. The problem with shooting in the middle of the day in hot, sunny countries is that very harsh shadows can spoil your shots. Dusk and night-time are also great times to experiment with longer shutter speeds to capture traffic trails, or try creative flash effects such as rear-curtain sync.

5. Compose cleanly

All good travel photographers develop an almost Zen-like patience. Rather than racing around trying to photograph every temple in Bangkok, it’s often better to concentrate on the most interesting and photogenic ones and put in the time there, returning at quieter times if necessary. Good, clean composition is really important so be paranoid about messy backgrounds that distract from the main subject, or clutter in the foreground. Think carefully about what you have allowed into the frame before you press the shutter button, and if you have to wait five minutes for someone to get out of the way, so be it. Yes, it might cost you some time, but waiting is often much less frustrating than trying to remove unwanted elements from otherwise successful images in software.

6. Walk, walk and walk some more

Louis Montrose, a recent winner of Travel Photographer of the Year, said his best accessory was a pair of walking shoes. Even in thronged tourist hotspots you can often get interesting images just by exploring some of the nooks and crannies off the main thoroughfares. Travel photography is a process of discovery and revelation, but don’t expect great images to come right up to you. This striking image of a monk was taken at a side-temple at Angkor Wat, one of the most photographed places in Asia. It was the result of going off the beaten track and politely interacting with the subject, leading to an invite to a hidden temple that few tourists get to see. If you can get this kind of shot at a hotspot like Angkor, you can get it anywhere!

7. Think like a portrait photographer

When you look at the work of geniuses like Steve McCurry, you see that so much of great travel photography is also great portraiture. So, if somebody agrees to have their photo taken, remember the golden rules. A prime lens with a fixed wide aperture (say f/2.8), or a telephoto lens, is useful for blurring out the background while keeping your subject sharp. Focus on the eyes by moving the nearest autofocus point over them, or if that seems too complicated and fiddly, by setting face detection AF. Try to avoid poles or objects sticking out of their head and try to keep the background as clean and non-distracting as possible; again, blurring it out with a wide aperture helps here. Eye contact makes for more powerful portraits, but more ‘candid’ portraits work well too. If your subject is grinning and posing, just be patient and stick around; eventually they’ll forget you are there.

8. Think about your settings in advance

The time to practice a more technically challenging creative technique – say panning, motion blur or capturing very fast action – is before you arrive at your location, rather than fumbling with your camera settings as something amazing is happening in front of you. Panning, where you freeze a vehicle while blurring out the background to give a sense of speed, is a great way to get memorable traffic shots, particularly with colourful tuk-tuks or rickshaws. Practicing panning at the side of your local roads will massively boost your success rate when you’re on holiday. Another good tip is to write down key settings for creative techniques on a piece of card and carry it in your wallet or camera bag. Don’t get flustered and race around; it’s better to come away with ten really great shots from one location than 50 mediocre ones from different places.

9. Don’t hide behind zoom lenses

To get interesting photos, put yourself in front of interesting things. The beauty of using short prime lenses that they force you to get closer to your subjects, and often the resulting interaction makes for much more interesting images. Prime lenses often have superior optical quality and wider fixed apertures, too. Yes, you might feel shy, but the worst that usually happens is that you get shooed away. Usually, though, if you are polite and respectful, people will agree to be photographed, and often really enjoy seeing the resulting images on your camera screen. Even seasoned travel photographers admit to feeling shy on the street, but their desire to get a good picture overrides their nerves. This is the state of mind to emulate, without ever being pushy or aggressive.

10. Go beyond the obvious

Again, using the Angkor Wat example, the obvious place from which to photograph is right in front of the temple towers on the main path. By all means have a go, but trying to keep other people out of the scene will be nigh on impossible. Even if you do get a clear shot, it’s a composition that’s been done to death. Why not be a bit more creative and wander around to find more interesting angles and perspectives? Maybe take a portrait shot of a local character with the temple in the background. It doesn’t matter is it’s Angkor, Big Ben or the Pyramids of Giza; there’s always a fresh perspective on an iconic building if you think creatively. Focusing on side temples and smaller details can often yield good shots too, as with this shot of the deity Vishnu at Angkor. Experiment with creative effects and black and white too.

About the Author

Geoff is a highly experienced photography journalist, and recently stepped down as editor of Digital Camera, the UK’s best-selling photography magazine. He now writes for a range of publications. Geoff is a keen travel and portrait photographer, and a Licentiate of the Royal Photographic Society.

Make money with your old photos!

noreply@blogger.com (Isi68) — Tue, 15 Apr 2014 09:14:00 +0000

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Make money with old photos on your hard drive!

noreply@blogger.com (Isi68) — Tue, 25 Mar 2014 18:57:00 +0000

Hya

Hope you are okay!

This is not some "junk mail", so please read on...

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www.imagebrief.com/r/v0m2Pw

New PENTAX K3 DSLR

noreply@blogger.com (Isi68) — Wed, 09 Oct 2013 20:55:00 +0000

RICOH IMAGING COMPANY, LTD. is pleased to announce the launch of the PENTAX K-3 digital SLR camera.

Developed to be the flagship of the PENTAX K digital SLR camera series, this new model features a host of advanced functions and user-friendly features to optimise image quality and performance when shooting outdoors.

Designed for top performance, the K-3 provides an array of outstanding features, including high-resolution image reproduction with approximately 24 effective megapixels; a 27-point AF system; high-speed continuous shooting at approximately 8.3 images per second; high-precision exposure control with a newly designed 86,000 pixel RGB light-metering sensor; a new, large, high-resolution LCD monitor; and an optical viewfinder with the largest, brightness subject image in its class.

The new anti-aliasing simulator — a highly innovative function developed specifically for the K-3 — allows the user to effectively minimise moiré without the installation of an optical anti-aliasing filter in the camera, providing a choice of filtered or filter-free shooting for a given scene or subject. The K-3 also offers greatly-enhanced movie-recording features and smartphone-accessible functions.

The time-proven dustproof, weather-resistant body construction ensures dependable, flawless performance in the field. The PENTAX K-3 Premium Silver Edition* will also be simultaneously launched—but in a limited run of just 2,000 units around the world. This limited-edition model has a silver body and silver grip, making it a perfect match for the silver versions of the high-performance Limited-series lenses, designed for unrivalled image rendition. This special package also includes an exclusive leather strap and a spare battery.

* The specifications of this limited-edition model are identical to those of the PENTAX K-3. Main Features

1. High-resolution images produced by a brand-new sensor with approximately 24 effective megapixels and a new imaging engine The K-3 is equipped with a new APS-C-size CMOS image sensor (23.5mm×15.6mm) with approximately 24 effective megapixels. By coupling this sensor with a newly developed PRIME III imaging engine with high-efficiency noise and image processing capacities and an anti-aliasing filter-free design, the K-3 delivers high-resolution, fine-gradation images. It also offers a top sensitivity of ISO 51200, for taking detailed images under poor lighting conditions, and to simplify handheld shooting of nightscapes.

2. PENTAX-original SR mechanism to reduce moiré as effectively as an optical anti-aliasing filter

(1) In-body SR mechanism

The K-3 features a PENTAX-developed SR (Shake Reduction) mechanism that can be used with any compatible PENTAX interchangeable lens.Thanks to the addition of an SR-dedicated servo controller and an increase in the magnetic force driving the SR unit, this mechanism assures more stable, effective camera-shake compensation than ever before.

(2) The World’s-first, innovative anti-aliasing simulator function

Newly developed for the K-3, the anti-aliasing simulator applies microscopic vibrations to the image sensor unit at the subpixel level during image exposure, generating the same level of moiré-reduction effect as an optical anti-aliasing filter. Unlike an optical anti-aliasing filter that always creates an identical result, this innovative simulator allows the user not only to switch the anti-aliasing filter effect on and off, but also to adjust the level of the effect. This allows the user to set the ideal effect for a particular scene or subject.

(3) User-assisting shooting functions

The SR unit’s flexible design, which tilts the image sensor unit in all directions, is one reason why the K-3 can offer a host of handy shooting functions, including auto level compensation, image-composition fine-adjustment, and ASTRO TRACER, which simplifies advanced astronomical photography in combination with the optional O-GPS1 GPS Unit.

Lenses compatible with this mechanism: K-, KA-, KAF-, KAF2-, and KAF3-mount lenses; screw-mount lenses, (with adapter); and 645- and 67-system lenses (with adapter). Some functions may not be available with all lenses. *** World’s first as an interchangeable-lenscamera to carry this functionality as of October 2013. (Based on RICOH IMAGING COMPANY’s research) **** This function is most effective with a shutter speed of 1/1000 second or slower. This function is not available during HDR shooting.

3. Newly designed SAFOX 11 AF module with 27 auto focus points

The K-3 features a new SAFOX 11 AF module with an expanded image-area coverage using 27 AF sensors (25 cross-type sensors positioned in the middle). The centre sensor and two sensors just above and below it are designed to detect the light flux of an F2.8 lens, making it easy to obtain pinpoint focus on the subject when using a large-aperture lens. This newly developed AF module is highly light-sensitive and covers a wide AF working range of –3EV to +18EV. Since the AF module takes data from RGB light sensors into calculation to optimise AF operation, the K-3 also provides such advanced functions as high-accuracy auto-focusing during the shooting of fast-moving subjects, and the zone-select AF mode to automatically select the best possible in-focus point within a designated nine-sensor zone.

4. High-precision exposure control with a new PENTAX Real-Time Scene Analysis System

The K-3 is equipped with newly introduced PENTAX Real-Time Scene Analysis System that consists of approximately 86,000 pixel RGB light-metering sensor and improved algorithm, which allows it to not only control the exposure with extreme accuracy, but also to utilise the data taken in by the light-metering sensor to further enhance the accuracy of auto-focusing and white balance adjustment.. This has expanded the measurable minimum luminance level to as low as –3EV. By detecting the type of scene or subject using the light sensor, the K-3 can not only select the exposure settings that are more consistent with the photographer’s creative intentions, but can also make more precise distinction between the main subject and the background to improve the accuracy of flash discharge level.

5. High-speed continuous shooting with a maximum speed of approximately 8.3 images per second

The K-3 continuously records as many as 22 images in the RAW format or 60 images in the JPEG format
in a single sequence, at a maximum speed of approximately 8.3 images per second. This has been made possible through the use of several innovative technologies, including a high-speed, high-accuracy control mechanism that regulates the shutter, mirror and diaphragm independently; a damper mechanism that effectively minimizes mirror shock; and a high-speed data transmission system incorporated in the PRIME III imaging engine. JPEG Recorded Pixels：L,　JPEG Quality：★★★

6. Optical viewfinder with new optics, to provide a nearly 100% field of view and a larger, brighter viewfinder image

The K-3’s glass prism has been treated with a new coating designed to improve reflection, resulting in a much brighter viewfinder image. The eyepiece optics have been completely redesigned to assure an approximately 0.95-times viewfinder magnification to provide a broader image field, making it easier for the photographer to confirm the subject’s focusing status and compose the image.

7. Full HD movie recording with creative tools

The K-3 captures beautiful Full HD movie clips (1920 x 1080 pixels; 60i/30P frame rate) in the H.264 recording format, which assures flawless, high-quality movies even with fast moving subjects. It also comes equipped with a stereo mic terminal for external microphone connection and a headphone terminal. The user can even adjust the audio recording level manually and monitor sound levels during microphone recording. In addition to a variety of creative special-effect modes, the K-3 also provides an upgraded interval movie mode, which captures a series of 4K-resolution movie clips (3840 x 2160 pixels) at a fixed interval. When special image processing is required, the frame rate may vary depending on the selected special-effect mode.

8. Smartphone-support functions

By installing the optional FLU CARD FOR PENTAX 16GB memory card in the K-3, the user can release the K-3’s shutter, check the live-view image, and browse and download the images recorded on the card using a smartphone. This software supports smartphones operating on iOS6 or later and Android 4.2 or later.

9. Large, easy-to-view 3.2-inch LCD monitor with approximately 1,037,000 dots l,

The K-3 features a newly designed 3.2-inch high-resolution LCD monitor with approximately 1,037,000 dots (in a 3:2 aspect ratio) on its back panel. In addition to its wide-view design, this monitor also features a protective tempered-glass front panel for added durability, and a unique construction in which the air space between LCD layers is eliminated, effectively reducing the reflection and dispersion of the light to improve visibility during outdoor shooting. During playback, the K-3 even allows the user to check recorded images at life-size magnification.

10. Compact, solid body with dustproof, weather-resistant construction; perfect for outdoor shooting

The K-3’s exterior casing is made of sturdy yet lightweight magnesium alloy. Thanks to the inclusion of 92 special sealed parts in the body, it boasts a dustproof, weather-resistant and cold-resistant construction, assuring solid operation at temperatures as low as -10°C. It also features a dependable, durable shutter unit that can handle some 200,000 shutter releases. Despite all these features, the K-3 has been designed to be compact and manoeuverable, assuring exceptional operability when shooting outdoors.

11. Other features

・Dual SD card slots for memory card flexibility (compatible with SDXC UHS-1 speed class in SDR104 bus speed mode)

・DRII (Dust Removal II) mechanism for effective elimination of dust on the image sensor using ultrasonic vibration

・HDR (High Dynamic Range) shooting mode with RAW-format data filing

・PENTAX-invented hyper control system for quick, accurate response to the photographer’s creative intentions

・Mode dial with a choice of lock mechanism engagement (ON or OFF)

・Redesigned, resized grip for steady, comfortable hold of the camera

・Compensation of various parameters: lens distortion, lateral chromatic aberration, brightness level at image-field edges, and fringe effect (available in RAW-format processing only)

・Compatibility with Eye-Fi wireless LAN memory cards

・Compatibility with USB3.0-standard interface accessories, with HDMI (type D) terminal

・Newly designed Digital Camera Utility 5 software included, to provide upgraded programs and enhanced overall performance

Make money from Instagram!

noreply@blogger.com (Isi68) — Sat, 14 Sep 2013 13:20:00 +0000

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Artistic Cell Phone Photography

noreply@blogger.com (Isi68) — Thu, 26 Jul 2012 10:46:00 +0000

by NYIP Student Advisor Chris Corradino

Whether you use a smart device like an iPhone or an Android, or a more compact cell phone, chances are that you have a camera in your pocket right now. Not very long ago, the optical quality of these cameras was very poor, especially in low light situations. Yet today, thanks to continued technological developments, a growing number of users are beginning to realize the power of the latest cell phone cameras. In fact, the International Telecommunications Union estimates that "4.6 billion mobile phones are in use at the moment." If this is any indication of what the future holds, cell phone cameras may very well replace smaller point-and-shoot cameras altogether.

Rather than carrying a phone, a camera, and an MP3 player, many consumers look for one electronic device that does it all. Some shoppers simply search for "best camera phone" and make their purchase solely on the quality of the camera. Manufacturers are taking notice, and they're adding more capable cameras to their phones. For example, the Nokia PureView 808 features a staggering 41 megapixels of resolution along with full HD 1080p video recording and audio recording at CD quality. The affordable Sony Xperia has an 8.1 megapixel camera with autofocus, 16x digital zoom, LED flash, and a maximum aperture of f/2.65.

One of the best parts about camera phones is the ability to share the image with others right away. You can post your photos to a variety of social media outlets such as Facebook, Twitter, and more. You can even post videos to YouTube directly from your phone. This type of content sharing has become incredibly popular. Facebook alone receives more than 2 billion photo uploads each month! On Twitter, many photographers share their "Twitpics" with their followers. These can range from "look where I am" to beautiful fine art imagery. If another user appreciates an image, it's often retweeted, and shared with even more people. It's possible to upload a photo at 10:15, and have several hundred or more views by 10:30.

Camera phones don't have the speed or advanced functionality of the more full-featured DSLRs. Yet, the benefit of having a small, quiet camera in your pocket at all times outweighs any of its technical limitations. When a professional photographer arrives on the scene with two DSLRs, telephoto lenses, and flash units, everyone immediately notices. In certain situations, this can hinder the pro from doing his or her job, as people are more guarded and aware of the cameras. With small cell phones, however, a photographer can get the needed shot and leave the scene virtually undetected. In addition, there are some places where professional-looking cameras are absolutely prohibited. Thankfully, camera phones are more discreet, and don't generally draw attention to the user.

For iPhone and Droid users, there are an overwhelming number of photo-related applications (just called "apps") to help edit, enhance, and share pictures. In fact, Adobe Photoshop has an inexpensive app called Photoshop Touch with many impressive features including the ability to adjust curves. While in-phone editing can be convenient and fun, some users prefer to edit the "old fashioned" way, on their computers. Cell phone images are typically JPEGS, and can be downloaded into a full version of Adobe Photoshop, or other editing software. This opens up many possibilities like layer masking, unsharp mask, noise reduction, and more. Here are two popular apps you'll want to look into for serious cell phone photography.

Hipstamatic soon became a household name infiltrating its way into the fabric of our society. Not a day went by where our Facebook wall wasn't filled with photos that looked like they were taken 50 years ago. Still, despite being overused at the peak of its popularity, there was an authenticity to the images that ordinary phone snaps were lacking. What some may have initially written off as a fad appeared to have staying power. This shift was first evident after New York Times photographer Damon Winter used the app to document war in Afghanistan. Winter is a Pulitzer Prize winning photographer whose work we've long admired for its creativity and technical brilliance. Yet, when his photo story "A Grunt's Life" was awarded third place in the Pictures of the Year International contest, a flood of naysayers took to the Internet to bash the ethics of his camera selection. In his thoughtful response, Winter said, "I will always stand behind these photographs and am confident in my decision that this was the right tool to tell this particular story." In studying the series of twelve photos, it's difficult to envision them any other way. The quiet, introspective moments he captured coupled with vintage aesthetics make for a telling look at life behind enemy lines.

The Instagram app, acquired by Facebook in 2012 boasts over 40 million users, and that number is growing fast, especially after adding support for Android devices. These two apps have paved the way for a landslide of similar options, many of which are free to download.

Other photo-editing apps you might want to investigate include PhotoForge2, Camera+, and Filterstorm. And don't forget to download the free app from The New York Institute of Photography. You can access ongoing photography and business tips and videos. Tune in to informative tweets and view photos from NYIP students and graduates.

Source: New York Institute of Photography

5 Hot Tips For Holiday Shots With A Compact Camera

noreply@blogger.com (Isi68) — Wed, 11 Jul 2012 11:56:00 +0000

Taking your compact camera with you on holiday? Here our top tips to get the best out of it.

Your compact camera may be small, but it can still take some pretty good holiday snaps. Compacts are often easier to carry around than DSLRs as they are lighter and smaller which means it's easy to pop one in your bag and that way, you'll always have it on you, so that you never miss a shot if an opportunity arises. With this in-mind, here are our top 5 tips for compact camera holiday photos.

Settings

Most compacts will have some kind of beach setting that'll stop your shots looking underexposed when taking photos in bright sunlight at the coast. This will most likely be under the scene mode or equivalent on your camera. The Beach scene mode will increase the exposure slightly to compensate but also adjusts the white balance to make the sand look more natural.

When shooting portraits, if you find that the sun is causing harsh shadows, particularly under the nose and chin, use your camera's built-in flash to put detail back into shadow areas and as an added bonus, it can add catch-lights to eyes too. Some cameras let you reduce the output of the flash so it isn't as harsh. Check your camera's manual if you're unsure if you can do this with yours.

Fun Effects

Most compacts have some quirky effects (digital filters) that will work well with holiday photos. For example, use of the miniature mode from high viewpoints can create some great images. Be creative, and you can produce some fun holiday shots that show your skills off too.

Photo courtesy of David Clapp - www.davidclapp.co.uk

Be Unique

Try going off the beaten track to get some good vista and panorama shots of your destination that will be completely original. For example. If you're in a coach party and the coach stops, walk up the road and see if there's a better viewpoint rather than standing with the crowd. Go for something that you can't find on a post card – perhaps a macro or close up shot, something a little different that'll make your shots stand out from the rest.

Self-Timer

By using your camera's self-timer you'll be able to be in group shots rather than always hiding behind your camera lens. After all, it's your holiday too! You should be able to set your timer to various intervals, usually 10, 20 and 30 seconds as well as minute intervals.

Horizons

Using a tripod will help ensure the horizons straight but if you aren't planning on taking one with you, a quick check of the viewfinder or screen just before you take the shot will help prevent wonky horizons spoiling your shot. Look for other distracting objects such as rubbish as well as lamp posts and trees growing out of people's heads. Make sure your fingers aren't sitting over the lens, or flash if you're using it, too.

Source: www.ephotozine.com

Polarising Filters - How To Use Them? Why?

noreply@blogger.com (Isi68) — Fri, 06 Jul 2012 09:12:00 +0000

Digital photography enables us to recreate most filters effects that we used to produce using optical attachments on our cameras. But there's one filter that should still be in every photographer's gadget bag. Let's forget the crazy world of multi-images, the colourful starbursts and the dreamy diffusers - the essential item you should own is a polarizing filter. A genuine polarizing filter can have a dramatic effect on your photographs, but it won't ruin them, which is one common criticism of special effects filters, such as spot colours and multi images.

The classic effect a polarising filter has on the sky. Left shows a non polarised photograph and right with a polariser attached. Notice the saturation in the sky, making it vivid blue, but also the improved detail in the foliage and blooms, that give the picture more clarity.

How they work

Polarising filters work by suppressing surface reflections from non-metallic objects, by blocking the rays. The amount of suppression depends on the angle of the reflected light, the rotation of the filter and the amount of polarisation. You also see an increase in colour saturation, as the glare caused by the surface reflections often lightens the subject.

Polarsing filters are perfect for landscape photography. Here a warm tone version was used which has made the picture look more like a summer's day.

Some image editing software suggests it can offer the same results as a polarizing filter, but it misses the mark. A digital polarizing filter can enhance contrast and colour saturation, but it can't remove the reflections caused by light - well not yet anyway!

Here sunlight has caused glare on the varnished wooden sign which can be reduced when a polarising filter is used.

Photos of non-metallic surfaces aren't the only subjects that benefit from the use of a polariser. Light reflected from water and glass is also polarised and using a polariser enables the photographer to see through the glass or water.

A polarising filter used on water kills reflections, allowing you to see below the surface.

Another essential use of a polariser is for creating those rich blue skies that are normally seen in travel brochures and on postcards. Light scattered from a blue sky is polarised, making many blue skies look drab, add a polariser to the equation and you will produce a lovely dramatic blue sky.

How they attach

There are three types of polarizing filter. The most basic is a sheet of polarizing gel, which you would need to cut to size and hold over the lens or mount in a gelatin holder. Then we have precut and mounted versions, made by the likes of Jessops and Cokin, that slot into a filter holder and mount onto the front of the lens. The third option is the round type that has a sheet of polarising material sandwiched between two pieces of optical glass. The screw-in variety has a rotating front ring so you can adjust the filter while looking through the viewfinder until the reflections are reduced. The holder variety is usually round and can be rotated in the holder.

Ten top tips on using polarising filters

When shooting to prevent reflections, it's best if you are at an angle of around 35 degrees to the reflective surface.

A polariser can be attached on top of an existing UV protective filter, but if you do so, be aware that the depth of the filter rims may cause a small amount of vignetting (darkening of the edges) on wider-angle lenses. And as there are more glass to air surfaces the image quality could be degraded. So where possible it's better to remove any other filter and just attach the polariser.

When shooting skies ensure you shoot at the best angle - for rich blue skies move around so that the sun is at 90 degrees to the subject - anything more or less and the saturation is reduced.

Avoid using a polarising filter on a lens wider than 28mm as the effect can look false because only a proportion of the sky will be deeply polarised.

Watch the exposure. A polariser has a neutral grey look, which won't affect colour, but does reduce the amount of light reaching the film/CCD. If your camera has through-the-lens metering it will calculate the exposure difference automatically, which is roughly two stops.

Use two polarisers together as variable neutral-density filter with between two and nine stops light reduction.
Use two polarisers one over the light source behind a plastic subject and one on the camera for a cross polariser effect. There's a technique how to do that here: Cross Polarisation

Cross polarisation is a colourful technique that makes use of one of the polarising filters more creative features.

When using a polarising filter on an older camera that doesn't have TTL viewing hold it up to your eye and rotate until the filter is showing the best effect. Then mark the uppermost point of the rim with a china graph pencil or tape, screw it onto the lens and rotate so that the tape or mark is at the uppermost position. Some filters have a white line mark already printed on the rim which can be used as a gauge.
Buy a slim version for use on a wide-angle lens to prevent the mount causing vignetteing
Don't use a polariser when shooting through an aircraft window, you will record distracting patterns in the window.

There's one incident when a polariser should not be used. Here I increased the colours in the sky and made the ground look more saturated by using the polariser (left), but look at the rainbow pattern. This is caused by the material used in the windows and has produced the cross polarised effect.

A Guide to buying a polarising filter

Buying a polarising filter - You may be aware that a polarising filter is one of the most useful additions to your camera kit, but there are a few things you need to decide before buying one. First thing you should know is that there are two varieties - linear and circular. Although they're both physically round, a linear variety can have an effect on the autofocus or metering accuracy of any camera that uses a semi-silvered mirror or prism to split the light entering the viewfinder.

You may be aware that a polarising filter is one of the most useful additions to your camera kit, but there are a few things you need to decide before buying one.

Linear or Circular?

First thing you should know is that there are two varieties - linear and circular. Although they're both physically round, a linear variety can have an effect on the autofocus or metering accuracy of any camera that uses a semi-silvered mirror or prism to split the light entering the viewfinder. This is known as a beam splitter and is used by most modern SLRs to calculate exposure and focusing distance.

As a rule use a circular filter if you have an autofocus camera or a manual focus model with a spot meter such as the Canon T90 or any modern digital SLRs.

Screw-in or System filters?

Next thing to decide is whether to buy a round, screw mount filter or a system version that slots into a filter holder. Round ones are often easier to adjust and feel better built. They're also more compact to carry around. The disadvantage is larger sizes are more expensive and, if you have two lenses with different filter thread sizes, you may need to buy two filters, whereas a system type would just need another adaptor ring for the filter holder.

The filter holder type can also cause vignetting when used on some larger thread wide-angle lenses. Equally, a larger filter holder may prevent vignetting when used on a smaller thread wide-angle.

Features to look for

If you have a camera without through-the-lens viewing look for a filter that has an index mark printed on it. This will help you align the filter correctly.
Some filters have a small screw-in arm to help rotate the filter, which is useful if you intend using the filter when wearing gloves in cold weather.
Filters with thick rims can cause slight vignetting when used on wide-angles. The latest Pro1 D versions from Hoya have slim rings.
Check whether the filter is circular or linear. It will often say PL CIR if it's circular, while linear often just has polariser or PL marked on the rim.
Polarising filters for square system holders are still round so they should rotate easily in the holder.

Who makes them?

Screw-in filters

Screw in filters attach to your lens' filter thread and are the least bulky option. If you have a number of lenses with different filter threads it can be an expensive option.

B+W
A brass mount with solid ring and deep filter thread make this a heavy filter that feels substantial compared with its Japanese competition. Extremely neutral throughout the range with plane parallel polariser material that the German makers, Schneider, say will guarantee optimal image results. The one to choose if your budget can stretch to the hefty price tag in sizes from 46 to 95mm.

Hama
Suppliers of one of the largest accessory ranges made, with thousands of items for video, stills and audio markets. Recently they have introduced a range of silver finish filters that match the modern styles seen with newer compact digital cameras and AF SLRs, This range includes the HTMC Circular polariser in sizes from 25.5mm to 77mm. In conventional black rimmed options there's a Linear in sizes from 49mm to 82mm, Circular in sizes from 27mm to 82mm and a HTMC circular in sizes from 37mm to 86mm. Hama also produce an slim mounted circular version for wide-angle lenses in sizes from 49mm to 77mm.

Heliopan
Ksemannn polarising are very expensive, but different in that the after the sandwiching of the polarising layer the filters are polished plane parallel and the edges are thoroughly sealed and mounted in a precision rotating mount with numerical scale. The special seal helps if you're using it in difficult climates such as sub tropical. They are available in linear or circular versions along with a linear warm polariser all in sizes from 39mm to 105mm along with Hasselblad and Rollei bayonet mounts.
Heliopan linear and circular polarisers are made from top quality Schott glass (made by the Zeiss group) and come in black anodised brass mounts in sizes from 39mm to 105mm.

Hoya
Super HMC Pro Multi-coated circular polarisers are difficult to make because the heat needed to multi coat the outer surfaces can damage the polarising sheet that's sandwiched between the glass. Hoya have managed that with this version available in sizes from 49mm to 82mm and it's ultra thin and lightweight. Hoya also make a normal circular polariser in sizes from 27mm to 86mm and linear in sizes from 39mm 95mm.

Jessops
Produce a wide range of low cost screw-in filters including linear options in sizes from 46mm to 72mm and circular varieties in sizes from 27mm to 77mm.

Kood
Have a range of screw fitting polarisers in sizes from 39mm to 86mm for the linear variety and 27mm to 86mm for the circular versions. They also produce 84mm linear and circular versions for use in Cokin P series holders.

Sigma
The company that makes lenses also has a range of circular polarisers with slim mounts for their lenses. They range in sizes from 46mm to 82mm for normal coated versions and there's also a multi-coated version in sizes 86mm, 95mm and 105mm.

System filters

Square filters fit onto your lens with removable adaptor rings. You only need one holder and one filter which can be attached to a variety of lenses using different size adaptor rings.

Cokin
French manufacturer Cokin was the originator of the special effects system with A (amateur) and P (professional) sizes. The A series are 67mm square and designed for use on 35mm cameras while the 84mm square P series are more suitable for larger medium-format systems and also come in handy when you use wide-angles to helps prevent cut-off.

More recently a larger Z-Pro and X-pro range were added to accommodate those lenses with large filter threads, especially suitable for the modern ultra wide-angle lenses.

Both linear and circular polarisers are available, which are very neutral in colour. Unlike other resin Cokin filters these are mounted in glass making them much heavier. They fit into the filter holder's back slot so you can rotate them easily.

Cromatek
A British brand with a unique box shaped filter holder that holds the 76mm filter in place while acting as a lens hood. The filter fits into the back slot of the box holder and you have to flip down the cover of the box to rotate the filter. This can slow you down, but you do gain the benefits of a superb light tight hood. A 100mm version is also available and both are glass mounted with circular or linear options.

Hi-tech
An 85mm system with an option of attaching a 105mm screw thread Kaesemann polariser to the front of the 100mm holder.

Jessops
Jessops make a range of budget priced filters for their effects filter system which are, like Cokin, available in two sizes Standard (67mm slot) and Professional (83.5mm slot). Linear and circular polarisers are available in each system.

Lee
A system originally developed for the professional photographer who needs the very best quality. The filter holder is larger and accepts 100mm square filters. Their linear polariser is made from Butyrate and is less than 1mm thick so needs to be mounted in a gelatine holder for the best support. It's available in 75mm, 100mm and 150mm square versions.

Hoyarex
Square system from the popular maker Hoya. A wide range were made and the system had a useful rubber hood that attached to the outside of the filter holder. Several of the filters in this range were glass. The system was 75mm square and excellent quality. You can pick these up second-hand Used Hoyarex Filters and they're well worth the investment.

Source: www.ephotozine.com

How To Sharpen Your Digital Images

noreply@blogger.com (Isi68) — Wed, 20 Jun 2012 07:07:00 +0000

Let’s face it, we all come across a great shot which was taken at a unique moment in time but for some reason, it just isn’t sharp enough. “What did I do wrong?” we often say to ourselves. Sharp images aren’t that elusive! In fact, they are dead easy if you know how. This particular article gives you many insights to sharpness that aren’t that obvious, in fact, it’s a strategic approach to the issue in many ways. I think you’ll enjoy this one…

How To Sharpen Your Digital Photography Images

Let’s start this digital photography lesson by looking at the digital camera. All digital cameras photograph images which have a normal pattern of pixels that make up this image. In some digital photography images a moiré effect is created. To avoid this, modern slr digital cameras come with an in built filter that givens a softer effect to the image.

When you are faced with having to sharpen a noisy digital photography image you’ll find that some photos are easier to sharpen than others. This might be caused from having a too high ISO. The usual way of adding sharpness to a digital image has it problems too; it can actually increase the noise in your image quite a bit. To clarify this point, what is actually happening is the noise isn’t being increased as such, it’s being enhanced.

There is a way to sharpen noisy digital photo images without going into the noise itself.

To begin with its important to understand colour modes in Photoshop. The easiest way we remember colour modes is when we think of RGB mode. This is a “channel” of colours which are Red, Green and Blue. As I was taught by my good friend Lyndie Jeffry, there are more colour modes where your digital photo can be altered, adjusted and sharpened.

When I was first learning about digital photography Lyndie taught me that you can involve the CMYK mode which uses four colour channels. This stands for Cyan, Magenta, Yellow and Black. (Yes I know, “Black doesn’t start with a “K”.)

Lyndie explained to me that the best one to use for this purpose is the L-A-B mode. LAB mode really just related to the 3 channels it uses. In a nutshell Lab stands for the individual channels. The “L” really means “luminance”, “A” the green-red aspect “B” the blue-yellow aspect. When working in LAB mode you can modify the brightness of your digital photo and keep the saturating and colours the same. The way this is possible is because practically no image information is depleted or lost when you convert to Lab mode. It also stays good when you convert back again, which is extremely handy. (Especially with highly valuable photos such as other peoples wedding photos.) Not everyone uses this, but it’s a neat trick with some digital images.

In some digital photography images you can simply choose to sharpen the L channel in LAB mode. By doing this much of the noise in the image is in the other channels that are usually not affected by this sharpening effect.

Now this may not work for every single noisy digital photography image you have. But in some situations it works very well. I suggest you try it to see the effect you give. I’ve used it a few times and it’s saved my ‘you-know-what’. So if you’re in a tight spot with a noisy image, give this a go, you might be surprised with the results!

By Amy Renfrey

Published here by Roy Barker. You should look closely at this device, very handy indeed – instantly improved photo images (also comes with a trial) **It will be very handy when time is not on your side!“

How To Choose, Set Up And Use A Tripod

noreply@blogger.com (Isi68) — Wed, 02 May 2012 19:18:00 +0000

Tip Number 1 - Buy A Tripod That You Will Use

It is easy to end up buying a tripod that is so heavy or impractical that it never leaves your house. It is all very well thinking that the tripod is lovely to use and portable in the shop or when you're looking at it online, but the reality can be very different when you're actually walking with it.

Tripods come in all sizes, styles and budget levels. Aluminium tripods, for example, are cheaper than carbon-fibre models, however they are heavier and tend to be colder to the touch. If you do really want to travel light, you could always consider investing in a monopod. There are plenty of styles out there but one popular type are those found in Manfrotto's 190 series. There's a wide range of models available which makes them a popular choice for hobbyists right up to pro level.

Tip Number 2 - What To Look At When Buying A Tripod

The Legs

Extend them fully and make sure they go to the height you need or if you're shopping online, look for this information in the specifications.

The Head

Not all tripods come with one, but most do. Optional heads are made by Manfrotto. Look at how the camera locks into position. Are the locks positive? Is the head as good shooting vertical-format images as it is with horizontal ones? Etc.

The Quick Release System

Many tripod heads have a quick release system with a plate that you can leave permanently in position on the camera. Check how solid the quick release system is and how easy it is to use. Metal ones offer greater stability but regardless of the material, make sure the plate securely fixes to your camera.

The Leg Locks

Legs locks should be comfortable and quick to use as well as secure. There are two main types: twist grip or lever lock. Twist grip locks can be slightly uncomfortable to use but are very secure while lever locks are fast to use but may need checking every so often to make sure they lock tight.

The feet

Most tripods have rubber feet, but some do have spiked feet. Spiked feet can be bought as optional accessories or sometimes you can get both types in one.

Other Points To Consider:

Cost
Weight
Construction material
Height (folded, minimum and maximum)
Maximum supported weight

Tip Number 3 - How To Carry Your Tripod

This can be done either by strapping it to your photo rucksack, in a bag with a strap or with a tripod strap. Manfrotto offers bags and carrying straps, but if you own a photo rucksack you might find that it came with the appropriate accessories.

Tip Number 4 – How To Keep Your Remote Release Secure

If you use a cable remote release get some Velcro fastening and use it to hold the control unit in place during long exposures. It is better than the remote just hanging down which might cause tension on the connections or, if the wind is strong, cause the release to bang against the tripod and blur your images. This arrangement is only for temporary holding of the remote release during exposure and is not advised to hold the release in place when you're carrying the tripod around.

Tip Number 5 – Setting Up Your Tripod

Before setting up, make sure you are completely happy with your location as if you change your mind about the composition once you've set your tripod up, it can take you some time (and be rather annoying) to have to put it away again to move positions.

When setting up, extend the legs before extending the centre column. Extending just the centre column is quick but it is not good technique and won't offer as much stability as adjusting the legs first will. Extend the fattest leg section first then if you really need the height, extend the thinner parts of the legs.

For extra stability, hang your camera bag or another heavy object from the centre column. Many tripods actually come with hooks fitted so you can hang items from it. If it's a really windy day, however you may find the object moves too much and actually knocks your tripod, causing shake, instead of helping support it.

Many tripods and tripod heads, such as those found in Manfrotto's 055 Series, have built-in spirit levels to help you keep the tripod level. If yours hasn't buy a spirit level to fit into the camera's accessory shoe.

Source: www.ephotozine.com

The Canon 5D Mark III has arrived!

noreply@blogger.com (Isi68) — Fri, 02 Mar 2012 13:38:00 +0000

Today, after three years of rumour and speculation Canon has officially announced the Canon 5D Mark III. Building on the 5D Mark II the new camera (we’re told it’s not going to replace the mark II), the 5D Mark III closes the gap between the 5D and 1D series cameras.

Today, marks another mile stone in the photographic industry with yet another highly specified machine to join the Canon EOS range. More than three years have passed since the announcement of the ever-popular Canon 5D Mark II (Sept 08), which in the photographic world is an absolute lifetime! Today, the suspense has reached an end and Canon has confirmed what we have all been waiting to hear, but will it live up to our expectations? Let’s have a look at the specs.

Specifications

22.3 megapixel CMOS sensor (36 x 24 mm)
A standard ISO range of 100-25,600 (expandable 50-102,400)
Next-generation DIGIC 5 image processing engine
Full HD 1080p movie capability
3.2″ 1,040,000-dot LCD screen
Dual card slots: one for CF cards and one for SD cards
Up to 6 frames per second
61-point AF system (41-cross type sensors)
£2999**

The Canon 5D Mark III holds onto the impressive level of specification as the respectable and legendary Canon 5D Mark II but with a boost of technological enhancements in all the right directions.

22.3 Megapixels

With only but a little nudge in megapixels, Canon has chosen not to enter the 5D Mark III into the race of “who has the most megapixels” and focus more on what is essential to users looking to upgrade.

The revolutionary DIGIC 5+ Processor

Wildlife and Sports photographers who require a fast burst rate will be pleased to see Canon have increased the frame rate from 3.9fps (found in the Canon 5D Mark II) to 6fps. Working together with the CMOS sensor, the DIGIC 5 processor ensures fast continuous shooting and provides exceptional image quality in low light and is designed to be six times faster than the DIGIC 4 and create 75% less noise, previously found in the Canon 5D Mark II.

61-point Autofocus System

While the Canon 5D Mark II was everything and more, the obvious and headline improvement would be that of the AF system – Canon has hit the nail on the head with this one! The Canon 5D Mark III now features an impressive 61-point AF system including 41-cross type sensors, the same found in the Canon 1D X. Like the 1D X, the 5D Mark III can also detect a subject that is completely out of focus by utilising the entire sensor, rather than just a single AF point, thus ensuring rapid and effective AF control at all times.

Night capability, ISO 50-102,400

The standard ISO ranges from 100-25,600 which is impressive in itself but the ISO performance doesn’t stop there, the Canon 5D Mark III’s ISO can reach down to as low as 50 and expand to a remarkable 102,400.

Get the full view

The new viewfinder as been upgraded to offer 100% coverage (98% on the Canon 5D Mark II), on par with the 1D X.

Movie mode

With a quick press of the dedicated movie button, the Canon 5D Mark III offers Full HD 1080p recording with manual control over depth of field, exposure, shutter speeds and in a selection of frame rates – 30, 25 and 24, with 60 and 50 available at resolutions of 720p.

Design and Weather Sealing

The button arrangement is a similar feel to the Canon 7D, so it is designed to suit all needs for anyone looking to upgrade from this older cousin. The Mark III also gets some improved weather resistance, with extra sealing throughout the body – around the buttons, LCD, battery and more importantly the memory compartment.

Dual card slot

The Canon 5D Mark III now includes dual card slots, one for Compact Flash and the other for SDHC.

Comparison table

	5D MK II	5D MK III	1D X
Megapixels	21.1	22.3	18.1
ISO range	100-6400	100-25,600	100-51,200
Max extendable ISO	100-25,600	50-102,400	50-204,800
Image Processor	DIGIC 4	DIGIC 5	DIGIC 5
HD Video	1080p (30fps)	1080p (24, 25, 30fps)	1080p (24, 25, 30fps)
Autofocus	9-point	61-point	61-point
FPS	3.9	6	12
Card Slot	CF	Dual SDXC & CF	Dual CF
Screen (dot resolution)	3.0″ LCD (920k)	3.2 LCD (1,040,000k)	3.2″ (1,040k)
Weight*	810g	950g	TBC
Price**	£1688	£2999	£5299

*approximate body only weight (without battery or memory cards)

**Prices as of today (2nd March) and are subject to change

Final thoughts

When the Canon 5D Mark II first hit the market, it was priced at £2299.99, so that’s £699.01 more to save. Whilst not exactly cheap, the Canon 5D Mark III is still within reach of many semi-professional photographers and with this set of impressive features there will be many clamouring to buy one. Watch this space for more specifications and important updates on this impressive full frame DSLR.