Learn Digital Photography

Random Links

2007-06-15T20:15:00.001-07:00

Me and my friends started a couple of interesting sites you should check out... Me and my friends started a couple of interesting sites you should check out... Art Cone, Boat Core, Build Bible, Camping Teacher, Cooking Journey, dFoto, Fishing Mentor, Gardening Natural, Golf Faculty, HealthTM, Horse Activity, Mind Tractor, MoneyTM, Mythology Art, Pet Cup, Photo Exit, pregnancy How, Psoriasis Today, Review Folder, Seduction Star, Self Help Quest, Slovenia Tips, Spoil Guide, Sport Fuse, Surreal Art Portal, The Spam Blocker.com, Travel Squid, Umetnost.org Technorati Profile

Filters For Landscape Photography

2006-03-08T05:35:00.000-08:00

Filters are used in photography to bring back an image to the way our eyes have perceived the original scene. Some times it’s not possible for our cameras to record an exact scene - so we have to rely on the manufacturers of camera products.

Filters also help us to create mood in our images and bring out the best in a scene. A small selection of filters is well worth packing when heading off for a trip. They don’t take up too much space and will definitely add a bit of spice to your images.

Filters work by being placed in front of your camera lens. You can also place several filters in front of your camera at any given time.

Lets take a look at the most important ones to use.

Neutral Density Filters (ND): Neutral Density filters will certainly help you with tough exposures. These filters work by cutting down the light that reaches your lens. These filters come in a variety of strengths with the most popular being 0.3, 0.6 and 0.9 - these filters will help with exposure without affecting colour.

One half of these filters is dark and the other is completely clear. They basically work by reducing brightness. The different numbers stand for the amount of brightness they reduce - 0.3 ND reduces light by one stop - 0.6 reduces light by 2 stops - 0.9 reduces light by three stops.

Lets say you arrive at a high contrast scene, - you take a light reading of the sky and get an exposure reading of F/22 at 1/8 second; you take a reading from the ground in front of you and get a reading of F/22 at 1 second. This is a difference of three stops of light. You need to reduce the brightness of the sky. By using the 0.9 ND you will reduce the light in the sky by three stops without affecting the light hitting the ground in front of you.

Polarizing Filters: A polarizing filter should be top of the list - a polarizing filter can be used with colour or black and white and is probably the most important filter on the market today. The polarizing filter will also darken the blue sky to give it a strong rich colour. It will make mist stand out and can be also used to give fast flowing water a misty effect. This filter is most effective with side lighting.

Warm-up filters: In overcast conditions, don’t put your camera away. This is an ideal time for you to switch your attention to landscape detail. On an overcast day images often appear cold and dull. Try using a warm-up filter. These filters will remove the dull effect that you get shooting without the sun.

The 81-series are the best choice and will give your images an extra bit of life. An 81A warm-up filter is ideal to use in adding extra warmth to low light images.

Filters for B/W photography: Just because you use black and white film it doesn’t mean that you can’t use filters - there are several filters for B/W photography. The polarizing filter is one of the few filters that work for B/W and colour photography. It will help to darken shades of grey in your final print.

The red filter is one of the most popular. This filter will darken the sky giving your image more impact. The most common red filter is the number 25. Filters for B/W work by transmitting light of its own colour, and holds back light of the other colours.

There’s a large amount of filters available; these are the most important filters for landscape photography.

There are also several filters on the market today that will do very little for your photography. Colour graduated filters should be left at home or placed in the bin - colour graduated filters work by creating un-natural colours, destroying your final print.

TJ Tierney. Award winning Irish Landscape photographer. If you are looking for more photo tips visit http://www.goldenirishlight.com/photographytips.html To view some of his images visit his on line gallery @ http://www.goldenirishlight.com

Understanding Red-Eye in photos and how it can be prevented

2006-03-08T05:34:00.000-08:00

Why are eyes red in photos?

Red-eye is a phenomenon that happens only when taking photos using a flash. When taking photos in day light or when in high ambient light scenarios people’s eyes look normal. When taking pictures in low ambient light scenarios using a flash the result many times is redness in the people’s eyes.

The reason for the color red is simple – when flash light from the camera hits the eyes it penetrates and is reflected back from the retina. The color of the reflected light is red because the light is actually reflected from the red blood in the retina.

In some scenarios the red-eye is evident while in others it is mild or doesn’t seem to appear at all. One of the main factors for that is the state of the pupils. If the pupils are dilated (for example the pupils dilate in darkness or when drinking alcohol) more light is reflected back from the retina and the eyes in the photo appear redder.

Common way to reduce red-eye

The most commonly used method to reduce red-eye is activating the camera’s built-in red-eye reduction feature. The red-eye reduction feature is very simple yet effective. When turned on the camera shoots a series of pre-flash strobes followed by one more strobe when actually taking the photo. The pre-flash strobes cause the pupils to reduce in size and by the time the photo is taken the pupils are small enough for the eye redness to substantially reduce.

The red-eye reduction feature does what it is supposed to do: reduce the red-eye effect but almost never is it completely prevented. There are many limitations to this feature for example pupils reaction time to light can vary. In addition this feature can have a side-effect that results in photos having people’s eyes closed. The reason is that the pre-flash strobes blind the people and cause them to close their eyes.

Other ways to prevent red-eye

Understanding what causes red-eye helps being more creative in preventing it. Following are some ways to prevent red-eye other than using the built-in camera red-eye reduction feature:

Increasing the light where photos are taken (for example by turning on the lights in a room before taking photos of people) causes people’s pupils to reduce in size and eye redness to reduce.

Point the flash away from the eyes. Since red-eye is caused by flash light reflected from the retina the best way to prevent red-eye would be to eliminate such reflection as much as possible. In most cameras the angle between the flash and the lenses is narrow (this is especially true for built-in flash and pocket cameras) causing most of the flash to bounce back from the retina to the lenses. Increasing the angle (for example by using an external flash) reduces the reflected light. You can also use a bounce flash – by having the flash light bounce off a bright surface (a white wall or a professional reflector) most of the direct reflection from the retina can be eliminated.

Red-eye can also be removed after photos were already taken by using photo processing software on your PC. Most digital cameras include a CD with PC software that embeds this feature. Although this method doesn’t eliminate the red-eye from the source it can result in a practically red-eye free photo. Some software are better than others some are manual while others automatically identify the red-eyes and process that area to revert to normal eye colors.

Ziv Haparnas is a technology veteran and writes about practical technology and science issues. This article can be reprinted and used as long as the resource box including the backlink is included. You can find more information about photo album printing and photography in general on http://www.printrates.com - a site dedicated to photo printing

Travel and Scenic Photography 101

2006-03-08T05:32:00.000-08:00

When you're driving through the mountains somewhere, and you notice a car parked half off the road and some guy leaning to the left to avoid a branch with his Rebel 2000 camera in the act of focusing, you've met me. I do this because, to me, a trip isn't fulfilling unless I've preserved that beauty for posterity. I'd like to share some of the techniques that make scenic photography such a wonderful artform - simple, yet elegant.

First off, equipment. As much as the cheapo disposable camera beckons, get real. These cameras have fisheye lenses which I call "spam" lenses. They cram everything in, with equal blurriness and boringness. Good photos are sharp, unless you use blur for artistic effect. Sharp comes from an adjustable lens. It can be a fixed lens or a zoom, but it must focus specially for each picture. Fixed lenses are limiting for scenic pictures, where to frame the shot you may need to move long distances. Imagine using a fixed lens on the Washington Monument, when you're half a block away! Zooms get my vote, even though they often don't have as wide an aperture, which limits their capabilities in low light situations.

Practically speaking, an SLR is the absolute best. They are lightweight, and can be used with top quality lenses. Film SLRs tend to be less expensive, but have the limitations of film, meaning you have to get it developed and so forth. Digital SLRs are VERY expensive, so for the budget conscious either go with a film SLR or a high quality basic digital camera. With digital, resolution is also a critical factor, so look at the specs before you buy.

OK, we've got the camera, emotions are running high, and that's great, but not too great! Sometimes I find a spot that is so wonderful, I start shooting like a madman, only to be disappointed by the pictures. What happened? Emotions. When you experience a place, there are sounds, aromas and breezes as well as the visuals of the spot. Needless to say, you can't photograph all of these elements, only the visual. When overwhelmed by the spectacle of a scenic hotspot, we are often overwhelmed by all of these elements.

So what to do? Look through your camera. The viewfinder does not lie (usually). Try to see what you are looking at as the finished picture. Most people perfunctorily take pictures, hoping that somehow the shot will come out great. If you wonder how the pictures came out when you are on the way to the drug store to get them, you're doing something wrong. At the moment you click the pic, you should know exactly what you will get. (Of course with digital, that's not a trick!).

Now, I was a tad dishonest in saying that you can't capture all of the elements of a scene. You can hint at them. For starters, motion. Yes, even in a still picture, there is motion. Something happened before, during and after your picture. In a mountain vista scene, you may find something that hints at motion, whether it be a branch of a tree that has been swaying in the breeze, or a river flowing through the valley below. These add a sense of motion.

Then there's the "rule of thirds." When you place the main object of the picture smack-dab in the middle, it is static and boring. Place it one third of the way from either side, and you IMPLY motion. Put the horizon in a landscape photo a third of the way up or down, not across the middle.

Remember, when a person looks at a picture, their eyes move. You want to frame your photo to help that movement. If you can find some lines in the scene, such as a skyline, cloud formation, path through the forest, etcetera, use it interestingly, and with the rule of thirds to draw your viewer's eyes into the picture.

Avoid "summit syndrome." You get to the top of Mount Washington and shoot the majestic vista. Great. The pictures come out ... boring! How? No PERSPECTIVE. Big vistas will be flat unless you have an object in the foreground, such as a rock or a tree, to give them perspective. Then the eye really grasps how big this scene is. People enjoying the view is a real winner, because the viewer may identify with their emotions, giving the image real impact.

Cheese! Yes, you do have to take the family photos. It's obligatory. But when you do, make sure that they show the LOCATION of the photo. Otherwise, you might as well do it on your driveway. Frame the scene in context, with landmarks as part of the picture. Find a way to tell as story in the picture, such as little Sara climbing up the rocks by the waterfall.

Finally, any element in the picture that hints at more senses than just the visual will make it remarkable. Actor headshots for example, tell a story about the subject. You can almost hear them saying their next lines. If you photograph a garden, the viewer may experience the aroma of the flowers. A tourist street with an accordion player on the corner may have your amazed friends whistling "Dixie."

In summation, picture taking on travel is recording the experience in a satisfying way. Use motion, perspective, sensory, storytelling and so forth, to bring your photos to life. Oh, and needless to say, make your job easy and go to great places! See you at the overlook!

Seth Lutnick is a photographer, composer, and performer. He has taken thousands of scenic photos, recorded two albums of original music, and appeared on stage, TV and film. Visit his website - www.getitdone.biz - for more detailed plans on photography, music, health and education, and extensive product links for the resources to fulfill your goals.

Photography 101

2006-03-08T04:47:00.000-08:00

Equipment: camera, meter, flash, tripod

This article is a simplified photography course directed at new photographers out there who want to know where to start.

If you really want to learn photography the first thing you need is a good affordable and reliable camera. It must, and I repeat must, be able to shoot in fully manual and fully auto focus modes. (This leaves out any digital cameras on the market right now, sorry.) To really learn photography you must understand the equipment. You’ll need to learn how manipulating the shutter speed, aperture, and focus will have a dramatic effect on your photos. Meters, if you have a camera that can work in a fully manual mode it should have an internal meter suitable for what you will be doing. Tripod, you’re going to need one whether it’s portrait work or landscapes you’ll need one eventually. Luckily you don’t have to spend a lot here. Just something lightweight and durable. Flash, you can buy a separate camera mounted flash, which is great if you can afford it. Consider what kind of photography that you will be doing though. If you’re going to do mostly nature and landscape, you may only need the fill flash that comes with most cameras today. If you plan on doing portraiture alone you will want to consider a camera mounted flash that has an adjustable angle.

Film, film speed to be exact. Slower speeds (25 to 400) are intended for portraiture and landscape photography. Faster speeds (600 and above) are intended for actions shots and photojournalism. So first you need to know what you going out to photograph and make sure that you have the appropriate film for the job.

Now that you have the camera loaded with film consider shutter speed. Do you want to blur motion, or freeze it? If there is no motion at all what shutter speed do you need to expose the scene with natural light. From 1/60th and down to the bulb setting will blur most motion. For example if you want to blur the water in a waterfall, a setting of 1/30th should work. (You’ll need a tripod though.) 1/125th is a normal setting for most shots. On many cameras the 125th setting is marked in a different color to make it obvious. If you want to freeze action you’ll need to start with 1/500th and work up from there. The faster the motion the faster the shutter speed needed to stop motion. Many cameras go up to 1/2000th of a second. If you’re trying to use natural light alone in a scene you will want to determine the aperture first and then see what shutter speed you need to properly expose the scene for available light. (Keep in mind sometimes there isn’t enough light.)

Aperture, these are the set of numbers on your lens closest to the body of the camera. They can go from 1.8 to 22, and they are referred to as F-stops. These numbers determine how much light reaches the film inside of your camera. Most internal meters will blink on the appropriate aperture for the shutter speed that you’ve set, or the speed you’ve set will blink if your F-stop is correct for the speed. Both the F-stop and shutter speed can be changed to expose the scene correctly. Consider that the faster the shutter speed the more light will be needed to expose the scene correctly. This makes logical sense if you think about it. If the shutter isn’t open as long, fast shutter speed, then there is less light able to make it to the film and so the scene must be brighter to expose correctly. To learn, bracket your shots. Take the first shot at the aperture suggested by your meter, move one stop up, take a photo, one down, take another photo.

Flash, I personally like shooting with natural light whenever possible and at most I use a fill flash. But if you’re going to do portrait work then most of the time you may be indoors and you will need a flash sometimes. For the amateur the fill flash units that are on the top of most of today’s cameras are wonderful for basic work. You will have to read your manual on your particular flash unit to learn what it can and can’t do. This is where the camera that is fully manual and fully auto is great for the amateur. You can usually set it so that the camera will meter and set the flash output accordingly and then you still can control the shutter speed and aperture.

This week’s assignment: Have several rolls of 400 speed film, find a subject that you can work with preferably something that won’t move, and shoot one roll of film. Shoot some of the roll in the morning, afternoon, and evening. Bracket every shot, take notes on time of day and light conditions, and what your settings (aperture) were for each frame, keep the film speed the same for the entire roll. Have the film developed and examine the photos. You should be able to see a difference in each frame. You’ll need to repeat this procedure until you feel that you understand the relationship between shutter speed and aperture, and every camera and meter has it’s own quirks and differences, you’re camera will act differently than someone else’s. This way you will learn you own particular camera as well. Once you have a sense of how aperture works you won’t need to bracket every shot you take, you may only need to do it in cases where you want to be extra safe on exposing the subject correctly.

If you have some specific questions please visit my Photography Forum at:

Copyright 2004 Kelly Paal

Kelly Paal is a Freelance Nature and Landscape Photographer, exhibiting nationally and internationally. Recently she started her own business Kelly Paal Photography (www.kellypaalphotography.com). She has an educational background in photography, business, and commercial art. She enjoys applying graphic design and photography principles to her web design.

Bracketing and How To Use Tt Correctly...

2006-03-08T04:43:00.000-08:00

What Is... Exposure Bracketing

Exposure bracketing is a simple technique professional photographers use to ensure they properly expose their pictures, especially in challenging lighting situations.

When you expose for a scene, your camera's light meter will select an aperture / shutter speed combination that it believes will give a properly exposed picture.

Exposure bracketing means that you take two more pictures: one slightly under-exposed (usually by dialing in a negative exposure compensation, say -1/3EV), and the second one slightly over-exposed (usually by dialing in a positive exposure compensation, say +1/3EV), again according to your camera's light meter.

The reason you do this is because the camera might have been 'deceived' by the light (too much or too little) available and your main subject may be over- or under-exposed. By taking these three shots, you are making sure that if this were ever the case, then you would have properly compensated for it.

As an example, say you are taking a scene where there is an abundance of light around your main subject (for example, at the beach on a sunny day, or surrounded by snow). In this case, using Weighted-Average metering, your camera might be 'deceived' by the abundance of light and expose for it by closing down the aperture and/or using a faster shuter speed (assuming ISO is constant), with the result that the main subject might be under-exposed. By taking an extra shot at a slight over-exposure, you would in fact be over-exposing the surroundings, but properly exposing the main subject.

Another example would be the case where the surrounding might be too dark, and the camera exposes for the lack of light by either opening up the aperture and/or using a slower shutter speed (assuming ISO is constant), then the main subject might be over-exposed. By taking an extra shot at a slight under-exposure, you would in fact be under-exposing the surroundings, but properly exposing the main subject.

Now, most digital cameras have auto exposure bracketing, meaning that if you select that option before taking your shot, the camera will automatically take three shots for you: one which it thinks it has perfectly exposed; a second one sightly under-exposed; and the third one slightly over-exposed.

When should you use exposure bracketing? Anytime you feel the scene is a challenging one (too much highlights or shadows) as far as lighting is concerned, e.g. sunsets are usually better taken slightly under-exposed so use exposure bracketing there, or whenever you want to be sure you don't improperly expose a fabulous shot.

Remember, you are not using film anymore, so there are really no wasted shots (unless you are severely constrained by the size of your storage media).

Digital Dodging & Burning

Should you delete the extra shots right away? No, if storage permits, keep all three shots until you get home and upload them to your PC and into an image editing software, such as Photoshop. By using the layers functionality of Photoshop (or similar functionality of another image editing software), you can load all three shots into different layers and then carefully erase the under-exposed or over-exposed part of one or more layers to end up with a final shot where both the main subject and the surroundings are properly exposed!

This Photoshop functionality allows you to shoot in very extreme lighting situations where there are many parts in different intensity of light and shadows such that you are losing details in the highlights and shadows. In this case, you might need more than two extra shots to obtain details in the different parts. Without moving the camera (a tripod is essential here), take as many shots as you need, exposing for the different parts you want details to be visible. Then you would load them all up into Photoshop, each into its own layer, and by erasing the under- and over-exposed parts in each layer (granted, this equivalent of film 'dodging' and 'burning' can be a very tedious and challenging task in itself, but done properly it can be well worth the effort), you can end up with an 'impossible' shot where every part of the cave is properly exposed.

By Panmo Berger

Used judiciously, exposure bracketing is a simple technique that can ensure proper exposure of a difficult lighting situation. Make sure you get a camera with good manual Bracketing control