Fire Phone & Accessories

Sunday, November 30, 2008

let those digital photos out you dont have to print them yourself

Let Those Digital Photos Out! (You Don't Have To Print Them Yourself)Writen by Liz Beresford

What have you done with the photos youve taken with your digital camera? Hands up if they are languishing on your hard drive waiting to be printed. If your hand is up you are not alone. Well I have my hand up too! But Ive promised myself that two years worth of digital photography will see the light of day before Christmas.

The problem is that we expect to do out own digital printing. Its supposed to be a feature. This feature puts many people off buying a digital camera in the first place. For one thing its not cheap. First you may need to upgrade your printer, or buy a photo printer. Then there are the running costs, which come as a shock to most new printer owners. The price of inkjets and photo paper doesnt encourage much trial and error.

Having assembled all the equipment we then have to spend some time working out how to use it. Suddenly we have a hobby that we really didnt want and dont have time for. We just wanted a nice easy way to take fantastic photos. How much simpler it was to take a roll of film into the photo shop and collect the prints an hour later!

Well, here is the good news, you can still take you photos to the photo shop. Not only that but you can delete the duds first. Now thats an improvement on film. Even better you can email your digital images to an online photo lab and receive the prints back in the post. If you have Microsoft Windows XP you can just click on Order Prints in the My Pictures folder and off they go. What could be simpler?

Ok so what about all the cool stuff you can do with digital images? You can do that too, but you dont have to. The best thing for non experts to do is very little. You can crop and usually adjust the contrast and brightness with a single click using the software that came with your camera. If the software can manage red eye removal too, that is a trick worth learning-its easy.

The thing to remember is that digital images are free. Take lots. You can ditch the duds and still have one or two that are good for printing. Then you wont need to bother with a lot of tricky time consuming editing.

Another option, useful if you do not own a computer, is to use one of the self service kiosks that are springing up in urban and tourist centers. These machines allow a little simple editing and you get your prints instantly. Over the next 12 months these are likely to be more widely available.

For more information about printing your digital photos check out http://tinyurl.com/4fm3q.

About The Author

Liz Beresford owns and operates the web site Digital Cameras and Accessories, which provides information and resources for digital camera buyers, particularly new buyers. You can find the best value digital cameras, equipment and accessories online at the Digital Cameras and Accessories shop.

http://www.digital-cameras-and-accessories.com/

zeroing in on flash

Zeroing in on FlashWriten by Kenneth C. Hoffman

Professional photographers rely on the flash on their camera to capture the action at a wedding or other social event. They are probably not aware of the effect of their flash on the faces of their subject. Here is an analysis of the effect of
different distances between the flash head and the lens.

The proper position of the flash is directly over the lens. This will ensure that any shadows from the flash will occur behind the head and body and not to one side. Of course, when shooting square format like Hasselblad, the flash can be fixed in that one position. For shooting with a rectangular format like Bronica ETR or Canon DSLR, the flash must be mounted on a swinging bar so that the flash can be positioned over the lens in either a horizontal or vertical shot.

I have determined through many tests that the ideal distance of the flash head above the lens is twelve inches. There are many advantages to using this distance. First, the unavoidable reflections on the forehead, nose, cheeks and chin are conducive to making the subject look good. The forehead reflection is positioned higher on the forehead, almost into the hair line and much diminished in strength. This leaves the flat portion of the forehead reflection free and retaining the natural color of the skin.

The shape of the nose is determined by the fall off of light along the sides and the position of the reflection on the bridge of the nose. When the flash is positioned closer to the lens, the bridge or indentation receives no highlight but rather the bony lower part of the nose is emphasized. The tip of the nose also benefits from the twelve inch distance of the flash head by appearing smaller and less intense.

Cheek reflections are considered acceptable when they are centered on the upper portion of the cheek. With a lower positioned flash head, the reflection highlight the unattractive line of muscle from the cheek to the nose. The twelve inch flash position also enhances the cheek bones. Chin reflections lower down on the point of the chin are unattractive and make the chin look wet. Alternatively, the twelve inch flash position just places a small crescent shaped highlight under the lip. An added benefit also occurs in the form of a more defined chin line and the placement of some double chins in shadow.

Those terrible eye glass reflections are greatly minimized with the twelve inch flash. The flash highlight now appears near the top of the eye glass, completely avoiding the area of the iris and pupil. The eyes are the most important feature of the face and ugly flash reflections can wipe out the eyes completely. An added benefit is a slight darkening at the bottom of the picture, enhancing the composition with a natural fade out.

Remember that since most natural light comes from a position over the horizon the most natural flash lighting will do the same for the face. Dont let convenience prevent you from capturing your flash subjects in the most attractive light.

Retired portrait and wedding photographer. Modestly, I was once awarded the title of Best Wedding Photographer in Passaic, Bergen and Hudson Counties in New Jersey.

Saturday, November 29, 2008

digital zoom versus optical zoom

Digital Zoom Versus Optical ZoomWriten by Jakob Jelling

The digital camera is but a technological advancement of the conventional analog camera. And thus every component of the analog camera must have been upgraded or changed to bring in some improvisations. This discussion is an effort to unravel alteration and make one comparison between what was and what is! This discussion is thereby focused upon a very critical component of a camera (analog as well as digital), the zoom!

Before making a comparison it is important to discuss the significance of the subject matter, in this case the zoom. Well a zoom lens has more than a few portable glass components inside it. By adjusting these components, the focal length of the lens can be altered. Modifying the focal length alters the view distance as well as reduces the field of view, thereby making the projected image to appear larger.

It must me noted that both the optical zoom and the digital zoom are components that are used to magnify an image, but they work in fundamentally different principles and acquiesces drastically different results. In general, optical zooms always produce a far finer and advanced image than digital zoom.

Looking at the functions of these zooms, in digital cameras that offer optical zooms function the same way similar to a zoom lens of a conventional analog camera. A conventional lens works by accumulating light rays that are projected over a portion of a film, and in this case of a digital camera optical sensor. The distance of the lens from the focus point where all of the light rays converge is known as the focal length of the lens. Unlike the optical zoom, the digital zoom works by ranging the pixels in the ultimate image after the image has been captured. The fact remains that the same number of pixels are collected when the photograph is magnified. The only thing that alters is the light rays that are projected over the optical sensors to figure out those pixels.

It is a common intuition that optical lenses are far better than the digital zooms. The reason is that the digital camera zooms are more prone towards computer applications in them rather than mostly human interactions and expertise. Yet, it also remains a fact that beginner photographers find it more useful to handle a digital zoom and also its computer friendly nature. There the computer does the intricate tasks of finding some levelheaded approximation of colors that pixel might take up as it had captured the images or photographs. Many algorithms are existent in this area, but perhaps the most abundantly used algorithm involves looking at the pixels that are quite nearly like neighbors and come up with a kind of an average. Anyways the process remains too complicated and its end result is what the digital zoom users are interested in.

Thus the ultimate truth remains that it is useless to compare digital zooms with optical zooms. Perhaps it is more logical to compare optical zoom with optical zoom and digital zoom with digital zoom. Both these two types of zooms, the optical as well as the digital, have some good and bad qualities. Both of them have some extra features and preferences over the other. And thus it is not wise to compare them, even though a comparison may exist. The efforts would then perhaps look like comparing oranges with apples!

About The Author

Jakob Jelling is the founder of http://www.snapjunky.com. Visit his digital camera guide and learn how to take better pictures with your digicam.

equipment take less

Equipment: Take Less!Writen by Eric Hartwell

Have a good look at your equipment - all of it. What have you got and how much do you use?

I would estimate that you will have at least a camera and a zoom lens. You might have another camera or two and a few more lenses. That's nice.

Have you also got a flashgun, a tripod, a few filters, a teleconverter, a remote release, a reflector .... and so on? You are lucky to have all this equipment.

Now I want you to try an experiment - just try it once. For me ....

The next time you go out to take some photographs, leave everything at home apart from your basic camera and lens.

Did that shake you? Is it advice that will reap benefits?

I can't tell you what the rewards, if any will be. I don't know what sort of photographer you are, the standard you have already achieved or how comfortable you are taking photos with your camera.

But I do know that leaving all the extra gear behind won't make you a worse photographer!

Assuming you have a basic camera set up with, perhaps, the equivalent of a 18 - 55mm lens, if you go out with just this then you will have to start hinking about your shots.

You won't be able to take candids and portraits from across the street, you will have to get nearer to fill the viewfinder.

You won't be able to flood the scene with artificial flashlight, you will have to think about changing your shutter speed, aperture and ISO settings to get a lower light shot.

You won't be able to manipulate the scene in front of you with filters of all persuasions, you will have to make the most of what is there.

Try this once and you will find a host of possibilities opening up before you. You will get closer to the action and will start thinking about your shots in more depth. Composition will become a priority for you and you will think about what you see in the viewfinder rather than what you can fit on to your camera by way of addition.

By taking the barest minimum of equipment you will start thinking about how you can get the best subjects to photograph and how you can get the very best out of those subjects. The more you do this, the more you will learn about the capabilities of your camera and the more you will enjoy the creative inspirations flowing from you.

Remember: try it the once, just for me!

Eric Hartwell is an enthusiastic photographer. He owns and runs the photography resource site http://www.theshutter.co.uk and the associated discussion forums http://www.theshutter.co.uk/forums as well as the regular weblog at http://thephotographysite.blogspot.com. Anyone interested in getting involved contact him at shutter@theshutter.co.uk

corrective portraiture

Corrective PortraitureWriten by Kenneth C. Hoffman

Why do you like some portraits of yourself and not others? The answer lies in the way the portrait was taken and how close your portrait comes to the accepted idea. People like to think that if a portrait of themselves is needed, they might as well look their best. A portrait photographer must evaluate the overall look of a person and devise a plan to show the person in their best light.

Every characteristic of the face can be emphasized or minimized with the proper use of lighting, angle, lenses and view point. A broad light source 'wraps around' rough or pitted skin, making it appear smoother. Conversely, a small source of light increases the effect of texture and brings out the surface corrugations of the skin. a soft filter blurs the edges of detail, further smoothing the skin while having a minimal effect on more substantial features, like eyes and ears. So if the subject benefits from a smoother look, use all the methods above in addition to a good makeover.

A high camera angle is an important tool for the portrait photographer. When a subject looks up into the lens, neck wrinkles disappear and the eyes appear larger. Excellent for a person with bangs, a high camera angle emphasizes a broad forehead and diminishes a too strong chin. A low camera angle on the other hand strengthens a weak chin (good for men), increases the drama in a strongly lit pose, and fosters a feeling of candidness in the picture.

A normal lens (50mm on a 35mm camera) shows a view of 46 degrees and comes closest to portraying the human face and body (down to the waist) in a normal perspective. The foreshortening neither helps or hinders the perspective of the facial features. A two X telephoto lens (100mm) reduces the foreshortening by fifty per cent, flattening the perspective in a flattering manner. Large noses are rendered shorter, the differences in the right and left sides of the face are noticeably minimized, and a turned body has more equal proportions when compared to each other. Photographers call this focal length a 'Portrait Lens'. If even less foreshortening is required, a 150mm or 200mm lens could be used. Wide angle lenses should be judiciously used: never within six feet of a face and never tilted up or down more than one degree. Outside these perimeters will give up distortions of the unflattering kind, undesirable unless an extreme effect is needed for a specific purpose or an 'outr' look.

A flattering camera view point shows the facial features to their best advantage. Long noses photograph best straight on the camera. High cheekbones are benefited from a slight turn and a high main light. Ears that stick out look best when the far ear just disappears behind the cheek, the near ear placed in a shadow. Profiles are interesting and artistic but are seldom beautiful. A profile portrait highlights the shape of the head, the curve of the neck and the character of the nose and lips. Handsome and regular features are needed for this treatment. Crooked smiles often look better from a slight turn of the head, either to the left or right. Both view points should be considered, photographed and compared. If one such view point seems more even, concentrate on that angle. We live in an imperfect world filled with imperfect people. While the person inside is the one that counts, the person outside is the one we have to look at. Let's make them look great!

Retired portrait photographer. 71 and still going.

slrs have added versatility for the amateur

SLRs Have Added Versatility For the AmateurWriten by Eric Hartwell

The photography industry has travelled through many eras since the introduction of the earliest cameras. Now there is such a wide range of equipment. There are cameras designed for underwater photography, panoramic views, cameras for portraits and cameras for architecture.

Most of us are simple photographers. But even so, adding to your equipment to allow for special circumstances makes you and your equipment even more versatile.

The SLR transformed photography and made a variety of photographic situations available and accessible to the ordinary photographer. Starting with 35mm models, and progressing to digital, SLRs have provided the user the versatility to add specialised wide-angle and telephoto lenses to his standard set up.

Since the introduction of the SLR, ordinary photographers have been able to take a wide variety of images without the encumbrance of hefty and often expensive equipment. Now, even basic amateur photographers have the ability to take landscapes, action, portrait and nature shots which can rival those of the professionals.

For the enthusiastic, there is the ability to widen the range even further. Now you can, if you wish, add accessories that will allow you to take ultra-wide shots, close-ups, microscopic and telescopic images. As you are able to see through the viewfinder exactly what the accessory attached to the lens mount sees, such photography is both easily available and accurate in operation.

Eric Hartwell runs the photography resource site http://www.theshutter.co.uk and the associated discussion forums as well as the regular weblog at http://thephotographysite.blogspot.com

Friday, November 28, 2008

elephants in the sky a short story and four poems

Elephants in the Sky (a short story (and Four Poems))Writen by Dennis Siluk

Elephants in the Sky

[1980s, Lee Evens in Mali, Timbuktu/Africa

Advance: Lee was discharged from the Army in 1980, whereupon, he traveled the world, one of those locations was in Mali, by the legendary city of Timbuktu; whereupon he found himself in the middle of a plague, a plague of locust.

[Diary-review

There were swarms of locust over the top of my car, in front of me, in front of the carswarms I say swarms: a dark shadow covering the sky, descending, descending onto the roadin front of me, behind me, it was locusts, locusts, locustslocusts everywhere, everyplace: so thick, thick with layers that made my car slip, slipping and sliding as if on ice. They seemed like they walked, walked, walked among the sky, cluttered together like big oaks; akin to a druid dark sky, coeval with the leering sky. They looked like pools of ghouls embracing, embracing the hooded faded sky that looked like dusk, but wasnt. Good God, good God, good God, I cried!

My radiator was being blocked, plugged by these finger-sized carcasses. I had to pull over to the side of the road. It was but a moment thereafter when I saw some adolescents down the road a bit, not too far, just a little ways, three of them trying to beat them off, beat the locusts with their belts, pants belts. Then one resorted to a stick, a stick I say, would you use a stick? To be honest, Id run I think, run like hell; anyhow, he took a stick to beating them off, while the other used their hats, hands; they were dropping down like hail onto them from all sides; ragged looking shadows of them, full-fledged shadows, throbbing against their bodies were these locusts: down and sideways: bombarding them like creatures from outer space, like in the bible, where it mentions such things happening back in those far off days, the days Moses: the plagues God bequeath upon the pharaoh.

I think these kids would have loved to have found a window anyplace to climb through, and nail shut about now, as I kept looking out of my car window, and these creatures stained my window dirty with their restless scribbled bodies.

This was bad, very bad; the large insects were in their hair, noses, ears, climbing up their pants legs, flying straight for their mouths. They tried to spit them out, but more would jump from ear to nose to mouth.

The whole area was becoming infested with them [them: being, those locust critters; huge grasshoppers. They were becoming as thick as the walls of Troytwenty feet thick. I turned the engine of my rented car off; it spit and sputtered a bit, then came to a dead stop, a burping stop. I could not see the boys anymore, only a cocoon of these creatures several inches thick around themlike mummies; they now rolled about on the ground like dying lions, screaming: it simply shivered me; it was as if hate and love coiled within my stomach.

For a hundred miles around I had heard they were eating up the crops before anyone had time to harvest them; catastrophic damage to all the crops, as the new generation of larvae appearedthus, widening the dimensions of the one-hundred mile radius to possibly two-hundred miles (sooner than later). But now they were on top of my car: yes, yes, yes, on top of my car; under it, all over it, and in the fields beside me, on the road. I was but twenty-five miles outside of Timbuktu. Ah! What would you do?

As far as I knew, there was no means of spraying available to kill these creepy-crawlers, nor any other treatment, why that occurred to me, is beyond me, I mean who gives a shit, Im in the middle of it; yes, yes, no equipment as supplies were of a minimum and vehicles were scarceI was lucky to have secured a deal with this jeep. I was witnessing farmers beating the locust into trenches; what more could they do? Swatting them, whacking them, from all sides, and running: I mean running! Like the boys should have done, didnt do, but should have done, could not do anymore.

(This was the moment Id put forward to later, when I telling others they looked like elephants in the sky. But that was to be a little bit in the future yet; now they just kept coming and coming and coming, these locust-insects.)

Now Im breathing in the hot air in the jeep, it seems to me Im recycling my own air. In the five-mile area they covered most everything; there were at least, must have been at least, couldnt be less than 250-million locust I figured (insects); hoppers, yellow winged hopperscrazy and manic hoppers, as if they were on a sugar high. That would be a weight volume of 5000-elephents dropping from the sky. I had a lot of time to figure that out, for the most part, lets say hours watching these hoppers fly and jump, and descend, trying to eat my tirestrying to get into the jeep and eat me.

Try, try, try, I said, fuck you all I said.

[Entry I was in Timbuktu a few days ago, on my way back to Timbuktu now, I had been in the countrysidewhere theses critters were breeding, I am not sure where it was in particular, but it was in Mali where they had breed I do believefirst, someplace in Mali. I was doing what I love to do, checking out some old writings that were found in one of the old mud houses in Timbuktu; realizing at one time Timbuktu was a Mecca for learning for the Muslims, or better put, Islamic cultured; on the old Silk Road you could say. I was eager, the phenomenon would move east, away from me, to Sudan or Chad, or all the way to Egypt; move away to anyplace, but out of Mali and for sure, away from Timbuktu in particular. I was surprised there was not a humanitarian crisis alert, or if there was it didnt look like it where I was; yes, were the United Nations vehicles? A good question I figured, and never to be answered.

The trick is to kill them before new generations developed, thus stopping them in their tracks from breaking into other placescountries, and a new cycle starting. The crops I knew would be gone soon in the south and now in this area as well, if they were not yet, and should they go eastwell, let them worry about that.

They leaped like little elephants on the hood now, hood of, of my car; they looked, looked into my windows, deep into my windows, nose against the glass (smutches all over the glass like a disease; voracious little dispositions all over their faces, like fairies stuck together) as if I was eatable, somehow I got the sense (they had the scent, my scent I expect) they knew I was trapped in the car, and I was for sure. But I remember what Solomon told me in Egypt, Cairo a few months back, should something like this occurso it was somewhat forecasted almostand it was now developing: anyhow he said,

(should this occur) Try to make it till morning, when everything cools down.

I figured the wingless hoppers the new breed, were developing now in the fields around me as the adult yellow ones could be seen flying about eating, and killed by whomever (the farmers and gosh, that was about it for now).

[The Big Hopper: diary entry One big hopper gazed through my window, must be the size of a sparrow(Im writing this down as hes looking at me). At its sight I saw its milky eyes, they followed me, then I realized it was somewhat blind, I mean, its eyes gave out a yellowness to it, as if it had cataracts, its lips trembled from old age, it mumbled something, as if talking to itself, then it stood aside to let the younger ones peer in on me.

Comesh! (Note: the author translates for the bug) the big one said (smiling an amiable grin). Thus, with apprehensiveness my eyebrows were quivering with my nervous system was wacky. Panting like a dog, I was. I was so bewildered! I ended up looking out the window for the longest timeblankly; then turning my head demurely to see if any of those hoppers where in back of mesneaking up on me; were getting inside the jeep. My eyes could not relax from this insidious invading force, if anything was quite disarmingthis was, but then what would you expect, harmony in the middle of an earthquake? What would you expect? I found myself drifting at times, but I knew I couldnt go to sleep. I mean who could?

There I sat behind the wheel, crouched forward to peer through the blinding storm of locust; these hoppers were like rain sheets hitting the windshield quicker than the wipers could fan it clean. My palm and forehead had a glossy mist to it.

It was now mid-afternoon, and they were hot, it was hot, I was hot, everything, even the car was hot, and thus, morning would be my best time to make my move, when theyd be cooled down, down in the crops around mequiet. Hence, I had turned my car off and Id leave my car off, the suspense would come in the morning when Id have to try and start it again.

[2:00 AM I must had fallen to sleep, and an automatic clock in my head woke me up, it was inky dark out there, outside my windows, hence, I started my car up, it choked a bit, but it started, and I noticed my water gage going up, as if a water hose was plugged or ripped. I turned the car off. I didnt want to make too much noise, just get out of here and get back to Timbuktu: I figured theyd follow the crops, and bypass the city; oh possibly a few million might divert themselves to the city, but that is not bad; I mean, what is a million when you got 249-million more. I knew they were all on the cool ground and in a few hours theyd be in the air againover me again; and should they decide to stick around Id die of a heat stroke I figured, sooner than later that is, sooner than theyd get a chance to eat me. I opened my car door slowly, pacifying the moment; shinned a flashlight on the road beside me, there were many aboutsleeping, quiet, almost stone-stillcould I have hummed them to oblivion, I would have; but I could walk around them for the most part I figured, and I did, did just that, then I opened the hood of the car, slowly, quietly, with more gentleness then I ever knew I had, as if it was a woman, looked at the hose, and several hoppers flew in my face, I had glasses on, they poked at my eyes nonetheless, I said nothing, nothing at all, just swatted them away with the rag I had in my handand I didnt use much force in doing that. One hose had a small crack in it. I knew Id lose water, all the water I had in the car in about five miles should I not prepare it, with twenty miles left to go should I not fix itId be worse off than now, Id be stranded right in their pathway. The engine was covered with the winged hoppers, I wanted to say to these hoppers a few gruesome swear words, but I cant, Id wake them creatures up surely; I had waked them upa few of them up already, and they started to fly out and about clearing a passage to my hose.

They were not jumping on me, just a few, trying to crawl up my pants legstickling me here and there: still attacking my glasses; I think they liked glassbut just a few attacked me half in a fog out of some instinct and automatic reflex: nothing to get alarmed about I told myself. I tried not to open my mouth, a few seemed to spot it when I took in a deep breathe of airas if they had radar, consequently, they zoomed right at it, I had to spit them out as when they hit my face their legs seemed to have found their way into the crevice of my mouth. Then I got an idea, I opened my trunk up, took out a five gallon can of gasoline, in this country you always carry extra gas, water and food, alwayslest you find yourself in some deserted location, as I have at this very moment; I poured it on the side of the road, up about two-hundred-feet leading into the fields, then on my way back I took my First Aid kit, put the white tapenormally used for bandaging woundsput it around the hole in the hose (not making a sound), and started my car up, at the same time I lit the gasoline by throwing a match out of the window onto the road, and I hit the accelerator to fifty-miles an hour (its as fast as my jeep would go ((it was an old US Army jeep they must had purchased it from some Army surplus garage)) and I watched the road and fields explode with lightening-like fire behind me.

Yes, yes, yes, behind me was a windless fire breeding into the fields, eating hoppers while sleeping, roasted grasshoppers: yes, yes, yes they woke up, this horde of hoppers woke up in a French-fired position Im sure; to them I expect it was their Pompeii, and shall talk about it for a thousand years to come in this region of the world; to me it was salvation; oh yes, it is what legends are made out of in the hopper-world, Im sureI got a mouth full of toxic fumes which was the only curse of the predicament for me, and a bonfire galore as I raced to Timbuktu.

When I got to the city, it was locked up tight, everyone afraid to come out of their mud huts. I knew I couldnt tell them I had lit the firefor my sake; theyd make me pay for the corps I suppose (after the crisis was over Im sure; for humanity has a short memory when it comes to thank-yous and money). But I think they were happy to see it was all over, and a few heard my jeep motor, for slowly one by one, a few came out of their shops until the whole main street was out looking about with their doors open, ready to run back in a moments notice. I had expected them to invade the city somewhatsomewhat expected this to happen, as did the residents, but none did; and they did head east. Hence, had I told them about me lighting the fire, theyd have roasted me in it, so my silence, or intuition was right on.

Four Poems by D.L. Siluk

Just a quick word on the poetry you are about to read: sounds and images appeal to the mind, they have overtones. As every poem I do believe is a short story, and every short story is a novel, and every novel has a song to it, these you are no different here. The other good thing about poetry, I do believe is, is that it is personal, so you get to know the author a little. Extract the poetry you extort the heart, mind and soul of the author. Each idea within the poem, is in essence, an experience.

Sinking to the Ground

I became like a bird

crouched in the grass

I became part of the loneliness

of the trees

and thick bushes

growing out of the ground

I became part of the sky;

part of the wind passing by

When it rained, I became

the rain

When it thundered, I became

a trembling light

That is the path one takes

when your lover

no longer loves

Slowly one sinks into

the ground

As you wait, and wait

and you wait, and waitfoolishly

wait, and foolishly wait!...

#595 [3/25/05

Topsy-turvy

[The drunk

Drinking is the subject.

While drinking is my subject

Drinking is not her subject.

I drank two pitchers and a cup.

That is during one sitting.

She didnt drink at all.

I mean, she didnt drink alcohol

I mean she drink coke.

That was on another evening.

The first evening she didnt drink at all.

I drank every day back then.

I drank quite a lot.

She drank coke.

I drank it cold

She drank it hot!

Let me recite that over

#594

Raped Moan

When the mind has no discipline

No discipline at all, the mindhas

Freedom to be naked at will

No limits at all for the mind

It will rape and moan, all day long

As if it is starving for more

[So Plato referred to once

in his Republic

With no limits, no discipline at all

The Mind will moan for more:

Even rape your neighbor next door.

[So Plato referred to once

in hisRepublic

Satan understands this poem

Quite well, real well, so well he

Will take good children to hell.

The Mind will moan for more

As if it is starving for limits

Only to fine, discipline was not given.

He cries for rage to be free

For frustration to be bled into

Passivitylike Ginsbergs sense;

He will claim, this is true

DemocracyHymmnn

#593 [3/25/04

Burnt-Out

Cars rust, building decay, roads break,

The city fades;

The land remains.

People starve the world round

Die in their beds and in war

In the cities intensifying lust

Thats just the way it is for us.

Look how the birds, deer live

The stillness of the forest, s the secret

Keeping balance with the sky.

#592 [3/26/05

This story and these poems will be featured in future books of the author; this is the first time seeing them in print. Dennis Siluk lives with his wife Rosa in Minnesota, and Peru. His website is: http://dennissiluk.tripod.com His books can be seen on amazon.com, bn.com abe.com Alibris.com etc.

Thursday, November 27, 2008

use your viewfinder for a better picture

Use Your Viewfinder For A Better PictureWriten by Eric Hartwell

If you have a compact camera it is quite likely that you either have not got a viewfinder, or, if you have, you dont use it. The bright LCD screen on the rear of the camera gives a real time record of the scene that it is just about to photograph. Those with SLR digital cameras will still use the viewfinder as the option for LCD preview is not available.

The LCD screen can be of use. It is easily visible and doesnt require you to peer through a small hole in order to take the photograph. So, is there a need for a viewfinder at all?

I think there is, and heres why.

Ask any photographer worth his salt what the most important aspect of photography is and he will say composition. Although other factors such as exposure, depth-of-field and ISO setting play a part, if the subject is poorly composed, the image will fail.

The LCD screen and the viewfinder are the photographers window to an image. Whilst the LCD screen has use in a number of situations, for serious photography it is too remote and instantaneous. It encourages snapshot photography and instant gratification.

The viewfinder provides the photographer with an intimate view of the world in front of him. A chance for the photographer to isolate himself within the camera and to selectively view the proposed image. A chance to focus in on the scene, to examine it, contemplate it and alter it according to his wishes.

It is this isolation within the viewfinder that gives the photographer that chance to slow down, compose the best scene and take the best picture.

Eric Hartwell runs the photography resource site http://www.theshutter.co.uk and the associated discussion forums as well as the regular weblog at http://thephotographysite.blogspot.com

digital photo finishing what am i getting and how do i get the best

Digital Photo Finishing - What Am I Getting And How Do I Get The Best?Writen by Mindi Haehl

What quality are my photos going to be when I use an online photo finisher?

The quality of your photos can be anywhere on a very large scale when they are printed online. I recommend finding a informational site of recommended printers to narrow down the competition to a printer that will deliver the quality that you expect. After finding someone who will meet all of your expectations then I recommend sticking with them.

What paper will they be printed on?

They paper used by professional photo finishers to print digital pictures is usually a high quality print paper with different gloss finishes. The paper is similar to the feel of your prints from a film camera but the process for developing is very different. When film is use the paper reacts to light shined on it through the negatives. The digital paper is regular paper made to copy the feel of film paper. Almost always it is equivalent to the high quality digital photo paper that you can buy at places like Office Max or any other office supply store.

Will they look like film photographs?

It is amazing but they do. There are no printer lines like we are used to when the photos are printed on your personal printer at home. The only drawback is that there is no digital camera in the world that can match the clarity of a film photograph.

How do I get the best quality possible?

99% of the quality of your photos will depend on the number of mega pixels that your camera has and the quality of the lens. The mega pixels will decide how much detail is in your picture, the higher the mega pixels the better. Normal mega pixels now are between 3 and 6. The one thing to remember is that if the lens is not that high of quality then no matter how many mega pixels your camera has the pictures will never be very clear. For instance my family has an old 1.6 mega pixel Sony Cybershot camera with a Carl Ziess lens which is really high quality. The pictures are great and our 3.5 mega pixel camera still does not compare. The Carl Ziess lens is finely ground and can focus a clearer picture on the element of the camera that records the digital information. With a good lens and a high mega pixel camera your pictures should look perfect.

To view our recommended sources for digital photo printing online, visit this page: Photo Mugs.

Mindi Haehl is the owner of an informational digital photo printing website.

soft image portraits

Soft Image PortraitsWriten by Kenneth C. Hoffman

Millions of dollars are spent every year on cosmetics by women who want their skin to appear smoother. The portrait of themselves that they like the best will make their skin smooth and silky, their eyes shining in gem like clarity and their hair glowing with natural shine. Unfortunately, the camera lens sometimes portrays them in merciless detail, every blemish and pore etched in clarity. Their hair lies dark and dank and their eyes dull and shaded.

But all is not lost. The proper soft focus application can solve most of these problems. There are many ways to soften a portrait.
Soft filters fall into three categories. The simplest is the diffusion filter. Examples of these are a filter made of stretched nylon stocking, a glass filter with raised rings or a randomly etched pattern on lucite. A second category is the soft focus lens or the Hasselblad Softar filter. A new type is often included in digital imaging software.

The advantage of the diffusion filters low cost is mitigated by the soft effect being accompanied by a lowering of contrast and a muddying of shadow detail. All of the light coming through the lens and the filter is diffused over the whole picture, thereby diminishing the sparkle in the highlights and throwing unwanted light into the shadows. The effect does soften the skin tones, along with dulling the eyes and hair. Only a super close portrait could be satisfactory with this type filter.

The soft image lens replicates the achromatic spread of light inherent in the early portrait lenses. In those days, only two, three or four lens element lenses were used for portraits. Only when stopped down to F16 or F32 were they completely sharp. On the other hand, when opened up to F8 or F5.6 these lenses produced a glow of uncorrected light spreading out from the sharp image.

Unlike the diffusion filter, the soft focus lens adds light to the highlights and prevents the diffused light from reaching the shadows. The effect was a soft portrait overlaid with a gradually diminishing circle of light stretching from the point source. Skin appears smooth and unblemished, the eyes taking on a wet glow.

Fortunately, contrast is not diminished with this type of diffusion.
The Hasselblad Softar I and II glass filters simulate this effect quite nicely. There are even inexpensive ($35.00) clones made of French acrylic plastic that do the same job. The most effective modern equivalents are the Rodenstock Imagon lenses. These soft imaging lenses can be adjusted from super soft to quite sharp with graduated pierced attachments inside the lens.

For the digital portrait artist, Adobe Photoshop, ArcSoft and other professional imaging software include a soft filter or two. The effect is quite strong and should be used at fifty per cent or less for a good look. There is a strong inclination to sharpen the eyes and hair with the sharpening tool, but too much sharpening is quite noticeable and should be used with discretion.

A soft image portrait can be extremely flattering and beautiful
When done properly and with restraint. Try it out on your loved ones, shell love you all the more.

Retired portrait photographer. Now writes and sings.

Wednesday, November 26, 2008

look like a cool pro cheaply and simply

Look Like a Cool Pro - Cheaply and SimplyWriten by Eric Hartwell

Do you want to look cool and get people to think you are a pro photographer? There are several ways to do so and some of them are really cheap and simple.

Get a photo jacket

A photo jacket is a wonderful piece of clothing. Totally unsuitable for most weathers (in summer you dont need it as it is too hot and in winter its too cold due to having no arms). It has numerous pockets small ones, big ones, zipped ones and netted ones. You can hide all sorts of things in the jacket even non-photography related stuff and everyone will think youre a pro

Get a cheap, but big, lens

My friend had a Photax 300mm lens. It was poorish quality but it was cheap. Oh, and it was long. Very long. Attached to his camera, he looked like a pro without trying - putting all the other photographers around him, with their 50mm lenses, to shame. Turn the focussing or zoom ring regularly to add to the effect.

Take notes

Get a small notebook. Whilst taking photographs, periodically take your notebook out and write something in it. It helps if you can occasionally put your pencil to your lips and look upwards as if in deep thought. It shows that you are thinking about what your are doing. Just write a shopping list or do a doodle nobody will know.

Get in and about

Go anywhere where there are people. Snap away merrily. Get in-between people. For this you have to be brave but it will pay dividends (especially if you are wearing your photo jacket). If you muscle in a bit and sport your long lens, everybody will think you are a pro and will start to make way for you. Saying excuse me periodically can help as can looking busy or harassed.

With time you will develop your own approach to faking it.

Eric Hartwell runs the photography resource site http://www.theshutter.co.uk and the associated discussion forums as well as the regular weblog at http://thephotographysite.blogspot.com

Tuesday, November 25, 2008

send photographs as jpegs discover how and why

Send Photographs as JPEGs - Discover How and WhyWriten by Steven Pam

Your time is valuable. It's annoying when you receive an image which is too large, too small, or impossible to open.

And your customers, suppliers, or friends will hate you if you do it to them.

In this short article, you'll learn how to send the right size image, in the right format. It's surprisingly pretty simple, once you know how.

Image formats and sizes seem complicated at first, which is why people send images that are the wrong size or format. But once you understand a couple of basic principles, you'll be able to easily size any image appropriately and send it by e-mail or upload it to a web site.

Begin with the end in mind

Take Stephen Covey's advice - start by being clear about your goal. What is the person to whom you're sending the image going to do with it? Is it just for them to look at on their computer, or will they need to print it? It makes a big difference (the reason is simple, and you'll find out what it is in a minute). If the image is to be printed, how big?

Pixels and DPI

The answer to the sizing problem has to do with pixels. Unless you've been living in a bunker for the last five years, you've probably heard of them. You may even have an idea what a pixel is: the smallest element of a digital image - a single square (rectangle, actually) of a single colour.

The resolution of an image is expressed in PPI, or Pixels Per Inch. This is often confused with DPI (Dots Per Inch). Strictly speaking, DPI actually relates only to printers, but in practice, the terms are often used interchangeably.

Resolution essentially determines how large the image can be reproduced. This also depends on the output device (computer screen or printer). It's important to understand the difference between size and resolution. The best way to do this is with an example...

Let's say we have an image which is 300 pixels wide by 150 pixels high. This is the size or pixel dimensions of the image. Simple enough. But here's the tricky bit (so pay attention):

The typical computer screen size, in pixels, is 1024x768 pixels. The resolution is usually 75 PPI (which means every square inch of screen 'real estate' is 75 pixels wide by 75 pixels high).

Therefore if we look at our 300 x 150 pixel image, it will be four inches (10 cm) wide and two inches (5 cm) high. Fine so far. But what if we now want to print that image?

Different printing devices can print at different resolutions. But generally, for an image to print well, it needs to have a resolution of at least 200 PPI, or preferably 300. Any less than this, and it will start to look chunky, fuzzy, or pixellated. Or all three!

You may have heard of printers which can print at 1200 DPI or more, but this is separate from the size of the image itself - there's really no need to send a 1200 PPI image to your printer.

So you can see that our 300 x 150 pixel image will only print at a size of about 1 inch (2.5 cm) wide by half an inch high. Big difference!

By now you're probably thinking, OK, enough geeky explanations, how big should I size my image?!

Here are some guidelines, then:

  • On-screen viewing: height 500 to 700 pixels, width 700 to 900 pixels
  • Print - 200 to 300 PPI. So for a 4x6 (10x15 cm) print, the pixel dimensions should be 800 x 1200 at the smallest, or 1200 x 1800 at the largest. Obviously for a larger print, you need to increase the pixel dimensions accordingly.

The good news

Most imaging programs do all the calculations for you in the esize function. Here's how to resize images in the most popular image editing applications:

In Photoshop (including Photoshop Elements), go to Image --> Resize --> Image Size, where you can either specify the new size in pixels; or in centimetres or inches. Don't forget to set a suitable resolution for your end use (75 PPI for on-screen viewing, 200-300 PPI for print).

The procedure for PaintShop Pro is very similar: Go to Image --> Resize, where you can resize either as a percentage of the original size, specify the new pixel dimensions, or specify the absolute size in cm or inches and PPI.

If you don't have either of these programs, you can even resize in Windows Paint. Choose Image --> Stretch, and then enter the new size as a percentage of the original size.

It's also worth checking out Irfanview, a free image viewer which has been around for years. It supports every imaginable image format (and then some), and includes batch processing (allowing you to resize or otherwise adjust multiple images in one operation) as well as slide shows and a bunch of other features.

In Windows XP (and possibly some other versions) you can also check the size of your image without opening it, by hovering the mouse pointer over the file within Windows Explorer. A box soon pops up with all of the details.

Formats

OK, the last thing to think about is image format. Not only does this substantially affect the size of the file (in bytes), but also whether other people can open it!

You may have noticed that the most common format is JPEG (which stands for Joint Picture Experts Group, if you must know), often abbreviated to its three-letter Windows file extension, jpg.

Most likely your images are already in JPEG format if they have come from a digital camera, although some digital cameras can capture images in TIFF or RAW formats (which are beyond the scope of this article).

There are a couple of good reasons for the popularity of JPEG. The main one is size. A postcard-size, 300 DPI image takes up about 6 MB in it's 'native' format. That's one big e-mail! The same image saved as a JPEG takes up around one-tenth of that when saved as a JPEG at a decent quality setting.

(The other reason JPEG is a popular format is because it's extremely widely supported - as well as digital cameras, every image editing or viewing application can handle it - which in turn ensures its popularity!)

So by 'compressing' the image, JPEGs take up a fraction of the space of most other formats. There must be a catch, right? Well, yes and no. Let's explore a little deeper.

JPEG uses an algorithm (mathematical formula) to compress the image. And it does this essentially by summarizing parts of the image with less detail in them. In order to do this, and achieve the incredible ratio of compression which it does, it actually hrows away some of the data (technically, it's known as lossy compression - as opposed to lossless compression. An example of a lossless compression algorithm is zip).

Well, hrowing away bits of your picture doesn't sound too good, does it. Actually, it's not as bad as it sounds. When you save an image as a jpeg, you're presented with a choice of quality setting (exactly how this is presented varies from program to program). As you would expect, the higher the quality, the less compression is achieved, and vice versa. However, even at fairly high quality settings, the amount of compression is still substantial, yet the degradation (in the form of compression artifacts) is barely perceptible.

By the way, if you do need to send an image file which is larger than about 1 or 2 MB, a file transfer service like yousendit.com or megaupload.com is a much more elegant way to do it than e-mail. It saves clogging up both your own e-mail as well as the recipient's. All you do is browse to the file on your computer and enter the recipient's e-mail address, and the file transfer service does the rest.

Hopefully you're now ready to give it a try! In summary:

1. Know your goal

2. Resize the image to the appropriate pixel dimensions, if required

3. Save in JPEG format with a reasonably high quality setting

Now go ahead and e-mail some pictures around the place!

Steven Pam is the founder of SmartShots Commercial Photography, based in Melbourne, Australia.
He specializes in photographing people, cars, and anything to do with aircraft.

how to take great photos of your pet

How to take Great Photos of Your PetWriten by Kelly Paal

We all love our animals. They do such funny, adorable, and cute things. But somehow when that camera comes out they run and hide or they just seem to always be pointed away from the camera when you push the button. Well here are some tips to help you have a better chance at getting great photos of your pet.

1. Dont wake your pet out of deep sleep and attempt to coerce him into performing for the camera. It wont happen. Try to take photos of your pet during their routine playtime.

2. If there is enough daylight to take photos then turn the flash off. My cat has learned to close his eyes just before the flash goes off. He learned that little trick quick too! Many times a camera flash is just too bright for them, thats why they point away from you when they know that youre taking photos.

3. Dont try to get them looking into the camera. If there is someone around who can play with your pet just get a shot of them playing with someone else. You can have the photo with the person and the pet or get close to crop the person out of the shot.

4. If your pet always runs away from you every time you pull the camera out try leaving the camera sit out where it can be seen. Take photos of other things in the home and try turning the flash off.

5. Be prepared to grab your camera and take photos when your pet is ready, read doing something cute. Ive been able to get some of the best photos of my cat when hes just doing something on his own.

Remember dont put pressure on your animal to perform for the camera. Think more on the lines of catch them in their natural habitat. Our pets want to make us happy and you can easily confuse them by pressuring them to look good for the camera. Also be prepared to take a whole lot of bad photos for that one really good one.

About The Author

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.

digital raw workflow for beginners

Digital RAW Workflow for BeginnersWriten by Martin Hengst

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 P2005DoeJane0101. If we also did a portrait session with John Doe on the same date, our folder would be named P2005DoeJohn0101. 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 P2005DoeJane0101 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:



-+P2005DoeJane0101
--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.

Martin F. Hengst has been a professional photographer for more than a decade. He and his wife Barbara run Captured Radiance Photography, a studio dedicated to glamour, boudoir, and intimate portraiture. His online portfolio can be found at: http://www.capturedradiance.com

Monday, November 24, 2008

jobo giga vu pro 60gb personal media device review

JOBO Giga Vu Pro 60GB Personal Media Device ReviewWriten by Brandon Baumgarten

Take out your photo viewer and everybody will want to look at your photography. In fact they are so fun to use, you may not get them off of it. Get your photos out of the camera or computer and into a your multimedia player, so people want to look at them. A must for all amateur and professional digital photographers. Quickly transfer and view photos from your digital camera in crisp thumbnail galleries or fullscreen. Free up memory space, transfer and view photos from your digital camera. You have alot invested into movies, music and photos and this is the perfect way to get the make of it. This little outfit ties it all together. Personal Media Centers are HOT right now.

JOBO Giga Vu Pro 60GB and Jobo Giga Vu Pro 40GB Personal Media Device KISSER:

The new JOBO Giga Vu Pro Personal Media Device has an adjustable brightness, 3.8 LCD monitor with 320x240 pixels and a touch screen for keyboard entry. WiFi enabled with an optional Compact Flash WiFi card, the unit can become a node on a wireless network allowing sharing of files with other users. Download your priceless photos in JPEG and RAW file formats. Real Raw Decoding allows the unit to decode RAW formats from Canon, Nikon, and Kodak Pro. Virtually all other RAW formats can be viewed. View 12 thumbnail images per page or slide show mode (JPEG only). Zoom 1,2,3 or 400% for JPEG and RAW formats. Rename albums, add comments and add keywords to images. You have full control with the JOBO Giga Vu Pro. Play, stop and pause MP3 files. Headphone audio line out. It even has a built in speaker w/volume control. Fast USB 2.0 high speed transfers and Rechargeable Li-Ion battery.

Specifications and Features:

Capacity: 60GB Hard disc- Recognized as a computer's external hard drive for fast up and downloading from, or to PC or Mac. Shock protected hard drive. USB 2.0 high speed mass storage device.

Display: 3.8 inch high quality transflexive color LCD screen, 320 x 240 pixels with adjustable brightness. The bright display is viewable even in bright conditions making it suitable for outdoor use. The JOBO has a touch Screen for keyboard entry. Several screens allow the use of the stylus for typing names, keywords and adding comments to images

Photo Format: supports JPEG and Canon, Nikon, and Kodak PRO RAW file formats, virtually all other RAW formats can be viewed in fht RAW file.
CompactFlash (CF) Type I and I MicroDrive. Other storage formats require an adapter sold seperatly. Supports Adobe DNG format with firmware version 1.0.5.

* Displays full raw decoding progress feedback

* Decodes 6 Megapix.JPG< 1 second.

* Automatic activation of copy function after memory card insertion

* New folder is generated for each download

* Copy with or without preview

* Verify after copy function

* optional auto copy for sport photographers

* Thumbnail view shows 12 images per page

* Slide show mode available (JPEG only)

* Zoom- 100%, 200%, 300%, and 400% for JPEG and RAW

* Powerzoom- up to 1:1 pixel, With the MAX setting in the zoom
function, the GIGA Vu PRO can display at a resolution of one pixel on the display equals one pixel on the camera sensor.

* Color profiling- with firmware version 1.0.5

* Subtle sharpening- with firmware version 1.0.5

* Rotate images- Only in JPEG

* Histograms and Channels- RGB, B/W, and individual R, G, and B channels can be analyzed

* Dust detector- detects dust on the sensor chip of the camera that captured the image

* Pictbridge compatible printer- the unit can print without the need for a computer

* Touch screen for data management- stylus included, several screens allow the use of the stylus for typing names, adding comments to images, add keywords to images (EXIFdata of JPEG files only)

Video Playback: video formats supported MPEG1, MPEG2, MPEG4, DIVX 3/4/5

* Play, Stop, Fast Forward, Rewind

* Video playing time: 120 minutes (with one charge of battery)

Audio Play Back Format: MP3 files,WAV audio files (with firmware version 1.0.5)

* Play, Stop, Pause, Next, Previous

* Headphone, audio line out compatible with automatic detection

* built in loudspeaker with volume control

Wireless Network: WiFi enabled, with an optional CF WiFi card, the unit can become a node on a allowing sharing of files with other users

Menu Languages: English, Spanish, Dutch, French, German, Italian, and Swedish

Battery: High quality rechargeable Li-Ion battery (2200 mAh)

* Optional external battery pack available

* Firmware fully user upgradeable

* Optional Accessories: GIGA Vu PRO external battery pack,

Item #GVB001

*Power- 9V, 1.5A

*Optional- GIGA Vu PRO External Battery

Item #GVB001

Weight: 8.81oz

Size: 1.5x 2x 3

The GIGA Vu PRO Package: comes with the following accessories

* JOBO GIGA Vu PRO

* Internal Li-Ion battery

* Power Adapter 100-240 V

* USB 2.0 Cable

* RCA Cable

* Instruction Manual

*Rubber Display Cover to protect display and controls when unit is not in use

There's not much point in listing any prices here, you know how quickly they drop on electronics products. Visit KISSERreviews.info to compare prices, read actual customer reviews and find accessories. You will also find KISSERreviews for the Apple iPod Photo, Archos AV700, Archos AV500, Epson P-2000 and P-4000, SmartDisk FlashTrax, iRiver PMP-140, Creative Zen, and the Nikon MSV-01 CoolWalker. Also for Nikon and Canon Cameras.
For helpful information about, How to Become a Freelance Photographer and Freelance Photographer Jobs, visit our unique Digital Photography Website at: DigitalPhotographyWebsite.com for great ideas. There are a lot of free photography tips, tutorials and travel information.

I have been a photographer at western ski resorts. Starting out in Wyoming. Where I landed my first professional photography job, taking action photos of skiers on the slopes at Grand Targhee. I am currently a freelance phototographer In Lake Tahoe, California.

think more about your photographs

Think More About Your PhotographsWriten by Eric Hartwell

When your inspiration runs a little dry, try a little exercise to get your photographic taste buds working again.

Here is the process:

Pick up your camera. Now.

You are going to take a picture.

It can be a picture of anything. Dont look for something out of the ordinary. Perhaps a cup on the table, a saucepan, the cat, a shirt, your car. Anything. The subject is unimportant.

But, before you power up and take the snap, spend a few minutes looking at the subject. This is where the exercise pays dividends.

How is the subject lit? Is the lighting pleasing? Do the colours and textures stand out in the best possible way or can you move the subject to get a better lighting scheme?

Look further at your subject. What is the best distance away to stand? Can you fill the frame or do you need to get closer or move further back? What about taking an image of only part of the subject.

Is it going okay so far?

Right. What is the best angle to view the subject from? Left, right, low, high or straight on? Is there any part of the subject that would make that subject look better or is there an angle of view that gives an ordinary subject an unusual and refreshing twist?

What aperture might you like to use? The larger the aperture the shallower the depth of field. Do you want the background to be blurred or are you aiming for maximum focus depth?

There may be other considerations more exposure, less exposure, polarising filters etc.

Now, with all this in mind, take your picture.

What have you learned about photographing subjects?

Eric Hartwell runs the photography resource site http://www.theshutter.co.uk and the associated discussion forums as well as the regular weblog at http://thephotographysite.blogspot.com

Sunday, November 23, 2008

is film better than digital for weddings

Is Film Better than Digital for Weddings?Writen by Juan Carlos Torres

As a professional wedding photographer I get this question asked more than anything else. Rarely will somebody ask me about my wedding photography education, awards, or professional memberships. I believe the root to this question lies on misinformation about the different qualities of film and digital.

Film

For a photographer with no computer experience or who does not want to spend the time correcting digital files film is the way to go. Film allows the photographer to photograph a wedding or event and at the end of the day be done with the process. When the time comes to print the photographs the photo lab will take care of color balance adjustments and retouching.
From a technical aspect film has a wider dynamic range than digital. This means than in high contrast scenes film has the edge. It can handle them better without blowing the highlights.

Digital

The greatest advantage for digital is the control of the photographic process in the hands of the artist. The photographer is not longer at the mercy of the lab to produce a photo that reflects his inspiration and vision.

Digital allows the photographer to shoot more frames without the expense of film and development, which can translate into a more complete coverage. After the event the photographer simply edits out the bad photos and you as the customer end up with the best selection of the day.
The digital medium is ideal for backup. Multiple copies of the event can simultaneously exist in different locations in the event of a catastrophe. With film there is always only one copy of the negatives, which could be duplicated, but the second copy suffers significant quality degradation.
With digital it is possible to produce different versions of the same photo including black and white, color, sepia, etc. through a very simple process.

Digital allows for a faster workflow. If your photographer offers digital gallery previews your photographs can be available in a matter of hours for viewing and ordering. In addition, slide shows and DVDs can be produced for the client.

Digital retouching in the hands of an expert can create amazing results.
Since there is no chemistry involved to develop digital the digital process is more environmentally friendly.

Resolution

In terms of resolution both film and digital can produce similar results. With the advent of 11 mega pixel and above digital cameras, digital has the edge for enlargements due to its lower noise levels and the lack of grain.
Many purist talk of the film look, which is basically film grain and noise that gives film its unique look. This film look can easily be simulated with digital image processing techniques.
Many people would be surprised to know that most photo labs will scan film prior to printing. In other words direct film to print is a myth. Digital photos when printed on true photo paper are virtually indistinguishable from their film counterparts.

What does the film vs. digital war means to the client? I believe that when selecting a wedding photographer the client has to focus on the end product more than anything else. At the end it doesnt matter if the photographer uses film or digital. What really counts is the quality of the photographs that he or she will produce for your wedding day.
There are good and bad photographers using film or digital. Your task as a client is to weed out the bad ones and select a photographer that will capture beautiful memories of your wedding day.

Juan Carlos Torres is a very respected and awarded wedding photographer in Oregon. He has a Masters Degree in Remote Sensing with a strong background in digital image processing and photography. He is a member of the several professional photographer organizations including the Professional Photographers of America, the Professional Photographers of Oregon, the Wedding Photojournalist Association, and the Oregon Wedding Photo Guild. His wedding photographs are unique and very artistic and have been featured in national and international magazines. For a sample of his works please visit oregon
wedding photographer and
salem oregon wedding photographer

keep your digital images safe

Keep Your Digital Images SafeWriten by Eric Hartwell

You must look after your digital images. Your hard drive will either crash, break or get stolen. Plan for this.

You will never believe it until it happens to you. It will happen. Then you will have lost all those lovely images you took over the months and years. What price would you put on those irreplaceable images?

The images from your memory card are transferred onto your hard disk. You would think that would be enough wouldnt you? But no, as I have told you, your hard disk will fail. Also the images still on the memory card need to be deleted ready for further image taking.

So, copy your files into another area. Perhaps a DVD or an external hard disk. Copying onto a DVD will reduce the chances of them being stolen (external hard disks are nice to steal but who wants a homemade DVD?) but who knows if the media will fail over the years or perhaps there will be a mishap? You can also copy to CDs but the capacity of CDs is far less then that of a DVD.

So, some people copy onto two DVDs or CDs. One is kept separate from the other and is only used for checking that the images have written successfully. This is the master backup. If media changes, you should be able to remake DVDs (or their future counterparts) by recopying either directly or from your computer once more.

External hard drives are cheap and large capacity (mine is 320 GB). They perform very well and are very quick in use. Also, if they are used for backup only, the chances of breakdown are minimised. But dont store it near to your computer they will both be stolen.

Another alternative to consider, in addition to the previous advice, is online archival and storage. This is freely available (do a search on the internet) and some of them are free.

Eric Hartwell runs the photography resource site http://www.theshutter.co.uk and the associated discussion forums as well as the regular weblog at http://thephotographysite.blogspot.com.

black and white is beautiful

Black and White is BeautifulWriten by Michael Edwards

Think about Laurel and Hardy for a moment, or Charlie Chaplin, and even Harold Lloyd. All true examples of early cinema genius. Todays DVDs offer the opportunity of not only watching these classics in their pure black and white format but also in the DVD provides a colorized version. Essentially though the colorized version never quite looks right, even though its meant to look more modern and more realistic to latter day cinema.

The point is this; these films were meant to be black and white because that was the level of technology of its day. But when you stand back and look at these films you can see that because the life colour is stripped away they have in a sense become timeless and when viewed there is always something a bit special and different about them.

The same is true of a black and white painting, poster or photograph. A black and white photograph of an old wrinkly woman sitting by her doorstep is timeless, powerful and extremely though provoking. A picture of an old building or a city view in black and white has the same affect. Without colour you tend to look more closely at the subject and see a level of detail and arguably emotion that you may never spot with full colour. As mentioned before depending on the subject a black and white piece of art is essentially timeless.

Nostalgia is time and again the word expressed when these images are viewed. This is why so many people opt for black and white art within the home. A happy home with a touch of nostalgia is a magic recipe.

Michael Edwards owns BlackAndWhitePoster.com which offers a vast range of black and white posters and prints. Other galleries include sepia, vintage and surreal. You can find out more at: http://www.blackandwhiteposter.com

Saturday, November 22, 2008

imperfect photos and how you can fix them

Imperfect Photos And How You Can Fix ThemWriten by John Deprice

So your picture came out less then perfect. Blemishes or wrinkles, red eyes and wrong color balance - you can fix it all without having to learn or pay for Adobe Photoshop. Try these tools instead.

FaceFilter Studio

FaceFilter Studio's enhanced product features make digital photo repair simple and convenient for professionals and home users alike. Unwanted facial expressions, blemishes and wrinkles are things of the past. With FaceFilter Studio, problem photos become perfect photos in 4 simple steps. Using muscle-based photo morphing technology, FaceFilter enables anyone to enhance expressions, remove common skin blemishes, smooth wrinkles, sharpen and improve facial structure, correct color balance and more. FaceFilter Studio also serves as an excellent addition or supplement to your existing photo editing software, maximizing your ability to create perfect photos. Now photos you wouldn't have given a second thought can have a second chance.

PhotoCleaner Professional

PhotoCleaner performs the sequence of operations that are usually done manually using some general-purpose image-editing program like Adobe Photoshop. The main difference is that PhotoCleaner does it automatically without having you to learn a sophisticated user interface and waste a lot of time repeating each step manually. You could adjust the enhancement settings or turn any of these processing steps on and off. The following steps are performed when the image (or multiple images, when the batch mode has been selected) is enhanced, assuming that all checkboxes on Settings pane are checked:

* Resizing

* Auto-rotate (if digital camera has orientation sensor)

* Levels adjustment with optional color correction

* Color saturation

* Reveal shadows

* Noise reduction

* Vignette

* Sharpen

* Add caption

* Add frame

PicaJet FX

PicaJet FX is a photo organizer that offers direct import from your camera, image sharing via email or web gallery, automatic photo enhancement, personal ratings and categories, as well as printing features and more. The photo organizer allows you to view your images by rating, keyword or date/timeline and you can easily categorize your images by simple drag and drop. In addition, it offers convenient editing features to correct red-eye, cropping, image sharpening, level adjustment and more. Additional features include direct CD/DVD burning, an image search engine with support for EXIF data, slideshow maker and an easy to use tool to generate a web gallery from perfect templates.

For additional information please refer to:

FaceFilter Studio

http://www.deprice.com/facefilterstudio.htm

PhotoCleaner Professional

http://www.deprice.com/photocleanerprofessional.htm

PicaJet FX

http://www.deprice.com/picajetfx.htm

John Deprice is an amateur photographer with 20 years of experience. His website is http://www.deprice.com/design.htm

dof photographic jargon explained

DOF - Photographic Jargon ExplainedWriten by Henry Bateman

So much of the writing and discussion about photography is concerned with this acronym. To the technician it stands for depth of field for the artist it is depth of feeling.

A great photograph is a full expression of what one feels about what is being photographed in the deepest sense, and is, thereby, a true expression of what one feels about life in its entirety. ~Ansel Adams

Depth of field basically means that part of the picture that is in sharp focus. When a photograph is approached with this criterion in mind, the totality of image is ignored. The photograph is rendered mute either by the photographer when this is their primary concern or the viewer who can only see the obvious. It is akin to trying to look at an impressionist painting through the eyes of a super realist.

To make a great photograph, the photographer must be part of the photograph. They must have an opinion about, an attitude towards what they are trying to capture and they must allow this to shine through their work. If the photographer isnt part of the action, the photograph will be sterile, it will be reportage not art. This is fine for the nightly news or to illustrate the stories with your ham and eggs. But when hung upon your wall will it engage when the event is forgotten?

When depth of feeling is an integral part of the image, it becomes a chatter box. With each viewing it opens up a little more. It ceases to be wall paper and becomes an important member of the family, the wise relative, the raconteur who knows the best values come through entertainment. Almost through osmosis it will impart its secrets to those with an open mind.

Every time someone tells me how sharp my photos are, I assume that it isn't a very interesting photograph. If it were, they would have more to say. ~Author Unknown

Henry Bateman is an artist/photographer. His work can be seen at http://www.pissedpoet.com and this article with pictures at http://www.pissedpoet.com/dof.html

Friday, November 21, 2008

never work on your original digital images

Never Work on Your Original Digital ImagesWriten by Eric Hartwell

Keep your original images intact.

Many people will want to work on their mages using an image-editing program. This could include cropping, changing the levels, hues and saturation. You might even be doing more advanced image manipulations.

Perhaps you are saving the images either before or after image manipulations.

The golden rule is: never work on the original. Always make a copy and work on that.

Why should you do this?

Because, if the original is changed then you may very well lose some of the data within it. For example, compressing an image will mean a loss of data which will result in some loss of quality of the image.

If you compressed the original then it is lost forever. If a copy of the original was compressed, you always have the original file to hand.

You can open the original, work on it and then use save as to save it as another file with a different name (if your original was, for example cat.jpg then you could save it as cat1.jpg).

If you do this then you will always be able to retain the data in the original image. You never know when you might need this for example when performing a new manipulation on the image.

Eric Hartwell runs the photography resource site http://www.theshutter.co.uk and the associated discussion forums as well as the regular weblog at http://thephotographysite.blogspot.com

get the photos you want learn to crop

Get the Photos You Want: Learn to CropWriten by Richard Killey

The photo from a 3.2 mega pixel camera can print a fair quality 8 x 10 print at 200 dpi. So, why do people buy 4, 5, or even 6 mega pixel cameras?

Well, maybe they want 11 x 14 prints, which at 200 dpi require a 6 mega pixel camera.

However, more importantly, a higher mega pixel camera lets you crop your photo. That is where you cut away part of the photo, not only giving you the photo you want, but also making the photo smaller in pixels. As long as you start with more pixels, it is easier to cut stuff out and still keep enough pixels to make it good for prints.

Speaking of cropping, look at the ratios of common print sizes.

a 4 x 6 has a 1.50 ratio

a 5 x 7 has a 1.40 ratio

an 8 x 10 has a 1.25 ratio

What about cameras?

Most newer point-and-shoot digitals have a ratio of 1.33 !!!

What do the photo finishers do when you send them a 1.33 and ask them to print a 1.50? They crop the picture where they think you want it cropped.

How often are they wrong?

A great thing about ordering on-line through the better quality photo finishers is that the web site shows you where the cropping will occur and allows you to change it. That is a great feature.

A better solution, though, is to learn how to do the cropping by using your home computer. Programs like Photo Shop and Paint Shop Pro have pre-defined cropping tools set to the same common ratios as I listed above. Simply open the photo file in your paint program, choose the crop tool, set to the correct ratio, and choose the portion of the photo you want to print.

Now, just save all of the newly cropped files in a separate folder for easy uploading to your retailer or to a memory card that you take in to their 1 hour service.

There are 3 common guidelines to consider when composing a photo

  • know your subject
  • draw attention to your subject
  • simplify

    By cropping your photo, you not only assure that you get the photo you wanted; you also follow guidelines # 2 and 3 from the list. Happy cropping.

    Richard Killey is an amateur photographer who shares the love of his hobby with readers of his website. Visit http://www.photosbyrichard.ca to read other articles of interest.

  • Thursday, November 20, 2008

    photography jobs how to become a ski bum i mean a professional photographer

    Photography Jobs- How to Become a Ski Bum, I Mean a Professional PhotographerWriten by Brandon Baumgarten

    A career in photography can be educational, rewarding and lots of fun! But where do you start? How do you get your first photography job? Do you work for an advertising company, newspaper, or modeling agency? Maybe if you are a photography major. So where does that leave the rest of us.

    Depending upon your level of motivation and commitment, you can be a successful freelance photographer lining up your own work, but thats another story OR you can find an employer to take you on and train you. Yep-sure, where are you going to find that?

    How about an on-mountain photographer job at one of the Nations major ski resorts. Almost every major ski mountain has a photography program. Breckenridge, Steamboat, Vail, Copper Mountain Colorado, Heavenly California and Jackson Hole Wyoming will train outgoing and enthusiastic candidates to be professional photographers.

    Have you ever wanted to become an extreme sports photographer? This is your chance. The action photographers shoot the ski/snowboard park and have private appointments that typically want extreme shots. Another part of the job is setting up on the side of a run and photographing skiers as they rip by. Your action shots get really good, quickly when you shoot a thousand pictures a day and you work on commission.

    Do you have a zest for life, love working with families, would you enjoy working with a variety of groups or shooting child photography? Then a ski hill portrait photography job would be perfect for you. You set up your shop on the mountain at the scenic overlook. Families, groups, couples, kids ski right up for a photo shoot. it is not unusual to shoot 20-30 groups a day during peak periods like spring break, you can't buy experience like that, but you can get paid to do it!

    You will learn valuable photography skills that you can use the rest of your life. You will gain the experience and confidence to go up to anyone, anywhere take their picture and sell it to them. You will learn a work flow that can be applied to many different types of photographic situations when you freelance on your own.

    The whole world will open up for you and your love for the art of photography with real world experience.

    It is important to note that most of the ski areas will provide you with the proper camera equipment, uniform, and a mountain pass to get to your zone. You need your own ski/ snowboard equipment and Although they rarely provide housing they may have suggestions on how to get settled in to the area.

    This isn't for everyone, if you really just want to ski, get an evening job doing something else from 3-11pm. You can ski all day, everyday.

    If you love photography and skiing you better hurry up and get in touch with one of the resorts right away because they fill their photographer jobs in October and November.

    I have been a top professional photographer at several western ski resorts including Vail and Breckenridge Colorado, Brighton Utah, and Grand Targhee Wyoming. The season starts Thanksgiving and ends in April. I have exceeded $100,000 in sales in one season, a few times. I started out at Grand Targhee where I landed my first professional photography job taking action photos of skiers on the slopes. Now I live in South Lake Tahoe, California and this will be my 3rd season at Heavenly. To view my gallery of action and portrait photography visit freelancephotographerjobs.com There are a lot of photography free tips and info too.

    I also publish a blog at: lookatyourphotos.blogspot.com If you know someone that enjoys photography and sking or snowboarding, email this article to them. They'll get a kick out of it!

    Brandon Baumgarten

    The Flow

    Wednesday, November 19, 2008

    digital photography equipment whats hot now

    Digital Photography Equipment - What's HOT Now!Writen by Jonathan G. Michel

    Remember that 3.2 megapixel digital camera you bought back in 2000 or 2001 and paid real good money for? Today for almost that same kind of money, you can own hot digicams (short for digital cameras) in 10+ megapixels, or small point-and-shoot models with killer zoom or digital SLRs (single lens reflex) cameras, with a bunch of options.So if you think you're ready for a new digicam...you'll really be impressed with these!

    The Sony Alpha DSLR-A100

    This was Sony's first digital SLR (single lens reflex) camera, with 10.2 megapixel APS CCDimage sensor, and supports a total of 19 Sony lenses + most Konica-Minolta Maxxum mount lenses, according to specs. This camera isn't cheap. At last check, just the body cost in the vicinity of $1100. or around $1500. with the DT 18-70mm, F3.5 to 5.6 lens + 75-300mm telephoto lens.

    If you like great head shots, telephoto lens are ideal. Actually with a reverse ring, I was able to use my old Nikon lens as a macro. This camera also features a two-part anti-dust system, which makes sure that those dark spots caused by dust deposits on on the sensor when switching lens, don't show up on your photos.

    Fujifilm FinePix F30

    Reasonably priced, approximately $500., this camera is a 6.3 megapixel which works great in low-light situations, thanks to its full resolution ISO speeds up to 3200. If you've forgotten what this means already, travel back to the home page. Combined with a smart i-Flash system, and3x optical zoom lens, you've got yourself a great pocket-size camera.

    Sony's Slim DSC-T10

    At 89.7 x 54.9 x 20. 6 mm, this is one small camera. But don't let its size fool you. At 7.5 megapixels, the Cyber-shot is Big with its Super Steady Shot optical image stabalization, which helps prevent blurring caused by motion and low-light conditions. It comes equipped with a 3x Carl Zeiss-Tessar optical zoom lens, a large 2.5 inch LCD (liquid crystal display) screen, and its battery, can deliver up to 250 shots per charge. The price is around $450.

    I'm A Nikon Man - The Nikon D80

    Again, this is not a cheap camera by any means. The body alone sells for approximately $1250. But this camera is designed for those who demand professional quality. At 10.2 megapixel CCD imaging sensor (meaning yielding pictures as detailed as 3,872 x 2,592 pixels), it also features a 12-bit image processing engine, as well as instant 0.18 seconds start-up time, with a very fast shutter response, and get this...a high efficiency rechargeable battery that can deliver up to 2700images per charge.

    What About Canon? The Power Shot SD700IS

    This well rounded, point-and-shoot digital camera, with image stabilization (helps prevent shaky and blurry images) sells for about $600. It's a 6 megapixel with a 4x optical zoom lens, with an ISO rating from 80 to 800. It also has a bright 2.5 inch color LCD screen.

    The EasyShare V705

    Kodak boast the world's smallest ultra-wide angle optical zoom digital camera. It's also a dual lens camera, one lens for regular shots and the other for group shots. This dual lens camera has a 7 megapixel sensor with a 5x optical zoom.You can also shoot VGA video at 30 frames per second with sound. It sells for approximately $400.

    All of these cameras can be viewed on their respective websites from the manufacturers. One thing you need to keep in mind when buying a digicam is, what's your purpose for the camera? Some of you will say to take pictures. Granted, that's what a camera is for. But, what if your preference is close up shots (the telephoto type), just of your child's face with a blurry background. You really need to think of your needs, then shop. Not the other way around.

    You say you don't have time to read about all these little extras. Next time you feel frustrated about a bad picture becauseyou didn't find it necessary to know every little detail about a certain camera, remember the litlle details. They're truly the details that count.

    Jon G. Michel is a successful webmaster and publisher of digitalkool.com. To learn more about the next generation of cool digital photography equipment, visit his website. For great deals on digital photography cameras, there's no better place.

    wedding photography tips

    Wedding Photography TipsWriten by Anne Clarke

    Digital cameras offer the amateur photographer a great opportunity in wedding photography. The quality of photos made possible by digital photography is astounding. Though it is a good idea to leave the professional photos to the hired wedding photographer, you can still make the best of your opportunity. After all, when are all your friends and relatives going to again be all dressed up and gathered in one place?

    Some Tips:

    Consider your background before snapping your photos. Sometimes amateur photographers focus completely on the subject without taking a look at the negative space behind and around the subject. Is there a lot of clutter? Is there too much activity and distraction that will be included in your picture if you snap and shoot now? Try to find a place where your subjects have calm, unobtrusive backgrounds.

    Be aware of glare from eyeglasses. The glare from eyeglasses can cause a big bright spot in your photo and make your subject unrecognizable, but there is no need to have anyone remove their glasses. All that is needed is just an adjustment. Have the person tilt their head down and then to the side, adjusting until the glare is gone.

    A great time to take your photos is at the reception. The cutting of the wedding cake, the throwing of the wedding bouquet, and uncle Billy cutting a rug are all great moments for taking pictures.

    Make sure that you know the quality of your digital camera flash. There may be range limitations for capturing your subject in dim lighting.

    Look for colorful wedding accents to include in your photos. Arrange guest by the sanctuary before leaving for the reception. Include colorful flowers in your photos. Digital cameras produce great, colorful photos so take advantage of the festive wedding dcor!

    Anne Clarke writes numerous articles for websites on gardening, parenting, fashion, and home decor. Her background includes teaching, gardening, and art. For more of her articles on photography, please visit Digital Cameras and Accessories.

     

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