Beginners Guide to Digital cameras

> Why Go Digital?

There are distinct advantages of digital photography. Having an LCD on the back of the camera will let you see, share, and choose all your photos.  Having that capability will let you delete photos that you don't want, you have the freedom to shoot many photos of the same scene, and just keep the one or two that turned out the best.  Once you discover this, you have another great way to capture memories. Now that  digital photography uses memory cards to store your images, you save a significant amount of money on buying film.  With the ability to choose specific photos you want to print.

> What's the deal with Megapixels and Resolution?

When dealing with digital cameras, you'll need to become familiar with the terms "pixels" and "megapixels".  Pixels is short for picture element, and it refers to the tiny "cells" that gather information in a digital camera.  The term megapixel", which is found on most digital cameras, simply means one million pixels.

The higher the number of pixels, the better the resolution.  The higher the resolution, the larger and higher quality prints you can make.  Higher quality photos take up more space on your media card, but they will give the best prints.  This guide will give you a very general idea of what to expect in terms of megapixels, resolution, output size, and how many photos you can take:

Quantity of Images on a Card

These ranges are only estimates of how many images will fit onto the given size memory card.  This will vary depending on the compression setting of the camera, which is usually adjustable,  The higher the compression used, the more pictures will fit on the memory card - and a sacrifice of picture quality.

> Which Digital Camera is right for me?

To assit you with finding the proper digital camera, ask yourself "What will I do with my photos?"  Do you only want to post your photos to the internet?  Then maybe a 1-2 megapixel camera might be perfect for you.  Cost much cheaper, but still have the quality for you want to do.  Or maybe you want to print some pictures occasionally, 4x6 and no bigger.  Then maybe a 2-3 megapixel camera would be good for you.  Now what if you know you like printing your pictures and occasionally want to enlarge specific photos, then probably a 4 megapixel or higher would be good for you. When you buy a digital camera brand new, they all come in a kit that can get your started like batteries, memory card, USB cable (to connect to your computer), softwares, manual, and more.

> What Do I do with my Digital Photos?

Now that you have taken several photos with your new digital camera, you have several options. First you can burn them to a CD, that way you have a backup of all your photos, and then you can erase your memory card.  You can also e-mail your photos, just download your images to your computer with the software that was included with your camera.  Plus you can edit them like crop, adjust color, and remove red-eye. You also have several options in printing your photos.  Come to FotoFun with your memory card and either leave it with us to print specific photos that you want, or use the Kodak Picture Maker, a touch screen monitor to print your own photo quality prints.  Or you can make prints at home.  The digital printers available  on the market today produce beautiful  digital prints that closely resemble photographs.  Although printing at home takes much more of your free time, there are many instances when you will want this capability. Now you can send us your images from your home to our lab.  That way you only have to make one trip to pick them up, or not make any trip at all by getting them mailed to you.  A new service called Fotowire, a free software provided by FotoFun which allows you to send high quality images directly to our lab.  Learn more about Fotowire.

Beginners Guide to Lignting part 1

> It's all in the Lighting

Most cameras being used today have a built-in flash. The light source is good, although perhaps at times a little weak; get any more than 10 feet (3 meters) from your subject and the built-in flash's light power just isn't enough to deliver proper exposure and color to the image. Another drawback to a built-in flash is that the flash's light will only travel in one direction: the same direction in which the camera is pointed…

This is where lighting systems can help. Lighting systems give you control of light, and thus, let you control the look and "feel" of the image and improve the image's color fidelity.

Lights are offered in a variety of power outputs, called watt seconds or ws: (40 ws, 100ws, 250ws, 500ws).

> Components of a Lighting System

Reflector bowl

A reflector bowl attaches to the front of the light. This bowl helps to focus the light in the direction the monobloc is pointed. If you do not use the bowl, the light will not be focused. It will scatter and be less effective in delivering full light output directed to the subject.

Snoot
A snoot focuses the light even more, with its tapered barrel creating a tighter beam of light.

Barn Doors

Barn doors are designed to provide more precise control of direct light, allowing you to feather the edges of the light by placing one or more doors into the light.

Soft Box

A soft box is like a tent over the head of the light. It permits the flash light to go through a diffused front surface. This will produce a very soft wraparound light with minimum shadows.

Umbrellas

Used in front of a flash, umbrellas are designed to modify the direction and intensity of the light. There are three kinds of umbrellas:

Reflective Umbrellas - Umbrellas with a dark exterior surface are designed to reflect light back towards the flash;you set up the flash and umbrella so the flash is pointed away from the subject, so the reflected light from the reflective surface of the umbrella illuminates your subject.

Diffuser Umbrellas - An umbrella, with a semi-transparent surface. Diffuser umbrellas are designed so that the flash light goes through the umbrella; you set up the flash so the the back of the umbrella is pointed at the subject, so the diffused light illuminates your subject through the diffused surface of the umbrella.

Convertible umbrellas - Convertible Umbrellas are a combination of reflective and diffuser umbrellas. They provide a uniform diffused light and/or a reflected light. The white translucent umbrella can be used as a diffuser and deliveras the softer light, while the black cover converts the umbrella into a reflective unit.

Reflectors

Reflectors are really just pieces of round or elliptical reflective fabric. Most reflectors are made with varying reflective shades of black and white, while some photographers prefer translucent white, silver or gold surface fabrics. Reflectors are designed to reflect the light towards the subject, so the reflected light from the surface of the reflector illuminates your subject. Depending on the color, the fabric reflects a cooling, neutral or warming tone to the subject.

Honeycomb

A honeycomb - which gets its name from its distinctive grid pattern - is another light modifier. It delivers direct, even light with little or no diffusion. In many instances, you will find honecombs bundled with color gel filters.

> What every Photographer needs to Know

Watt/Second

Watt seconds (ws) is a term to define the amount of electrical power used to make the unit flash(the metric equivalent of a watt second is a joule). Basically, the higher the number of watt seconds, the more light that can be emitted by the flash. The output of the power can be varied using the control on the monobloc's back plate. Reducing the output of the power reduces the amount of light emitted, thus giving you greater control over the amount of light hitting your subject. Reducing power output also decreases recycling time of the flash.

Flash Meters

Flash meters will determine the exact amount of light reaching your subject, and therefore the correct f/stop and shutter speed to be chosen on your camera.

Environment

The environment in which the flash is used will affect the actual amount of light reaching the picture subject. Both a dark room(distant walls and ceilings) or a room with dark walls and/or ceilings are less likely to reflect light on your subject. Likewise, the use of umbrellas, diffusers, softboxes grids, all help to enhance, reduce and control the quantity of light reaching your subject, giving you the artistic control required. Also remember to factor in ambient light (room lights or daylight coming in a window); while a flash may overpower it, ambient light will have an effect on the finished image. Most of these effects can be reduced or enhanced using various filters designed for controlling color temperature.

Color Temperature

The distribution of different light colors in continuous spectrum light sources is measured by its color temperature in Kelvin. The Kelvin scale of temperature measures from the lowest possible temperature(absolute zero) with the same interval size as the normal Celsius(Centigrade) scale. The color is recorded by these changes in light, while our eyes largely adjust automatically to them. The recording media (electronic or film) needs to be adjusted to the same color temperature as the light source by the use of camera lens filters or color gel filers at the light source (blue to increase the color temperature of the light, amber to decrease it).

Digital cameras use an internal white balance system. Most cameras feature full Auto White-Balance, Tungsten, Fluorescent, Sunlight, and Overcast. Filters and colored lights are not needed, but can still be used.

When using a flash system please note the modeling lamp does not have the same color temperature (measured in degrees Kelvin) as the flash. The flash is designed to deliver light at approximately 5600K, equal to sunlight. The modeling lamp has a color.

Beginners Guide to Lignting part 2

> Reflective light vs. Diffused light

A flash unit produces straight-line light which makes hard shadows on the subject (See Figure 1.1). Reflective or bounced light produces a softer, less harsh light quality. With bounced light, the flash unit is pointed away from your subject. Reflective light becomes the indirect light source, bouncing off a reflective surface back towards your subject (See Figure 1.2).

The OPUS 46-inch Convertible Umbrella is one such reflector, softening the light and creating softer shadows (See Figure 1.2). The white translucent option of the umbrella surface is ideal for portraits.

High contrast photos show sharp differences in the light and dark areas; use direct and/or bounced light reflected from a bright silver surface. Diffused light can be obtained by directing light through a translucent material, such as an OPUS diffusion shoot-through (translucent) umbrella, an OPUS softbox, or an OPUS diffusion reflector panel. (See Figure 1.3)

Figure 1.3

One light with Softbox and reflector fill

> The Lighting

Light 1 (Primary) - The primary light in a lighting set-up is the main light or 'key light' (Usually the brightest light) and will be the one casting the most prominent shadows. It is positioned to enhance and reveal the contours and shapes of a subject's face. It also is used to light the most dominant features (or the anchor) of your subjects face

2 Light Portrait Set-up

Umbrella reflected main light, reflector as fill light,

background illuminated by background light.

Light 2 (Fill) - The fill light fills in the shadows created by the main light. A fill light can be a second flash, or just a reflector that reflects light from the main light into the shadows. It is usually less bright than the main light, placed on the opposite side of the camera, usually positioned close to the camera's axis. Lights selected for fill-in shadows are usually softer (non-directional), broad and diffused in their quality and coverage. They should never cast shadows into the subject's face.

Light 3 (Background) - The Background light should provide sufficient illumination to separate the subject from the background and provide for flattering and harmonious tonal and color effects. Background lighting is most often brighter in the more central area surrounding the subject's head, and usually falls off gradually in brightness level towards the edges and corners of the composition.

2 Light Portrait Set-up

Umbrella reflected main light, reflector

as fill light, background illuminated by

background light.

Light 4 (Rim/Hair) - In portraiture, a fourth light may also be used - a rim light, also known as a hair light - to help separate the subject from the background such as creating specular highlights in your subject's hair. Lights of a crisp quality, small size are carefully placed above and to the rear of the subject to accomplish this task. They should not be overdone and should not overwhelm the effects of the dominant main light, nor should they cast shadows on the subject's face.

3 Light Portrait Set-up,

using Soft-box Soft-box as main light,

reflector as fill light, hair light with snoot,

background illuminated by background light

Lighting Ratios

The lighting ratio of your set-up is the difference in contrast between that portion of your subject illuminated by the main light, and that portion in shadow - the difference between the main light and the fill light. A one f/stop difference is a 2:1 ratio; your main light is twice as bright as the fill light. A two f/stop difference is a 4:1 ratio.

Lenses for Wedding photography

> The Best of Digital Wedding Photography

-Bill Hurter, Amherst Media

Available Now:
$44.95CDN

Lenses for Wedding Photography

The lenses of choice for today's digital wedding photographer seem to be the Nikon 80-200mm f/2.8 and the Canon 70-200mm f/2.8. These are very fast, lightweight lenses that offer a wide variety of useful focal lengths for both the ceremony and reception. They are internal focusing, meaning that the autofocus is lighting fast and the lens does not change its physical length as it is zoomed or focused. At the shortest range, 70mm or 80mm, this lens is perfect for full-length and three-quarter-length portraits. At the long end, 200mm, it is ideal for tightly cropped candid coverage or head-and-shoulders portraits.

Nikon AF 85mm f/1.8D, Nikon AF 85mm f/1.4D, Canon AF 85mm f/1.2L-USM

These zoom lenses also feature fixed maximum apertures, which do not change as the lens is zoomed. This is a prerequisite for any lens to be used in fast-changing conditions. Variable maximum apertures, such as f/2.8 to f/3.5, while providing a cost savings, are not as functional nor as bright as a faster, mixed-aperture lens like an f/2.8. Fast fixed focal-length lenses will get lots of use, as they afford many more available light opportunities than slower lenses. If you can avoid using flash, which naturally calls attention to itself, you should generally do so.

Other popular lenses include wide angles, both fixed focal-length lenses and wide-angle zooms. Focal lengths from 17mm to 35mm are ideal for capturing the atmosphere as well as for photographing larger groups.

The Canon 70-200mm f/2.8 and the Nikon 80-200mm f/2.8

At the other end of the focal-length spectrum, many wedding photojournalists use ultrafast telephotos, like 300mm f/2.8 or f/3.5 lenses. These lenses, while heavy, are ideal for working unobserved and can isolate some wonderful moments. Even more than the 80-200mm lens, the 300mm throws backgrounds beautifully out of focus and, when used wide open at a relatively close camera-to-subject distance, provides a beautifully thin band of focus - deal for isolating image detail.

Another favorite lens is the 85mm (f/1.2 for Canon; f/1.4 or f/1.8 for Nikon), which is a short telephoto with exceptional sharpness.This lens gets used frequently at receptions because of its speed and ability to throw backgrounds out of focus, depending on the subject-to-camera distance. One should not forget about the 50mm f/1.2 or f/1.4 "normal" lens for digital photography. With a 1.4x focal-length factor, that lens becomes a 70mm f/1.2 or f/1.4 lens that is ideal for portraits or groups, especially in low light. The close focusing distance of this lens also makes it an extremely versatile wedding lens.

Canon AF 50mm f/1.4 USM, Canon AF 50mm f/1.8II, Nikon Nikkor AF 50mm f/1.4D

Mike Colon, a talented photographer from the San Diego area, uses prime lenses (not zooms) in his wedding coverage and shoots at wide-open apertures most of the time to minimize background distractions. He says, "The telephoto lens is my first choice because it allows me to be far enough away to avoid drawing attention to myself, but close enough to clearly capture the moment. Wide-angle lenses, however, are great for shooting from the hip. I can grab unexpected moments all around me without even looking through the lens."

About the Book

Digital imaging is shaping the future of wedding photography. In this book, Bill Hurter, editor of Rangefinder magazine, provides you with a behind-the-scenes look at how the world's finest wedding photographers craft their images, work with clients, and set the bar for photographers everywhere. From selecting digital equipment to getting into the "digital mindset" for photographing a wedding, you'll learn the techniques you need to succeed.

Whether you're new to digital or well practiced in its use, this book will help you fine-tune your imaging skills, streamline your workflow, and boost your sales. Exploring 175 dazzling images, you're also sure to get a healthy dose of inspiration!

With these techniques, you'll be on your way to creating beautiful, one-of-a-kind wedding images and albums that are perfectly suited to each client.

Features

 - Techniques and images from over 35 award-winning wedding photographers.
 - Digital wedding album design techniques.
 - Photoshop techniques for perfecting your images and adding creative effects.
 - Color management, digital workflow, and more!
 

Copyright Bill Hurter, Amherst Media

Guide to Better Sports photography

> Better Hockey Pictures

Hockey arenas pose a challenge even to the professional photographer. The lighting is poor, and tinged green. The area is large and the subjects far away. You may even need to shoot through glass. Here are some tips for moms and dads trying to capture their little hotshots on ice.

Fill the Frame

Zoom lenses are the most efficient way to bring the subject closer. A 3x zoom or more will let you frame the hockey player so that little space is wasted in the picture and less glare from the ice to confuse the camera's light meter. If you don't have a sufficient zoom lens, position yourself as close to the boards as possible. If necessary, put the lens right up against the glass to avoid reflection, and remember to turn off your auto flash. It is also a good idea to get behind the net that your son or daughter will be shooting on. This way, you can capture him or her head-on.

Fast Shutter Speeds Stop the Action

The fast action of a hockey game demands fast shutter speeds from your camera. In manual mode or shutter priority, set your shutter speed as high as you can under the lighting conditions - 1/250 to 1/500 of as second is best. Use ISO 400 or 800 film (or boost the sensitivity of your digital camera's CCD) to reach these shutter speeds. Digital cameras also adjust the white balance to compensate for the greenish cast of the fluorescent lights.

Anticipate Peak Action

When a player is about to shoot on goal, he plants his front leg firmly and draws back on his stick for the shot. Follow this action through the viewfinder of your camera. You will not have time to frame the picture otherwise. As the stick comes down, so should your finger on the shutter button. You will get your shot off just as he does.

Panning

For the look of a blurred background (an effect often used in fast sports like car racing), pan your camera from side to side as you take the shot. For this, use a slower shutter speed - 1/30 to 1/125 of a second. It is a good idea to use a tripod. Otherwise, make yourself into a sturdy human tripod by keeping your legs shoulder-width apart, bracing your elbows against your chest and panning only your upper body. Again, follow the action through the viewfinder as it moves across your field of vision from side to side. Press the shutter button firmly as you pan. Practice this technique with your digital camera. It's not easy, but at least you can delete the bad ones!