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Photography Information
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The Well-Dressed Photographer - Summer Outdoor photographers shoot year round. That includes the hot summer. You may be surprised to learn that the best way to tolerate the heat is not to strip down to your skivvies. Instead, using the right products and wearing clothing designed to face the challenges of summer will help you keep your cool. Digital Cameras Demystified Demystifying Digital Camera Jargon How To Reduce Red Eye The Easy Way With Any Pro Or Point & Shot Camera There is one simple technique any body can do to eliminate red eye. It can be done with any type of flash on any camera because red eye only happens when using flash. Red eye is the result of a burst of light causing the reflection from the back of the eye blood vessel. I'm not a doctor or an expert on eyes but you get the idea. Magic and the Photograph It was widely reported in the press (15 September 1997) that a British tourist, who stole a lump of stone from the base of the Great Pyramid five years earlier, returned it to the Cairo Museum with a letter saying that 'it had brought him bad luck ever since'. The Museum authorities were not surprised; several such items had been returned by people who felt cursed {When the Luxor Casino was built in Las Vegas it moved on its foundation so the elevators had a lot of re-engineering to be done, while I lived in Las Vegas. The death toll during its construction was nine. Do you think a religious and spiritual force knows when it is being improperly sullied?} after stealing them. A good reason for caution is the largely bogus story of an Egyptian coffin lid - or fragment of a coffin lid. It was told to Arthur Weigall, author of 'Tutankhamen' (1923) by its one-time owner, Mr. Douglas Murray who purchased the coffin some time in the 1860s: 'no sooner had he done so than he lost his arm, owing to the explosion of his gun. The ship in which the coffin was sent home was wrecked, and so was the cab in which it was driven from the docks; the house in which it was deposited was burnt down; and the photographer who made a picture of it shot himself. A lady who had some connection with it suffered great family losses, and was wrecked at sea shortly afterwards...The list of accidents and misfortunes charged to the spirit which is connected with this coffin is now of enormous length. Guidelines for Printing Great Photos at Home So you have this great digital camera and you've taken lots of great photos. Now what? Well you could go to a store and have them print your images for you, but isn't that what you did with film? The point of all this great digital technology is that you can print your own photos at home without having to pay someone else to do it. Here are some tips to help you get started: The Best Wildlife Camera To Take On Safari Good wildlife camera equipment on safari can make the difference between pictures you will be proud to show your friends and family when you get back and ones where it's difficult to figure out exactly what you were photographing because it's only a fuzzy black dot surrounded by green vegetation. Megapixel Cameras: How Many Megapixels Do You Need? Knowing which megapixel camera to buy can be intimidating. There are literally hundreds of models of digital cameras out on the market today. How can you know how many megapixels you'll need? Infrared Photography and Big City Crime One of the major problems of the larger cities of the word these days is crime. It appears that the larger the city the more-acceptable serious crime seems to be. If not because to the proliferation of serious crime then because the mindset of its citizens have been conditioned to accept the serious behaviour of a minority of its inhabitants. Digital Film Processing is Really the Only Option for Truly Quality Prints Digital photography has taken off like wildfire these days, primarily due to its ease and quality in its digital film processing. With a good digital camera, it's as though you're using the very best Kodak film for every single one of your digital photos. Moreover, digital film processing can be done from the comfort of your own home with the right digital film processing software or with digital photo developing online. Black & White Photography Photography is a diversified field of creating a spectral variety of art. It is a specialization that deals with different experimentations with colors, however it is also a fact that only shades of black and white can also do wonders in this zone of creative art. With the advent of the digital camera the scope of this wonderful business has opened up new horizons for the users and photographers who seek to explore new lands and trod the ground of innovative creation and thus it can be aptly said that black & white can become more creativity with the boon of digital photography and digital camera. This discussion is primarily aimed at exploring the incipient information regarding the blessing of the digital camera in black & white photography so that the novice as well as the expert photographers can become richer in knowledge! Hyperfocal Focusing: What Is It And Why Should You Use It? When should you use hyperfocal focusing? Well, sometimes when shooting a landscape, you want everything sharp from the front to the back of the scene. Setting a small aperture such as f/16, f/22 or even f/32 can help, but if you really want to maximize depth of field, hyperfocal focusing is the technique you need to use. The Primer on Digital Camera Printers Once you have clicked photos through your digital camera, then the next step is to turn these 'virtual' images into real photos. One way is to send the memory card to a digital photo laboratory and get the images developed there. But if you click digital photos on a regular basis, then it is better that you buy yourself a digital camera printer, or more commonly known as a digital photo printer. Photography 101 Part 3 Content Digital RAW Workflow for Beginners Having an efficient work flow is essential for photographers. In the days of film, many of the tasks in the film work flow were handled by the lab. Now, more and more photographers are switching to digital and have to handle many of these tasks themselves. The purpose of this document is to provide a basic digital work flow for working with RAW images that is camera and system independent. Most modern digital SLR cameras, and some point and shoot models, have the ability to record the RAW data from an exposure, allowing the photographer to process the images as they see fit. This can be a daunting task, especially for those who don't have a work flow in place to handle the images from the camera. The following steps will take you through the process of setting up your own RAW digital work flow. Work flow Step 1: Compose and Expose Your digital work flow begins before you ever sit down at your computer. One of the best things you can do to make your work flow more efficient is to get as much of your image perfect in the camera as possible. Many digital photographers have fallen into the "I can fix it on the computer" trap. This costs you time and money. The more time you spend "fixing" a photo after you've tripped the shutter, the less time you are spending with clients. Here are a few tips to help reduce your workload from the time you make your exposure: Set your white-balance to match your scene. If you get the proper white-balance in the camera, you won't have to adjust it later on the computer. See your camera documentation for how to set a custom white-balance. Remember to set your white balance whenever you change lenses, or the quality of light. If you change modifiers, or lenses, change your white-balance as well. Expose for the highlights. Since digital acts similar to slide film, its easy to accidentally blow your highlights. By exposing for the hot parts of the image, you'll save yourself some time in the long run. Scan your frame. Get in the habit of doing a top-to-bottom scan of your frame before you trip the shutter. This will help you avoid stray hairs, lights in your frame, reflectors being visible, and anything that you might have to clone out of the image later. Work flow Step 2: Importing and Backing Up Your Images There are many ways to get your images from your camera to your computer. Some people use a card reader that will read the images off the memory card from the camera. Others connect the camera directly to the computer and import the images directly. No matter how you get the images to the computer, your first step is to setup an organizational structure for the images and create a backup copy of the RAW files for safety. First, create a folder to store your image files. In our studio, we use the folder name to organize our images. For instance, let's say we are importing images from a portrait session with Jane Doe that took place on January 1st, 2005. Our folder name for this session would be P_2005_DoeJane_0101. If we also did a portrait session with John Doe on the same date, our folder would be named P_2005_DoeJohn_0101. This allows us to keep our images organized in a way that we are familiar with. Use whatever folder structure you like, as long as it helps you keep things organized. Next, we will create the folders under our P_2005_DoeJane_0101 folder that we will use during the course of processing the images. We create the following folders: RAW, WORK, and JPEG. The final file structure looks like this: -+P_2005_DoeJane_0101 -|-RAW -|-WORK -|-JPEG The RAW folder holds our RAW image files, the WORK directory holds the processed TIFF files where we will do all of our editing, and the JPEG folder holds the completed files, ready to be uploaded to the lab. Copy the images from your camera to the RAW folder using whichever method you prefer. As soon as this initial copy is complete, make a backup copy of these images. Some photographers backup to writable CD-ROM or DVD discs. Other photographers backup to a separate backup hard drive. No matter what method you choose for your backups, they are CRITICAL. Make sure you can recover your images if something should happen to your memory card. Work flow Step 3: Verify Your Backup Your backup copy of the RAW images files is important. Take a moment to verify that you can read the images you copied to your backup medium. Once you have verified your backup medium, you may proceed with the work flow. Work flow Step 4: Culling the Herd Converting the images you never want the client to see wastes time and money. Use your preferred image browser to go through the RAW images and delete any that you know you won't use. Don't worry about deleting the wrong file, that is why we made a backup. If you delete a file you wanted, just bring it back from your backup. Once you have selected your "keepers" from the RAW images, it is time to move on to the next step. Work flow Step 5: File Conversion Most cameras come with software specifically designed to convert the RAW image data from its native format into TIFF files, JPEG files, or some other format that is compatible with the popular image editing software. At our studio, we convert the RAW images into 16-bit TIFF files, because we like to have the maximum amount of data available for editing and processing. Your needs may vary. There are many articles on the Internet that deal with the different file formats and the pros and cons of each. For the purpose of this tutorial, we are going to assume that the files are being converted to 16-bit TIFF files. We now open the software that came with our camera and set it to convert our RAW image data to 16-bit TIFF files, and save them in the TIFF folder we created in Work flow Step 2. This step can be time consuming, so we often go out to eat while the images from a session are converting. Once the conversion is finished, you will have a folder of 16-bit TIFF files to do editing and retouching on. We use TIFF at our studio because it is a loss less format. That is, we can save the file as many times as we like without degrading the image quality. JPEG is a lossy format, every time you save a JPEG file, you lose a little more data to compression. Work flow Step 6: Editing and Retouching This step of our work flow is where the real work is done. You will open each TIFF file in the image editor of your choice and make sure your colors and exposure are correct, the crop is the way you want it, and the image is ready for printing. At this point you will make any edits to the image, such as changing the crop, converting it to black and white, or doing any needed retouching. If you use the TIFF file format, you can save as many times as you need to during this process without having to worry about losing image quality. Once editing and retouching is done, save your work file and move on to the next step. Work flow Step 7: Saving the Production File One of the cons to working with 16-bit TIFF files is that they take up an incredible amount of disk space. Once we have reviewed the images with the client and ensured that no further edits/retouching need to be made, we convert the TIFF file to a JPEG production file for archive purposes and sending to the lab. Open the TIFF file in your preferred image editor and save your file as a Baseline Level 10 JPEG in the JPEG folder we created earlier. Why not save as a Level 12 JPEG, you might ask. When printing your image, there is no discernible difference between a level 10 JPEG and a level 12 JPEG. Try it for yourself and see. Once your files are saved as JPEGs, move on the the next step. Work flow Step 8: Backup Your Production Files This is a good time to make a backup (either to CD/DVD, or to another hard disk) of your JPEG production files. This ensures that you have a copy of all your hard work and if something should happen to the original files, you know you have a good backup. Work flow Step 9: Cleaning Up the RAW and Work Files Once we know we have a good backup of our production JPEGs, we delete the entire WORK folder and the entire RAW. This frees up the large amount of space that TIFF files require and leaves us with a manageable set of files from the job. However, we have already made backup copies of the RAW files and the JPEG files, so if we ever need to re-edit an image, we have the materials to do so. Work flow Step 10: Final Touches At this point our production JPEG images are ready to print or send to the lab. Make any final adjustments to the image size and print or upload your images. Final Thoughts With an efficient digital work flow, handling large amounts of digital images is easy and relatively stress free. I hope this tutorial has given you some ideas on how to best setup your own RAW digital work flow. Stock Your Kit with Digital Camera Accessories There are a large number of digital camera accessories available in the market today. Even though you might have invested a few hundred dollars in your digital camera (although they are getting cheaper by the day), you should buy yourself a few accessories as well so that you can enhance the photo quality of your pictures and be able to capture anything that comes along in your daily digital life. Make Your Digital Camera Batteries Last Longer One technology that hasn't kept up with the rapid pace of new digital cameras is camera batteries. The more features a camera has, the quicker it seems to use up precious battery power. There are three features of digital cameras that chew up battery life the quickest: Easy Tips for Digital Photo Touchups Using a digital camera to take pictures is great. It's easy and quick. Just as easy and quick is touching up those digital photos. Is your image too dark? Is there a glare that is affecting the picture quality? Red eyes are often another problem with using a flash. Many of these things and others can be corrected with the use of digital photo touchups. Here are some quick tips to improving your photo quality. Nikon Digital Cameras - Cool(pix) and Functional Even though Nikon entered the camera world by 1948, today its digital cameras are well known everywhere. The company started small but always dreamed big. Here is a historical review of Nikon. Sony Digital Cameras - Always On The Innovation Frontier Sony was the first company to introduce digital cameras into the market. Today, Sony is one of the leaders in the digital revolution. Its historical journey began in 1946 in a small room. Let us see the rise of this company in this article. Diffusion & Softening of Digital Photography Images Like many people who've made the switch from film cameras to digital, I've discovered that the lens tools I once used so effectively on my cameras to soften, diffuse and vignette my images for quality "finished" professional results won't do for digital what they did for film.
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