Becoming A Digital Artist On A Budget

So, you want to become a digital artist but paying several hundred dollars for Photoshop seems too much. Don't worry, there are dozens of very inexpensive tools you can use available on the Internet. Icon Constructor Icon Constructor converts BMP, JPEG, GIF, PNG, PSD, TGA and TIFF formats into Windows icons. You can find many images on the Internet and convert them to icons for use on your Windows desktop, in applications and much more. The program supports Windows XP icons in 32-bit color depth with an alpha channel; now you can create semi-transparent XP icons easily. With just a few clicks, any image you find on the Internet or create in a paint program can be turned into an icon. Plus, proprietary FriendlyLINK technology allows creating icons using pictures of your friends and family. Free Download: http://www.deprice.com/iconconstructor.htm Pics Print Pics Print has a built-in photo editor that lets you crop, resize, rotate, and color-correct images. Users who enjoy adding artistic effects to their photos can blur, emboss, and sharpen the images, add borders, and produce an unlimited variety of creative touches. There is even a red-eye remover that takes out the red circles that the camera's flash often adds to portraits. You can create instant greeting cards with Pics Print's card wizard. Simply select an image, add text, and print. Using the built-in templates, or templates which you create yourself, you can create family album pages, sales sheets, and any kind of printed pages in just a few minutes. In addition to that, Pics Print lets you create huge posters that are up to 20 sheets tall and 20 sheets wide. Free Download: http://www.deprice.com/picsprint.htm Acoustica CD/DVD Label Maker Why let the record studio artists have all the fun? Create your own CD/DVD labels and jewel cases with the ultimate in ease and flexibility. If you have CDs or DVDs with no cover and are sick of guessing what songs are on what CD, get the label maker that automatically puts your track list on your CD/DVD label. Acoustica CD/DVD Label Maker comes with a chock full of custom art for holidays and special occasions like Christmas, Valentines, birthdays, vacations, weddings and more. You don't need to be a real artist or designer to user the software. The software automatically imports your track information from Acoustica MP3 CD Burner, iTunes, WinAmp, Easy CD Creator or any other popular play list or previously burnt CD. Print the cover on standard paper or stock sticker labels and jewel case templates for more professinal-looking results. Free Download: http://www.deprice.com/acousticacddvdlabelmaker.htm John Deprice maintains a vast collection of software for amateur digital artists and designers. All software is available for free download at <a target="_new" href="http://www.deprice.com/design.htm">http://www.deprice.com/design.htm</a>

Digital Photography: The RAW vs JPG Debate

If you use a digital camera (I use a Canon EOS Digital Rebel/300D myself) and that camera is an SLR, then it most likely can record images in RAW format. In general, you should record your images at the highest resolution possible. If you only have a small memory card and are worried that you can only record a few RAW images on it, then it's time to buy a bigger card! [They don't cost much these days]. You can always shrink an image after it's taken but you can't enlarge a small one without introducing artifacts. At the very least, you should have your camera record images in Hires JPG format but RAW format is even better. Any kind of JPG written to your camera's memory card will be processed in some way. JPGs, by their very nature, lose information in an image. If you repeatedly save a JPG, you'll lose more and more detail in it and see more artifacts appearing. Also, if you've set your camera up to do some image manipulation (e.g. contast/brightness adjustments), these will also be applied before your camera writes the image out to the memory card. In such cases, you could end up with images that have burned out highlights or shadows that are so deep that they contain no detail. Such areas of an image may be irreparable even with the likes of Adobe PhotoShop. RAW images, on the other hand, are simply that - raw. What the camera sees is dumped (without any image manipulation whatsoever) onto the memory card. RAW images also tend to contain more information and detail and have larger file sizes than similar resolution JPGs. The problem with RAW files is that they've not been the easiest to work with; for example, Windows Explorer cannot show RAW files as thumbnail images so, unless you've renamed your image files with meaningful names, you won't know what the images are when you come back to them a couple of months later. This is where software such as RAWShooter Essentials [<a target="_new" href="http://www.pixmantec.com/index2.html">http://www.pixmantec.com/index2.html</a>] (RSE) comes in. This software lets digital photographers of all abilities import, view, edit and convert large batches of RAW files (to TIF files). RSE is currently free - it won't be for too long - so grab a copy now. Having used it (i have no association with the company who produce it), I can say it makes working with RAW files a doddle; much easier than using the software that came with my Canon EOS Digital Rebel. With your converted RAW files, you have full control over what manipulations will be carried out to produce the final image, using packages such as Adobe Photoshop, Adobe Elements or Paint Shop Pro. The better RAW conversion packages also include basic contrast, brightness and color management controls, so you may not even need a separate image manipulation package. Some even provide tools for compensating for over- or under-exposed images. By shooting RAW images, you give yourself complete control over color and exposure and it's you, rather than the camera, that decides what adjustments are applied to reproduce the tones and contrast of the original scene. It also lets you maximize the quality of your final image for whatever output you want, whether that's on a monitor, as an inkjet print or sent to one of the digital photo labs for printing. Various RAW conversion software is available (I've already mentioned RAWShooter Essentials) to allow you to process digital images to the highest quality possible. "Capture One" and "Breezebrowser" are both highly regarded, although you have to pay for these. A demo version of Capture One is available so you can try before you buy. Probably like yourself, I shot all my photos in hires JPG mode until I got switched on to recording my images in RAW mode. Yes, I had to buy a larger capacity memory card, but even 1Gb cards are pretty cheap these days, and with image files being about 6Mb a piece, that still lets me record well over 200 images on the card - that's equivalent to over 6 rolls of 35mm film (at 36 frames per roll)! So, if you're not already recording in RAW mode, make the switch today and take full creative control of your photographs. Just after I'd finished this article, I was looking around the websites of some professional photographers who use digital cameras to see if what they had to say on the topic of RAW Vs JPG. What I learned surprised me. Quite a number of them shoot in JPG mode rather than RAW. The reason is time. Professionals expect to get "the image" in camera using compositional techniques, filters and a knowledge of their subject and they simply don't have the time to manipulate images to achieve a desired result. Any such time would cost them money by taking time away from being out there taking photos and earning a living. The amateur photographer is in a more luxurious position. Our livelihoods don't depend on our results and, if a photo isn't quite up to spec. we have the time to tweak it and bring out its hidden attractions, rather than junking it and moving on the the next photo. The lesson to be learned is that we should always try to get the best picture possible on the day with the camera rather than becoming lazy and assuming sloppy pictures can always be corrected, cropped and manipulated when we get home. Post-processing of photos should be about making good pictures even better rather than so-so or bad pictures just acceptable. Gary Nugent is a software engineer by profession and has been in the business for over 20 years. Photography has been a hobby for an even longer period of time and he's now even more passionate about it since making the switch to using a digital SLR camera. Gary is also passionate about astronomy and publishes the "Photon" PDF astronomy ezine along with writing the acclaimed LunarPhase Pro and JupSat Pro astronomy software packages (available through his Night Sky Observer website). Great Landscape Photography: <a target="_New" href="http://www.great-landscape-photography.com">http://www.great-landscape-photography.com</a><br> Night Sky Observer: <a target="_New" href="http://www.nightskyobserver.com">http://www.nightskyobserver.com</a>

Who Had The Better Brushes Leonardo or Michelangelo?

Ordinary photos of dull subjects do actually sell, but the dramatic shots generally have an unusual element that makes them stand out from the crowd. They are well-composed and they carry no excess baggage. One of the best photos I've seen was taken many years ago in New York Central Station (1928) It's quite famous and you've probably seen it. Sunlight streams in through the windows dominating the scene, while people mill about the expansive floor in a hustle-bustle atmosphere. Photographers of yesteryear were past masters of judging the best exposure for a dramatic shot, without the benefit of modern gadgetry. I just wonder about that when I hear the death knell being tolled on the use of film. We're told that 60% of the income of Kodak UK came from digital cameras last year, as Kodak announced big job cuts. Immediately, the media produced a knee-jerk reaction that claimed film is dead. True the public are totally won over by the short-term gains of the digital camera, but what about the professionals? Many studio photographers may well switch to fitting a digital back on to their Mamiyas, but what about fieldwork? Big shots with view cameras and 6'9's, not to mention the use of long lenses for wildlife and sport, will still be dominated by film rather than digital. Digital cameras are great for the mass market, where shots are generally taken with the subject a close range. Some of the photos of flowers that I've seen for example, are quite exceptional. In many cases, using film for these shots would be beyond most average users because judging the best exposure would be too difficult. The public are happiest when they can they can just point and shoot. The modern digital camera allows them to do this and produce exceptional pictures of family events, so they're happy. However, put these same cameras to a stiffer test and film wins hands down. Even the latest, best and most expensive cameras still fall short of the best that film can produce, especially where the subject is at a fair distance e.g. most landscapes. Coming back to old-time photographers, I just can't see anyone producing, or rather reproducing the same quality shots of say, Ansell Adams, using a digital camera instead of film. For Ansell Adams, substitute Man Ray, or a host of other cult photographers and you'll soon catch my drift. Regarding photos that sell, the type of camera used is irrelevant when the client looks at the final result. I'm sure that Michelangelo never crossed swords with Leonardo about who had the better brushes. It's the masterpiece that counts, not the tools used to produce it. And yet this epic battle between digital and film cameras is important, because a lot of time and effort can be wasted, trying to produce shots that sell with equipment that just isn't up to the job. Without being prescriptive or dogmatic, it seems to me that any prospective Freelance photographer must weigh up the pros and cons of digital versus film carefully. It is the nature of the photograph being attempted that should decide the matter rather than personal prejudice. Another key factor is, of course, the preference of the client. Where the customer is happy with small digital images then convenience may suggest using digital. So, for someone who shoots a range of photos it seems sensible to become conversant with both. Digital and film cameras are totally different beasts, especially with regard to exposure ' rules of thumb'. After excellent composition, shots that sell need perfect lighting - so the modern freelance photographer should use the best tools, digital or film to achieve the perfect shot of his chosen subject. That's the kernel of truth I've yanked out of the splinters of this hoary old chestnut for you. About The Author Robert Hartness One of a series of articles by Robert Hartness, successful freelance and author of an hotlinked, flip-over, e-book, published on the web in October 2004. It offers a step-by-step guide to those on the threshold of freelance photography and is illustrated with 40+ published photographs. Acclaimed as a great reference source for serious freelancers. More information and order link - <a href="http://www.cashfromyourcamera.com" target="_new">http://www.cashfromyourcamera.com</a>

CCTV Camera Tip: Apply Simple Common Sense when Picking CCTV Cameras and Lenses

Get a good face shot: Use Higher quality cameras at entry areas. Doors, gates and other entry areas need a good quality, high resolution camera to record a good 'face shot.' The video from this camera should be considered a highly valuable since it can be used as evidence in identifying a person in a court of law. Wide Angle Cameras for large surveillance areas Once you can get a good shot of a persons face, you should use a wider angle camera lens for the interior surveillance spaces of the building. Using color cameras inside your building is a good idea because you can readily identify a person by the clothes they are wearing. Used in conjunction with the face shot at the entry point, you have an excellent record of all people and activities in your surveillance areas. Consider the following when choosing a CCTV camera: 1. Sketch out a Floor Plan: Put in all camera locations. Consider the distance to your surveillance zone: Are you 5 feet or 15 feet away from your surveillance target area? It is best to locate your camera as close to the surveillance area first, then choose how much zoom you need. Do you need 4mm, 8mm or 12mm lens? 2. Field of view or area of surveillance: Take photos of areas you want to cover from the proposed camera locations. What lens you need depends what you want to see and how far away and how wide a viewing area. Wide angle and fisheye lenses are available. 3. Resolution: Do you want to capture a persons face or a car license plate? Each camera location will determine which lenses would maximize your surveillance potential. Do you need 50mm lens or standard 8mm? 4. Vandalism potential: Will your camera be subject to damage? Damage resistant cameras are available. 5. Lighting: Is the space well lit or dimly lit. Are the lights turned off at night? Do you want to monitor the area with the lights turned off? Do you need <a target="_new" href="http://www.camerasecuritynow.com/CCTV-Cameras/Bullet-Infrared-Cameras.asp">infrared cctv cameras</a> or low light cameras? 6. Budget: Just like any technology, the more you spend, the better the system you get. Keep in mind a low cost camera is better than no camera at all. About CCTV Cameras: Closed circuit television also known as CCTV is the industry standard in surveillance cameras. CCTV can be a single network of cameras or multiple networks of camera linked together via switches, internet or wide area computer technology. CCTV Video data is analog but can be converted to digital via CCTV Digital Video Recorders. Once the video data is digital it can be managed just like any other computer data and can be stored automatically on computers and network storage devices. For more information on cctv cameras visit <a target="_new" href="http://www.CameraSecurityNow.com">Camera Security Now</a> or call toll free: 877-422-1907 John Beagle is president of Xponex Web and Media Services and can be reached at 513-422-1907x222. <a target="_new" href="http://www.xponex.com/">Xponex.com/</a>

Photography Has No Gender

Women photographers are fortunate. Unlike other titles, photographer has no gender. Women photographers don't have to force stilted language like &quot;flight attendant&quot; instead of &quot;stewardess,&quot; or &quot;letter carrier&quot; instead of &quot;mailman.&quot; &quot;Photographer&quot; doesn't have the historical male/female titles such as &quot;author&quot; and &quot;authoress,&quot; or &quot;actor&quot; vs. &quot;actress.&quot; Women photographers may not even have to battle the associated gender that &quot;doctors&quot; or &quot;nurses&quot; do. Did you know that bank tellers always were men up until WWII because it was thought that women couldn't handle money? So when you visualize a photographer, is it a man or woman? It probably depends on your most recent contact with one. But when you look at a photograph, can you tell whether it was taken by a man or a woman? Probably not. So, at least on one side of the lens, it doesn't make a difference that the photographer is a woman. So why is it important to talk about women and photography? Because, according to a recent study conducted at the University of California at Irvine, women's brains are different than men's. The study found that women have more &quot;white matter&quot; than men. White matter handles the connections of the brain's processing centers. Men, on the other hand, have more &quot;gray matter&quot; than women. Gray matter controls the information processing centers in the brain. According to Rex Jung, a neuropsychologist and co-author of the study, &quot;this may help to explain why men tend to excel in tasks requiring more local processing (like mathematics), while women tend to excel at integrating and assimilating information from distributed gray-matter regions in the brain, such as required for language facility.&quot; Although different, the study found that both types of brain designs are &quot;capable of producing equivalent intellectual performance.&quot; http://today.uci.edu/news/release_detail.asp?key=1261 It therefore makes sense that when women think and learn about photography, and even when they take photos, their approach is different than men's. What should women photographers do, then, with this information? First, women should acknowledge and celebrate their differences. There is no right way to approach photography, as long as it works for you. Don't try to imitate male photographers, and certainly don't be uncomfortable with how you shoot. Second, study the work of women photographers who were pioneers, such as Imogen Cunningham and Dorothea Lange, as well as current women photographers such as Linde Waidhofer, Lisl Dennis and Joyce Tenneson. They may have created easier paths for you to follow. Most important, you should look for support as a woman photographer. There are organizations that specifically serve the needs of women photographers. A primary example is &quot;Women in Photography International.&quot; Its mission is to promote the visibility of women photographers and their work through a variety of programs, exhibitions, juried competitions and publications. Seek programs like that provided by the Professional Photographers of America (&quot;P.P.A.&quot;). It held its 2nd annual &quot;Women in Photography Retreat&quot; this past August. The purpose of the event was to &quot;embark on an exciting journey of self-discovery . . . to forge new friendships, cultivate your strengths, and shape strategies for your personal, professional and creative development in a relaxing, stress free resort.&quot; You also should evaluate your situation. Does your local camera club involve you as a woman photographer? Do you get the support you need from your friends and family? You may have to make some careful choices about your associates if they don't encourage your art. Likewise, you should examine whether you are getting the photography instruction that you need. It doesn't have to come from a woman for it to help you. Choose photography workshops that offer the opportunity to share the passion and inspiration with all photographic artists in a welcoming environment. Finally, you should use your female advantage in photography. There are the obvious areas. You can be in the bride's dressing room and you can make a connection with the crying baby. There are the less obvious items, too. You can &quot;communicate&quot; with the person who speaks a different language, connect with the wild animal or see the unique lines of the landscapes. Let your vision expand to its fullest, female state. This is not to suggest that you become a ranting feminist photographer. The art of photography is to be cherished and appreciated, regardless of whether it is done by a woman or a man. The point is that photography has no gender. As a photographer, you should create superb images of enduring quality. The viewer won't care who it came from. Don't let any artificial designations get in your way. But you also should acknowledge, celebrate, explore and nourish your difference. You may be pleased with what you discover. Copyright 2005 Carolyn E. Wright --- ABOUT THE AUTHOR --- Carolyn Wright is a professional photographer with an active portrait, event and nature photography business. Shooting for 25 years, her award-winning images have been used in books and corporate marketing materials. Her wildlife photos will be included in the upcoming book, "Captivating Wildlife - Images from the Top Ten Emerging Wildlife Photographers" by Scott Bourne and David Middleton. She also is working with Scott Bourne on "Wolfscapes," a photo book documenting the beauty and strength of wolves. Her wildlife images can be viewed at <a target="_new" href="http://www.vivdwildlife.com">http://www.vividwildlife.com.</a>. On the faculty of Olympic Mountain School of Photography, Carolyn's passion is enhanced when teaching photography. She enjoys writing and speaking on the subject, as well, and is a regular columnist for PhotoFocus, an online magazine for serious photographers.

The Arizona Desert Museum

The vast beauty and richness of the desert can be easily seen in one place in Tucson, Arizona. Known as the Arizona Sonora Desert Museum [&quot;Desert Museum&quot;], this gorgeous and convenient site is host to a cornucopia of plants, birds and animals native to the desert. Home to more than 300 animal species and 1200 plants in natural settings, it is a photographer's paradise. Located in the Tucson Mountain Park just a few miles outside of Tucson, the Desert Museum was founded in 1952. The private, nonprofit organization, dedicated to the conservation of the Sonoran Desert, offers a zoological park, a botanical garden, an art gallery and a geology museum. The Desert Museum is a 15 minute drive from the heart of Tucson and is open every day of the year. Hours are from 8:30 a.m. - 5:00 p.m. from October through February, and 7:30 a.m. - 5:00 p.m. from March through September. The entrance fee is $9 for adults. While this is in fact a &quot;museum,&quot; don't be confused by the name. The facility is out in the open and feels more like a zoo or a park. It includes almost two miles of paved and dirt paths through 21 acres of desert. WHAT YOU CAN PHOTOGRAPH THERE The hardest thing about this location is deciding what to photograph. Should you spend your time shooting in the cactus garden or the hummingbird aviary? Do you first go through the pollination garden filled with bees, butterflies and moths, or visit the several exhibits of mammals, including black bears, mountain lions, bighorn sheep, wolves, bob cat, fox and coyote? It will take several visits to take in all of this. Docents - trained volunteers - wear white shirts and are available throughout the Museum to answer your questions and to give demonstrations. One docent enthusiastically shared his Mexican Boa snake with me, while another held a screech owl and explained the differences between the many species of owls. While there is much to photograph, don't become so enamored with the various subjects that you forget about making your best images. Backgrounds and people will be your biggest challenges. Tripods are allowed everywhere, but signs advise photographers to be mindful of the other visitors. Put your lens right up to the birdcages so that the cages are so out of focus they can't be seen in your final photo. Avoid photographing the animals in dappled or spotty light (where parts of the animal are in shade and other parts in light). Like many zoos, the animals often are sleeping around corners where they are difficult to photograph so talk with trainers, docents and museum staff to see when they feed the animals. This is when they will be most active. TIPS FOR SHOOTING THERE You also have to practice your technique. For example, the hummingbirds move fast as lightening, so it's impossible to follow them to shoot. Instead, look where they roost or feed, set up your shot for the best background, and then patiently wait for the hummingbirds to return - they will. While the light is best both morning and afternoon, the animals are more active early in the day. Be careful to avoid the bright background where the mountain lion likes to perch. Note that the Desert Loop Trail, home to the javelina and coyote, is a relatively steep and hot trail. You'll want a long telephoto lens in the range of 300-400 mm to frame the wildlife. An extension tube or telephoto/macro will allow for close focusing of the hummingbirds. For the full compliment of images, add a wide-angle lens for the few landscape shots and a macro lens for the cactus garden. In addition to the birds and mammals, the Desert Museum has excellent reptile, invertebrates and underwater exhibits, as well as a mineral display. The light in these areas is inadequate for photography, however. The heat of the desert makes it a difficult visit to the Desert Museum in summer. In October during my visit, the noonday heat was tolerable with a hat and sunglasses, but the temperatures were more comfortable during the early morning and late afternoon. One docent advised that April is the best time to visit for desert flowers, but she tells her friends to visit in March when it's cooler. DIRECTIONS For more information, check the website at www.desertmuseum.org, or call 520-883-1380. The address is 2021 N. Kinney Road, Tucson, AZ. To get there, take I-10 to the Speedway Boulevard exit and go west for about 10 miles. Note that Speedway Boulevard turns into Gates Pass Road along the way, and be sure to stop at the two scenic view turnouts there. Turn right at the dead end onto Kinney Road, and drive for three miles. The Desert Museum will be on your left. If you arrive via the Tucson airport, signs will direct you to the Desert Museum by way of Highway 86. I found this to be the longer and less efficient approach, but you see more of the beautiful Tucson Mountain Park this way. Also use this route if you are carrying a trailer, because the Gates Pass Road is steep and winding as it travels over a mountain pass. The Desert Museum provides a tremendous abundance of wonderful photographic and educational opportunities in one place, and is worth many visits. MISCELLANEOUS Food: There are four food facilities on the Desert Museum property, ranging from a snack bar to casual fine-dining. No picnicking is allowed inside the property due to the presence of animals, but a small picnic area is available just outside the entrance. Additional large picnic areas are located throughout the Tucson Mountain Park, including the San Juan Carlos picnic area adjacent to the Desert Museum on Kinney Road. Lodging: Since the Desert Museum is close to downtown Tucson, there are lots of places to rent a hotel room. Convenient hotels include the Four Points Sheraton Hotel (800-843-8052), the Marriott University Park Hotel (520-792-4100), and the Red Roof Inn (520-744-8199). The Gilbert Ray Campground (RV friendly) is located on Kinney Road about two miles southeast from the Desert Museum (take a right turn when leaving the Museum). Other Necessities: Restrooms, shaded rest areas and water fountains are scattered conveniently throughout the Museum, including on the relatively long, hot Desert Loop Trail. The Museum has two gift shops stocked with a supply of batteries, film and other necessities. Bring a wide-brimmed hat, sunscreen and comfortable, sturdy shoes. Pants will keep the cactus needles at bay, especially if you venture into the desert for that sunset shot. The closest gas station and convenience mart are located four miles southeast (a right turn from the Desert Museum exit) on Kinney Road. Caution: The sun can be harsh and the air is dry. Drink lots of fluids. Also note that pets are not allowed in the park because of the wildlife, but do not leave them unattended in your car. Wildlife, including snakes, lizards and coyotes, can roam throughout the Museum's grounds. Other Local Areas of Interest: The Saguaro National Park (http://www.nps.gov/sagu/), another significant member of the Sonora Desert, borders the Tucson Mountain Park. Famous for its giant saguaro cacti that sometime reach heights of 50 feet, the Park offers several hiking trails and scenic drives that provide access to great photo opportunities. The Old Tucson Studio, where many cowboy movies have been shot, is just southwest of the intersection of Gates Pass Road and Kinney Road. On your way to the Desert Museum via Speedway Boulevard, you will pass The Wildlife Museum, full of stuffed animals from around the world. A couple of visitors to the Desert Museum told me that the Colossal Cave located in Vail, Arizona (about an hour drive from Tucson), which is on the National Register of Historic Places, is a must see. www.colossalcave.com Copyright 2005 Carolyn E. Wright --- ABOUT THE AUTHOR --- Carolyn Wright is a professional photographer with an active portrait, event and nature photography business. Shooting for 25 years, her award-winning images have been used in books and corporate marketing materials. Her wildlife photos will be included in the upcoming book, "Captivating Wildlife - Images from the Top Ten Emerging Wildlife Photographers" by Scott Bourne and David Middleton. She also is working with Scott Bourne on "Wolfscapes," a photo book documenting the beauty and strength of wolves. Her wildlife images can be viewed at <a target="_new" href="http://www.vivdwildlife.com">http://www.vividwildlife.com.</a>. On the faculty of Olympic Mountain School of Photography, Carolyn's passion is enhanced when teaching photography. She enjoys writing and speaking on the subject, as well, and is a regular columnist for PhotoFocus, an online magazine for serious photographers.

7 Things You Must Do If You Want To Make That Perfect Camera Shot

Saturate yourself with your subject and the camera will all but take you by the hand. Margaret Bourke-White<BR><BR>These tips should help you relive those moments back where you've said "if only I had a camera." Now you will have it captured on film. These tips should help you to be camera ready. <B>1. Get as close as you can to the subject or action</B> Remember, if you're using a instant camera <BR>a lot of them have a minimum shooting <BR>distance. This is usually about two metres. <BR><BR>If your closer than that, your shots will be <BR>out of focus. <BR><BR>Try to take shots with the viewer <BR>focused on the subject. Meaning the closer to the <BR>subject filling the viewer the better. <B>2. Photos Tell A Story</B> Photos of an event or activity such as camping with a <BR>group or fishing trip with family and friends tells a <BR>great story for all to relive and enjoy. <BR> <B>3. Decide What It Is You Want and Don't Want in The Picture</B> Its best to keep the background as uncluttered as you <BR>can. Background clutter will remove the focus from <BR>your subject. <B>4. Take Surprise Shots</B> You'll get some great shots if you take pictures when <BR>people least expect them. Just think of the facial <BR>expressions you'll get. <B>5. Make a Slide Show</B> Slide shows are great to have later when those involved <BR>in the activity can watch and laugh at themselves and <BR>relive the activity in their minds. <B>6. Liven Up Posed Shots</B> Try to avoid taking boring posed shots. Instead of using <BR>"Say Cheese" try have people say Rumplestilskin. <BR><BR>That should help get a real smile. If people see you're going to <BR>take their picture, tell them you will click on four and <BR>then click on three. <BR><BR>That should catch them in a more relaxed state. <B>7. Camera Hardware Tips</B> Does your camera have the correct options set up? <BR><BR>Check your lens and make sure its clean. it could have a <BR>finger print on it. That would make it almost impossible <BR>to focus. <BR><BR>Check to see if you have auto focus or manual focus. Test <BR>it to see if it will work as stated in your manual. Make sure <BR>you know how to control it. <BR><BR>if you are using slide film set the ISO button <BR>one spot ahead of the film. An example would be <BR>if your using ISO 64 slide film, set the ISO at 80. <BR><BR>The results will be deeper colour saturation and <BR>more vibrant shades of yellow, red, and orange. This <BR>tip will not work with print film. <BR><BR>Using a digital camera, always make sure the battery <BR>is charged. <BR><BR>For more room on your memory card delete all <BR>pictures you don't want to keep. Your now ready for some <BR>fun and games clicking away with your camera. <BR><BR>For more excellent tips, surf to Kodaks web page at <BR>www.kodak.com. Val and Robin Shortt are experienced campers and own three outdoor websites For more tips like these and to register for their Free newsletter visit:<A target="_new" href="http://goodnightcampingequipment.com/CampingLinks.html">Good Night Camping Equipment</A>

Picture Framing for Photographers - Part 1

Imagine being able to frame all your own photographs just as well as a professional. You can save enough money to easily pay for all the necessary tools, and the convenience of being able to do it yourself frees you from having to get someone else do it. If you're an amateur a mount cutter, a frame clamp and a hand-operated frame joining tool is all the equipment you need to make professional looking frames. These days the tools are easy and safe to operate, inexpensive, and give you a good result. Picture framing can be divided into four areas. Cutting the bevel mount, cutting and joining the frame, mounting the photograph, and fitting and finishing the job. The tools required to perform each one of these functions are as follows. 1. Mount Cutting: A hand-operated bevel mount cutter is essential for all photographic work. The most important feature of modern mount cutters is to have one that runs on its own ruler or straight edge. 2. Frame cutting and Joining: The professional framer uses a guillotine to cut wooden frames, and an automatic v-nail joiner. But the cost is prohibitive for the small volumes of frames required by our industry. However, there are tools that give you a professional result at a fraction of the cost. 3. Mounting Artwork: Dry mounting presses and laminating machines are not the only way to safely and effectively mount down all your artwork ready for framing. We will look at vacuum press mounting, hinging methods and other less expensive options. 4. Fitting and Finishing: There are a number of hand-operated tools on the market to make this job quick and easy. These can be used safely by any person to give a professional finish to all framing jobs. Our series of articles over the next four issues will examine each one of these processes. Mount Cutting And Decoration Mount cutting is the creative face to picture framing. What distinguishes one framed photograph from another is the creative use of mounts. There is a wide choice of mount board brands and colours, possibly too many! Supplies are easy to come by, and the cost of the boards is not prohibitive. The best thing about cutting your own mounts is that once you cut it you get to keep the fallout from the middle, which can then become a mount for a smaller photograph. This saves money and helps qualify the investment in the mount cutting machine. Most hand-operated mount cutters available in art shops come with the cutting head only and not with a guide rule. For successful bevel cutting and good clean corners a guide rule that the cutting head runs on is essential for good results. The FrameCo systems are ideal for the DIY framer or small workshop. Mount cutters also come attached to a base board or just with the straight edge rule. The baseboard makes the system steadier, easier to use and more reproducible, however to cut a few mounts per year for you're own photographic works, the head/ruler systems are quite sufficient. Another consideration is the sizing or cutting down of fullsize sheets. The large professional mount cutters are large enough to take the full size sheet. But a sharp Stanley knife and straight edge can be used to cut down full-size sheets into the blank sizes ready for bevel cutting. A straight 90 cutter is available from FrameCo, which will also attach to the rule. This can be used for cutting the mount board to size, and is safe and easy to use. The advantage of this optional cutting head is that it can also be used for cutting foam-core board up to smm thick. It uses the same blade as the bevel cutter. Cutting a Single Bevel Mount The technique for cutting bevel mounts is quick and easy. After cutting the mount board down to the right size to fit the frame, rule lines on the back of the mount board to the border size that you require. The bevel cutter head then attaches to the rule, so it's steady when cutting. Another feature of the head is that it has a start/stop indicator line. Following the ruled lines on the back of the mount makes it easy to get good straight bevels, but to get clean crisp corners you need to know where to start and stop the cut. The indicator mark guarantees no overcuts on the corners, giving you a professional cut mount every time. Cutting a Double-Bevel Mount Rule lines on the back of the mount. Start and stop line guarantees perfect corners. Cutting a Double Bevel Mount Double mounts enhance most pictures. A narrow show of colour can pick out the dark spots in the subject, which will increase the contrast between light and dark, and thus sharpen the image. So a double mount is not only decorative, but also functional. The "secret" to cutting a double mount, so that the edges of the inner mount are exactly parallel to the edges of the outer mount, is NOT to cut two separate mounts and then stick them together. The best way is to cut the top mount first, then stick the two together with double-sided tape (ie: the top and the bottom mounts, then cut the bottom mount). The reason for doing it this way is that you use the same edge as a reference point to measure from. The mount will then be in line with one another and will look OK. It can sound confusing, but it's not once you get the hang of it! The most important aspect of mount cutting is that with the right tools you can get a professional result relatively easily. Once you've mastered cutting single and double mounts you can also add decorative finishes to the mounts, which will enhance the image and add value to all your mount work. The Decorative V-Groove One of the most important techniques in decorative mount cutting is the "V" groove. This is a small v-shaped cut set into the front surface of the mount. The v-groove adds a stylish look to all your framing. It is that creative touch that gives any picture a professional finish. The professional framing industry uses existing large mount cutters to cut v-grooves. It is a twostage process because it involves cutting two separate bevel cuts to make the "V" cut. This is difficult to do and there are no guarantees for a perfect accurate v-groove. FrameCo has introduced the GrooveMaster. This is a hand-held v-groover, which cuts the "v" directly into the top surface of the mount. The GrooveMaster also attaches to the rule that you use for bevel mount cutting, which means it is accurate and easy to use. Now v-grooving is within reach of any DIY picture framer. And the technique is easy to master. You can purchase pre-cut mounts and decorate them with a v-groove, adding value to the mount, and making it much more versatile. Doing your own framing is ideal for the amateur, portrait or weekend photographer. You can save on framing costs to more than offset the investment in tools and accessories. You control the mounting and matting stage, and there is a great satisfaction in doing it yourself. However if you have a retail outlet handy then I wouldn't suggest you try and compete with the mass market of ready made frames. These frames are cheap and well made. But there is a significant market for the one off odd-size frame that is not available in the ready mades. Either cut an odd size mount to fit a standard frame or make up the frame to suit. With your own framing, however, you can produce your own work and save money doing it over the longer term. An experienced picture framer, Gary Leete is the owner of Melbourne- based FrameCo, a company that specializes in DIY frame construction kits. For further details ph: (03) 9872 3600 or visit the website: <a target="_new" href="http://www.clubframeco.com">http://www.clubframeco.com</a>

Use A Tripod!

Using a tripod is essential when taking photos - and not just for night shots. To get ultra crisp and sharp pictures, your camera cannot move at all when the shutter is open. In some circumstances, even the tiny movements your hand makes are enough to make a slightly blurry image. The best way to ensure your camera does not move is to use a tripod or other camera stand. On sunny days or when you use a really fast shutter speed, simply holding the camera in your hand will still produce a sharp image. But there's another reason for using a tripod on these occasions as well. Erecting the tripod causes you to SLOW DOWN and think a little more about the shot you're about to take. Because you're concentrating more, you'll have a better chance of composing your image correctly and ending up with a super shot. Types of Camera Stands Tripod. This is a three legged stand that attaches to the mount on your camera. This is the most common type of mount to hold your camera steady, and allows you to move your hands away from the camera completely and still have it steady in position. Monopod. A variation on the tripod, this stand only has one leg. Attach the monopod to your camera, stand it on the ground and use your hands to ensure the camera and stand don't fall over. This helps because the monopod stops the camera moving up and down, and provides a rest for your hands so camera shake is reduced. For a bit of extra stability, lean yourself, or your camera against another sturdy object like a light pole. Chainpod. An ingenious design consisting of a length of chain (or string) with a loop on one end large enough to place your foot into. The other end is attached to your camera. To use a Chainpod, place your foot through the loop and pull your camera up so the chain is tight while taking your photo. The tension in the chain will reduce camera shake just like a monopod. The great advantage of a chainpod is you can crunch it up and place it in your pocket! Dolly. This is a tripod with wheels (and brakes!). A dolly allows you to move your tripod around easily without needing to lift your camera, but it's not so useful outdoors when the ground is uneven. There are dolly attachments available for regular tripods. Car Window Mount. This gadget allows you to mount your camera to your car window to take photos of wildlife while still sitting in the car. A Rock! Yes, you can use any ledge as a tripod when you need a sharp picture but don't have a tripod handy. You can also use a small bean bag to steady your camera and lens if your camera doesn't stand upright by itself. Which should I purchase? If you're just starting out, I recommend purchasing a standard tripod with telescoping legs that stands full length (5-6 feet). Make sure you get a sturdy (preferably all aluminum) model. Pick the heaviest model you can carry around with you. Lightweight models are available, as are mini-tripods - Perfect for portability, but they don't have the stability of the larger models. Using a Tripod Most of the time, you just setup your tripod, place your camera on top and shoot! There are a few subtleties to using a tripod that can help enormously. - The longer the legs of the tripod, the less steady the tripod becomes. Extend your tripod legs only enough to enable you to get your camera into the correct position. - Sometimes the act of depressing the shutter causes movement in the camera. To minimize this, use your other hand and press down on the top of the camera directly above the tripod mount. This will help to further reduce movement. - You're most likely to need your tripod when your camera is fully zoomed in. When fully zoomed in, any small shake is likely to show on the image. Other Tripod Secrets - Try to find a tripod with a built in level. The level will help ensure your landscape shots are completely straight and save needing to rotate the image slightly in your computer to get a level horizon. - Specialized lenses are available that can compensate for camera shake. They are called "Image Stabilizers" or "Vibration Reduction lenses". They can be rather expensive, so I recommend sticking with a tripod. - Try to get a tripod with a quick release mount. This will enable you to quickly remove the camera from your tripod should you need to take a quick 'candid' shot. David Peterson has a great love of photography and has created a series of free tips at <a target="_new" href="http://www.digital-photo-secrets.com/">http://www.digital-photo-secrets.com/</a> to help digital photography users everywhere take better photos.

Megapixel Cameras: How Many Megapixels Do You Need?

Knowing which megapixel camera to buy can be intimidating. There are literally hundreds of models of digital cameras out on the market today. How can you know how many megapixels you'll need? Megapixels: The More the Merrier For the most part, I would suggest that you get the highest megapixel rated digital camera you can afford. Having said that though, there are some considerations you need to keep in mind before you make your next digital camera purchase. What are megapixels anyway? Simply put, megapixels refers to how many millions of pixels make up the images a particular camera takes. The more pixels in the image, the more detail the camera can capture. More detail means better quality and better photos. The higher the megapixels, the larger the photograph that can be produced and still be photo quality. How many megapixels do you need? Over the last couple of years as digital cameras have been accepted by the masses and have gone mainstream, the cost of these cameras has gone down considerably. In the past, you had to pay big bucks for anything above 2 megapixels. Today, I wouldn't recommend you buy anything under 4 megapixels if you have any intentions of getting professional prints done from the pictures you take. 4 megapixel cameras allow you to achieve excellent photo quality for any picture size up to 8x10. For most people, this is the largest picture size they would ever get printed. Is there any downside to lots of megapixels? High megapixel cameras use up lots of memory. When each picture you take uses lots of memory, it means you fit less pictures on your camera for the same amount of memory. If you have a 3 megapixel camera, you should be able to fit up to 40 pictures on 32mb of RAM. If you have a 6 megapixel camera, for that same 32mb, you'll only be able to fit 20 pictures. Higher megapixels leads to higher storage card costs. At the end of the day, the more megapixels your camera can do, the more options you have. I would highly recommend you also purchase the largest storage card you can afford to go along with your camera. That way, you're ready for anything life throws at you. Joe Duchesne is the President of Gotocompare.com a <a target="_new" href="http://www.gotocompare.com" target="_blank">computer hardware</a> information site that provides easy access to device drivers, user manuals and tech support to a wide range of hardware. Reprint this article freely as long as you keep the keyword rich link found in this resource box pointing back to Gotocompare.com.

Start Up a Nude Photography Business

There are major obstacles to overcome to get into nude photography, not least of which is the need to practise technique. By its very nature there has to be at least one subject, and the big problem for the photographer here is image. To some the image of nude photographer is tied in with the &quot;dirty Macintosh&quot; brigade, with the false wig and dark glasses. Not everyone believes the adage that an erotic photograph, does not have to be nude, and a nude photograph is not necessarily erotic. The biggest challenge is to find a suitable model, and certainly in small town rural backwater areas, it is not the brightest propaganda move to put an advertisement in the Post Office window. It is also suspect to approach someone in the street. Impeccable credentials help here, an image of a bona fide photographer, with a studio, and a business card with a portfolio. A professionally created business card also helps; a ripped off part of an old envelope invites suspicion. It is not necessary to have a portfolio of nudes, but it is essential as an aid of creating the feeling of trust. It can be very helpful to not tell a prospective model what you do, but show them, and depending on their responses take it from there. A lot of nude photographers start with a self portrait an this is better than nothing in some cases. There are several other methods that can be used to find people to model. Your first option is to hire professional (glamour) models. That can be expensive, and they're not often familiar with that type of work. The second option is to hire amateur models, or perhaps even nude still life models, the problem here is that the latter will have no inhibitions taking their clothes off, and may be able to sit still and hold a specific pose for long periods of time, however they may not be the best models to animate themselves. The third option is not to pay a model at all, but find someone with a vested interest in making a portfolio work. Whilst thinking about this matter during the research for this article it occurred to me, that the ideal person, would be someone who would be prepared to model in exchange for a portfolio, or other photographic service. In other words, a model who has a reason to make the session work will undoubtedly put more effort into overcoming any technical difficulties. Perhaps you know someone who is pregnant who might want to model in exchange for the photos. Secondly that type of model will produce better results, than some eighteen year olds with a perfect body and a bad attitude. A personal model with enthusiasm to explore different perspectives and techniques has to produce better results than a wooden, but perfect doll. It does not alter the fact that your model must be at peace with the thought of nude modelling as a whole, but a sensitive relationship with the photographer will work wonders here. The rules are no different for a photographer here than a portrait photographer, he or she must first have self confidence. If you cannot get that across to your model he or she will be reluctant to give it their best shot. This type of photography is striving for a look that is natural, and even has a look that it has not been posed for at all. Comfort is essential not just physical comfort though that is important, but mental comfort, the model must be able to understand the concept behind what you are trying to do so that she can co-operate. You have to take the time to explain the techniques of flattering compositions, but equally the model has to work on being fluid and graceful in these motions. A good relationship with your model built on confidence is essential when you come to evaluate and criticise the work. Your first session will create the tone for future work, but that is when a model will be her most nervous, a way of getting over this barrier might be to ask her to come accompanied, and that may make for a lighter more relaxed session. Working with the same model over a number of sessions builds up a rapport, and helps the model learn what works in the images, and what doesn't. She has to be able to see the completed image, before this is really possible. As the model becomes more familiar with how you work and experiences the crucial processes of making an image, the model becomes better at generating poses which work for you, and on the whole, the number of successful images increases. The locations for this type of photography is not important in terms of the finished image, but it needs to be a little circumspect, or you have to take along a person who watches for stray wanderers if it is outdoors. Lighting normally seems to be better if it is natural, but a single candle can be effective particularly with the use of an older model. It is important to think ahead before this type of assignment and instruct a model to wear lose clothing and possibly no underwear as strap marks into the skin can take a long time to subside and will ruin the final shots. Once you have managed to break into this type of work there are many stock libraries that specialise in this type of work. Copyright 2005 Roy Barker Publisher & author: Roy Barker. Roy is the author of the popular ebook, Income from Photography - a downloadable ebook which guides the reader on how to make good money from photography. It can be viewed at <a target="_new" href="http://www.profitable-photography.com">http://www.profitable-photography.com</a> Another great photography guide is at <a target="_new" href="http://photography-business.blogspot.com/">http://photography-business.blogspot.com/</a>

How To Reduce Red Eye The Easy Way With Any Pro Or Point & Shot Camera

There is one simple technique any body can do to eliminate red eye. It can be done with any type of flash on any camera because red eye only happens when using flash. Red eye is the result of a burst of light causing the reflection from the back of the eye blood vessel. I'm not a doctor or an expert on eyes but you get the idea. Camera companies like Canon, Nikon, Minolta, Pentax, and Olympus have a thing called pre flash on consumer point and shot cameras and some really expensive ones also. Pre flash also serves as an auto focus aid for these type of cameras. Red eye is more relevent in the point and shot consumer type camera. Have you ever noticed pro photographers have their camera flashes way up high or on top of the camera? The reason for this is because we as pros know the reason for red eye and how to eliminate it. It is simple - keep the flash from directly going into your subjects eyes whether it is your relative, or pet. Before you Take another photograph tilt your point and shot down ward a bit so the light from the flash does not go directly into the eyes of your subject. Be sure to practice this because we know we like to take fun and creative pictures. So the next time you are ready to take that important picture just tilt the camera a little. John Franco - Hi Visit my website Avanti Photography .net or <a target="_new" href="http://www.jftphoto.com">http://www.jftphoto.com</a>

The Paradigm: Going Digital

As you might imagine the paradigm shift from traditional film-based photography to digital is rapidly creating new opportunities to learn and grow. The photography industry is moving at an incessant pace, and digital cameras sales have surpassed their film-based cousin at an alarming rate each year. On January 16, 2004, Eastman Kodak announced it would end its sales of film cameras in the United States and on June 15, 2005, Kodak announced it will discontinue production of black-and-white photographic paper by the end of the year as it continues its transition to digital photography. Soon digital cameras will hit critical mass and film will only represent a minute segment of the industry. Traditionalists are disappointed, and amateur and advanced film photographers alike are pondering the inevitable question - how can I learn this new digital camera technology in shortest amount of time? The differentiator between a traditional 35mm film camera and digital cameras is how the pictures are captured, processed, and stored. A conventional camera exposes an image on a roll of silver-halide coated film. A digital camera captures an image on a photosensitive silicon computer chip called a charged couple device, also known as a CCD. The camera converts the image captured by the chip into digital data and saves it in a camera's memory as a digital photo. These photos can then be copied onto your computer's hard drive where you can email, edit, and save them. ASSESS YOUR INTERESTS The immediacy of digital is quite satisfying and may present you with opportunities to photograph subjects that perhaps you had not thought of due to the financial constraints of film and development costs prior to taking on this new digital experience. It is important to assess what peaks your interest, i.e. sports, nature, medical, macro, people and lifestyle, etc. Brainstorm and narrow your equipment selection to suit your current and future photographic needs and budget. CAMERA SELECTION Just as with traditional film cameras, digital cameras come in two offerings: point and shoot, and digital single lens reflex (DSLR). Both types of camera use flash memory cards (&quot;digital film&quot;) to store images and are immediately available for viewing through the camera's rear liquid crystal display (LCD). Point and Shoot Point-and-shoot cameras are extremely affordable and remain popular in current market conditions. These cameras are easy to use, give outstanding results, and for all practical purposes are compact. Point-and-shoot cameras mainly offer a limited feature set, offering mostly automatic features such as: auto flash, auto exposure, and the camera selects the shutter speed and aperture for you. Family gatherings and vacations are ideal for point and shoot cameras. The corporate world also uses point and shoot cameras for company newsletters, web sites, and business functions. Digital Single Lens Reflex (DSLR) Digital SLR cameras offer photographers the ability to use interchangeable lenses and accessories, which give the photographer greater artistic control and flexibility. DSLR cameras allow photographers to visually check image sharpness and composition. The effects of changing lenses, changing exposure values, and viewing the camera's histogram are immediately visible in the LCD viewfinder and/or eye viewer. There are many advantages of using DSLR digital cameras. They can handle a variety of lighting and focusing situations unlike point and shoot cameras. DSLR cameras offer optical zoom as opposed to just digital zoom, which essentially crops pixel data and will add unwanted noise to an image. IMPORTANT TIPS ? Look for cameras that can save files in RAW. Saving your image as a RAW file will provide you with a higher quality image to work from in post processing. Images shot in RAW remain uncompressed, unlike JPEG images. Through repetitive opening/closing of JPEG files image -- image degradation occurs. ? Equally important is finding a camera with a minimal amount of shutter lag. It can be rather frustrating with some of the point and shoot cameras available when there is a long lag between clicking the shutter and the camera taking the shot. Choose a camera with a large buffer memory. This allows a number of images to be continually snapped before stopping to allow them to be downloaded and processed. ? Digital camera quality and the size of the created images are continually rising. As a general rule you will need at least 1800 x 1400 pixels (2.5 mega pixels) to print up to 6 x 4 inch with good quality. To date recommendations include the Canon Rebel XT (8.0 Mega Pixels), Canon EOS 20D, Nikon D70 and so on. Based on the previous tips, there are two resources that will enable you to read professional reviews as well as real-world user feedback on various types of digital cameras presently available in the marketplace. Steve's Digicams http://www.steves-digicams.com and Digital Photography Review http://www.dpreview.com DIGITAL FILM: FLASH MEMORY Manufacturers of cameras ,namely Canon, Olympus, and Sony use memory cards that are usually not compatible with one another. Canon uses compact flash cards and/or IBM micro drives. A micro drive is similar to a compact flash card, but it was formerly recognized for its larger capacity. Olympus uses an xD Picture card and smart media card, and finally there's Sony. Sony uses a memory stick. File formats generated by flash memory for digital cameras are RAW, TIFF, JPEG (pronounced 'J-peg'). RAW being a memory intensive format uses several megabytes of data on a memory card and does not compress the image at all. Both RAW and TIFF are known as 'lossless' file formats because compression algorithms are absent, thus giving the photographer more pixel data and better image quality. However, since RAW is not as widely recognized as JPEG in the photography marketplace, special conversion software is necessary to convert images from RAW to TIFF or JPG. Some camera manufacturers include RAW conversion software with their higher end point-and-shoot and DSLR cameras, but it is not as great as some RAW applications developed by cutting edge companies such as PhaseOne, a Danish company that markets an outstanding product called Capture One DSLR. It is made specifically for photographers that wish to process RAW files. For a complete primer on flash memory cards, visit the following links: Primer: Flash Memory http://www.steves-digicams.com/flash_memory.html Finally, once you determine which camera you plan to use, there are peripherals you might want to consider to round off your purchase. First, if you intend to take a lot of family photographs and wish to print photographs for friends and family, then a color photo printer is a must. There are low-to-high end printers. Get something in between. Needless to say, the printer is only as good as the paper you print your images on. Read the manufacturer's recommendations and check the online forums on dpreview.com to learn who is having success with a particular brand of paper. Interestingly enough, another peripheral that will save battery life on your camera is a compact flash card reader. It plugs into your USB port and permits you to download your images by inserting a memory card in it. This is preferred over downloading from your camera/cable because your camera's battery juice will quickly render your camera's battery dead, especially if you are downloading several hundred photographs. The memory card reader acts as an auxiliary drive. Just make sure you get a memory card reader specifically made for your type of memory card and that it can handle a high capacity card such, i.e. 4GB (Gigabyte) flash card. In closing, it is important to determine your budget for all of your photographic needs before you start spending. Whether a hobby or soon to be home-based business, your photographic equipment can quickly add up in price. It is not uncommon to spend thousands of dollars after the digital photography bug bites you. Ryan Shapiro is a freelance digital photographer based in Germantown, Maryland. His most recent clients include Kerrigan Media International and Harvard Graduate School of Education. You may reach Mr. Shapiro at: <a target="_new" href="http://www.digitalstockpro.com">http://www.digitalstockpro.com</a>

Travel and Scenic Photography 101

<P align=left>When you're driving through the mountains somewhere, and you notice a car parked half off the road and some guy leaning to the left to avoid a branch with his Rebel 2000 camera in the act of focusing, you've met me. I do this because, to me, a trip isn't fulfilling unless I've preserved that beauty for posterity. I'd like to share some of the techniques that make scenic photography such a wonderful artform - simple, yet elegant.</P> <P align=left>First off, equipment. As much as the cheapo disposable camera beckons, get real. These cameras have fisheye lenses which I call "spam" lenses. They cram everything in, with equal blurriness and boringness. Good photos are sharp, unless you use blur for artistic effect. Sharp comes from an adjustable lens. It can be a fixed lens or a zoom, but it must focus specially for each picture. Fixed lenses are limiting for scenic pictures, where to frame the shot you may need to move long distances. Imagine using a fixed lens on the Washington Monument, when you're half a block away! Zooms get my vote, even though they often don't have as wide an aperture, which limits their capabilities in low light situations. </P> <P align=left>Practically speaking, an SLR is the absolute best. They are lightweight, and can be used with top quality lenses. Film SLRs tend to be less expensive, but have the limitations of film, meaning you have to get it developed and so forth. Digital SLRs are VERY expensive, so for the budget conscious either go with a film SLR or a high quality basic digital camera. With digital, resolution is also a critical factor, so look at the specs before you buy.</P> <P align=left>OK, we've got the camera, emotions are running high, and that's great, but not too great! Sometimes I find a spot that is so wonderful, I start shooting like a madman, only to be disappointed by the pictures. What happened? Emotions. When you experience a place, there are sounds, aromas and breezes as well as the visuals of the spot. Needless to say, you can't photograph all of these elements, only the visual. When overwhelmed by the spectacle of a scenic hotspot, we are often overwhelmed by all of these elements.</P> <P align=left>So what to do? Look through your camera. The viewfinder does not lie (usually). Try to see what you are looking at as the finished picture. Most people perfunctorily take pictures, hoping that somehow the shot will come out great. If you wonder how the pictures came out when you are on the way to the drug store to get them, you're doing something wrong. At the moment you click the pic, you should know exactly what you will get. (Of course with digital, that's not a trick!). </P> <P align=left>Now, I was a tad dishonest in saying that you can't capture all of the elements of a scene. You can hint at them. For starters, motion. Yes, even in a still picture, there is motion. Something happened before, during and after your picture. In a mountain vista scene, you may find something that hints at motion, whether it be a branch of a tree that has been swaying in the breeze, or a river flowing through the valley below. These add a sense of motion. </P> <P align=left>Then there's the "rule of thirds." When you place the main object of the picture smack-dab in the middle, it is static and boring. Place it one third of the way from either side, and you IMPLY motion. Put the horizon in a landscape photo a third of the way up or down, not across the middle.</P> <P align=left>Remember, when a person looks at a picture, their eyes move. You want to frame your photo to help that movement. If you can find some lines in the scene, such as a skyline, cloud formation, path through the forest, etcetera, use it interestingly, and with the rule of thirds to draw your viewer's eyes into the picture.</P> <P align=left>Avoid "summit syndrome." You get to the top of Mount Washington and shoot the majestic vista. Great. The pictures come out ... boring! How? No PERSPECTIVE. Big vistas will be flat unless you have an object in the foreground, such as a rock or a tree, to give them perspective. Then the eye really grasps how big this scene is. People enjoying the view is a real winner, because the viewer may identify with their emotions, giving the image real impact.</P> <P align=left>Cheese! Yes, you do have to take the family photos. It's obligatory. But when you do, make sure that they show the LOCATION of the photo. Otherwise, you might as well do it on your driveway. Frame the scene in context, with landmarks as part of the picture. Find a way to tell as story in the picture, such as little Sara climbing up the rocks by the waterfall.</P> <P align=left>Finally, any element in the picture that hints at more senses than just the visual will make it remarkable. Actor headshots for example, tell a story about the subject. You can almost hear them saying their next lines. If you photograph a garden, the viewer may experience the aroma of the flowers. A tourist street with an accordion player on the corner may have your amazed friends whistling "Dixie."</P> <P align=left>In summation, picture taking on travel is recording the experience in a satisfying way. Use motion, perspective, sensory, storytelling and so forth, to bring your photos to life. Oh, and needless to say, make your job easy and go to great places! See you at the overlook!</P> Seth Lutnick is a photographer, composer, and performer. He has taken thousands of scenic photos, recorded two albums of original music, and appeared on stage, TV and film. Visit his website - <A target="_new" href="http://www.getitdone.biz">www.getitdone.biz</A> - for more detailed plans on photography, music, health and education, and extensive product links for the resources to fulfill your goals.

Birthday Party Photo Tips ? How to Make Yours Truly Stand Out

How many of the birthday party pictures you've seen are kept just because they are of someone's birthday, not because it is inherently a terrific photograph? When was the last time you heard anyone exclaim: &quot;THIS IS REALLY A GREAT BIRTHDAY PHOTO?&quot; Can you say? NEVER? And yet, birthday parties are happening ALL THE TIME. You would think that "practice makes perfect," wouldn't you; but in this case... uh-uh, it apparently doesn't. So, here we are, with another important birthday party looming on the horizon and not knowing how to improve on past &quot;how hum&quot; photographs. NOT THIS TIME! Follow the following 11 tips and you will need to start getting used to being asked to photograph OTHER PEOPLE'S birthday parties. Can't-Miss Birthday Party Photo Tips 1) Prepare For the Party Abraham Lincoln once remarked that if you're going to cut down a tree, spend 90% of your time sharpening the axe. Preparation makes any activity go better. And for birthday parties, you don't want to have to wait until next year to make up for lack of preparation, do you? So, what should you prepare for? KNOW THE LOCATION. Whether the party takes place in a home, party room, or amusement park; realize that each location has its own photographic "blueprint." Based on the location's blueprint, prepare beforehand for the correct digital camera settings for white balance, metering mode, and exposure compensation. 2) Know Your Obstacles What is going to be in your way at the birthday party (excluding your drunken brother-in-law)? Are there any fixed columns, hanging plants or lights that need to be planned around? For example, if there is a fixed object right where the optimal photos should be taken from, consider setting up the main table someplace else. It's much easier to figure this out before the event than getting to the party and realizing that you need to &quot;move the room a bit to the left.&quot; 3) The Main Table If using rectangular tables, take the birthday party pictures FACING THE WIDE END OF THE RECTANGLE. When doing this, use the wide angle setting on your camera. If you shoot any birthday photos from the narrow end, use as large an F-stop number as possible (optimally F-22 or higher). However, even if you do, some of the guests will probably still be out of focus (hence, the "shoot from the wide end" suggestion). 4) Flash Decisions Don't automatically assume you should use the camera's flash all the time. If your camera has a &quot;hot shoe&quot; (this and many other useful terms are defined at http://www.best-family-photography-tips.com/compare-digital-camera-features.html). If it does, consider using a bounce flash or a diffuser. As a real eye-opener, find out how high your ISO setting can go and see if the resulting photos are not too &quot;noisy&quot; (digital noise = film grain) 5) Better Safe than Sorry Take multiple shots of the critical photographs. Consider flash/no flash; different metering modes, and different F-stops. Also, regardless of what you say or do, people will blink. And, by the way, don't count on spotting small problems on the tiny camera LCD screen (even on full magnification). 6) The Background What does the background look like? If it's neutral - use it. If it's ugly, maximize your depth of field (smallest possible F-stop) to blur the background. If you don't write this one down, I can guarantee that you won't remember it for more than 10 seconds once you start taking photos. Also, be aware of shadows that fall prominently on your background (hence the suggestions to consider using bounce flash and no flash with a high ISO setting). 7) The LCD Display AVOID USING THE DISPLAY TO CHECK ANYTHING OTHER THAN IF YOU CUT OFF ANYONE'S HEAD. LCD displays should NOT be used to confirm contrast, color, exposure, or any other critical factors. This is why the computer is needed to evaluate test shots prior to the party. If you are very experienced, you can tell certain things from the histogram, but to be safe - take test shots and examine the results on a computer (or, ideally a printer) way before the actual date of the party. 8) Equipment Have fully-charged batteries, memory cards, chargers, external flash, lens accessories, and tripod ready. 9) Construct a Birthday Party Pictures List Jot down MUST HAVE pictures, as well as the ones you would like to capture, if possible. And, what's the good of putting together a list unless you remember to take it to the party AND TO REFER TO IT. 10) Candids If you're putting together a list, may I suggest including &quot;Candids&quot; on it. Very often the best birthday party photos will be candids. Since most birthday photos are generally posed, candids take on a special uniqueness. Candid birthday party photos of sleeping children should always be a top priority. Why? On a purely emotional note, they are always cute, will typically produce a smile for the viewer, and sometimes even get a laugh. 11) Surplus Time If it's your child's birthday party, they will never look better than they do JUST BEFORE THE PARTY STARTS. If possible, locate a spot where natural light is entering a window and POSE them and the cake for some big smiling photos. (The younger the child, the less chance for smiles, so don't go crazy.) And, by the way, there will be plenty of opportunity later to take some birthday party pictures with cake and ice cream dribbling out of their mouth. To see sample photos and additional tips, check out http://www.best-family-photography-tips.com/birthday-party-pictures.html. Article courtesy of http://www.best-family-photography-tips.com, where you can see numerous sample pictures & photography tips on many subjects and events. Copyright 2005 Robert Bezman. All rights reserved. Robert Bezman is a professional photographer and owner of Custom Photographic Expressions. Robert has created <a target="_new" href="http://www.best-family-photography-tips.com">http://www.best-family-photography-tips.com</a> to help the digital photography users create better photographs. Robert has a blog at <a target="_new" href="http://www.best-family-photography-tips.com/family-photography-news.html">http://www.best-family-photography-tips.com/family-photography-news.html</a>

Camcorder Techniques: How To Make Home Movies Your Family And Friends Will Be Excited To Watch

Pre-Production: It's all got to start somewhere, so before you even charge your batteries, rewind those tapes or pack the car, take a seat and have a good think about what you are planning to shoot with your camcorder. 'Planning is the key' to a good production even if you're just shooting a small home movie. It may sound like overkill if you head out the door to film your children at a sporting event or a family birthday party, but if you are planning to display the video to family and friends or even review it yourself for extended lengths of time, you will want AND need it to be as compelling as possible. Now if you're filming a longer feature or being paid for a project, pre-production planning is essential. Both in streamlining the production phase of the project and displaying a professional image for your business. This is done by using basic filming techniques. This may consist of sketching up a storyboard (to download a sample go to www.kmsvideo.com/Resources.htm), detailed notes or an interview/information session with the client. "But I just want to shoot a home movie, not a production of Ben Hur!" I hear you say. OK then, let's bring it back to basics shall we? First of all any video you take needs to have a beginning, a middle and an end. Simple as that! Now, say you were to tell people at work on Monday morning an interesting event that happened on the weekend. How would you go about it? A bit of background information, then the main 'body' of the event and close it off with a punchline or resolution. You're telling a STORY. Now go out with your video camera and- "Tell a Story on Film". Still unclear? Here's a practical example... Timmy's first soccer final is on Saturday. It's a big occasion so you are going to capture it on video. Using our basic formula lets make it into a compelling story- Beginning: Open with a shot of the alarm clock, Timmy packing his bag, having breakfast then climbing into the car. All less than 5 seconds duration and if your camera has the function, set it to fade in and out to black. Middle: The team runs onto the field. Shots of Timmy chasing, dribbling and passing the ball at warm-up. Get the opening whistle and kick off, then move around the field for various angles and shots of Timmy. Film the coaches address to his players at half time followed by more game footage. End: Ref blows the full-time whistle and you video the teams shaking hands and walking off the field. Finally, close the video with a shot of our star and maybe a few words. That's it! A very simplified version so here's a few tips to remember- > <ul> <li> Don't just keep the camera rolling in the hope that something interesting will happen</li> <li> move around so you're not always filming from the one spot</li> <li> use close-ups and wide shots alternatively </li> <li>don't talk over the footage, let the pictures tell the story </li> </ul> Now with a bit of pre-planning and good camcorder and filming techniques, you'll Have friends and family lining up to watch your home movies! Mark Sturge is the owner of KMS Productions and webmaster at <a href="http://www.video-production-mastery.com/filming-techniques.html" target="_blank">http://www.video-production-mastery.com</a> A site where visitors can find information, training videos and manuals that help people to better their <a href="http://www.video-production-mastery.com/camcorder.html" target="_blank">camcorder</a> techniques or discover ways to earn an income from their video taking hobby.

Make More of Your Photos

We all want to make the most of our wedding photos and a new service from totalPIX makes it very easy with their beautifully bound photobooks. Like all the best ideas, the idea of a photobook is very simple. Until now if you wanted to compile your own wedding album you first needed to get your photos printed. Unless you have a very expensive photo-quality printer, this meant getting them printed professionally either online or at a local photography outlet. Then they had to be put in the album and any captions you wanted either hand written or printed out and then added to the pages. With a totalPIX photobook, you simply download the totalPIX software which includes several wedding templates, drag and drop your photos onto the template, add your captions and then upload everything to totalPIX. A couple of days later, so long as you are in the UK, your photobook will arrive through the post, carefully packaged in perfect condition. As commercial litho and digital printers, totalPIX have the latest Kodak digital presses so that every single photo, however small, is printed as though it were part of a half million run mail order catalogue. In fact the look and quality of the internal pages of a photobook is quite similar to the best catalogues although of course the binding is attractive and durable as befits a wedding book that will last a lifetime. Very often we have different types of wedding photos, there are the formal ones, with everyone demur and poised at the church or registry office and these make a wonderful souvenir of the day. But often there are more informal images we want to keep, perhaps of the party afterwards or just simply wonderful photos that capture a special moment or expression. With totalPIX photobooks, there's no problem. Create a formal photobook of the day for that special momento and another more informal one that perhaps gives more of the atmosphere of the occasion. And what about a record of the stag and hen nights, or perhaps not! The ability to add captions makes a photobook very personal. Add the names of guests, the date and venue, whatever is important to you. Photobooks can be ordered in any quantity from one upwards, and once you have the finished photobook on your computer, so long as you do not delete it, you can re-send it to totalPIX at any time for extra copies for friends and relations. A major feature of the totalPIX photobook service is its ease of use. If you can use a digital camera, you will find creating a photobook a doddle. The software includes a basic image cropping and manipulation tool if you do not have one already installed. As a precaution against a poor outcome, the software will only accept photos that have the quality and resolution to print well, after all the best press in the world cannot create an award winning image from a poor quality one. For full details of totalPIX wedding photobooks, please visit us at <a target="_new" href="http://www.totalpix.co.uk/photobooks.htm">www.totalpix.co.uk</a> Sally Kavanagh is a keen digital photographer and is an advisor to <a target="_new" href="http://www.totalpix.co.uk">totalPIX</a>

How to Take Great Photos of Your Child

Children are naturally photogenic. Ive worked in studios and children are so easy to photograph. What I hear from parents is that they dont think that their kids are that easy to photograph. Thats only because they dont know some basic tips. 1. Young children especially infants take beautiful photos while they are asleep. Keep the light natural avoid flash if at all possible. Keep the image tight on the child and crop out distractions. For infants when theyre awake youre better off having another person in image, it gives the child someone to interact with and you can crop the shot to keep the other person out of the image or you can keep the adult and child in the photo. 2. Toddlers look best when they dont know that youre taking their photo. Candid shots are the way to go for this age group. Keep your camera handy and when they start doing something cute snap the photo quick. Remember your child doesnt have to be looking directly into the camera to take a great photo. Dont ever say to the toddler, Oh how cute, now look here. It wont happen. 3. Children ages 4 plus are really good at sitting for photos. But if youre going to dress them up make sure that they are comfortable and dont put them in some outfit they hate, it will show in the image. Crop tight on your subject, keep the light natural, and if youre using a toy to get their attention make sure that it makes them laugh and doesnt scare them. (I learned that lesson the hard way.) 4. Older children are really good at dressing up for photos. The hardest thing will be getting a natural smile from them. Say, cheese is a sure fire way to get a fake smile. Most of us learned young to smile automatically at that cue. Here you have to get silly. One time I was working with a young boy and his older sister. She was a natural smiler and loved being dressed up. He was not happy and kept pulling at his tie. His mother straightened it for the tenth time. I posed them and addressed the young boy I said, Now on the count of three I want you to say, I hate this tie! His sister smiled surprised at what I said, and he grinned. I took the photo. He then screamed, I hate this tie! Again both smiled wide and I took a second photo. The images turned out beautiful. I hope these tips help you to take better photos of your child. With a little practice and a few tips youll see better family photos immediately. If you have some specific questions please visit my Photography Forum at: <a href="http://kellypaalphotography.com/v-web/bulletin/bb/index.php" target="_new">http://kellypaalphotography.com/v-web/bulletin/bb/index.php</a> and post your question there. 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 (<a href="http://www.kellypaalphotography.com" target="_new">www.kellypaalphotography.com</a>). She has an educational background in photography, business, and commercial art. She enjoys applying graphic design and photography principles to her web design.

Who Had The Better Brushes Leonardo or Michelangelo?

Ordinary photos of dull subjects do actually sell, but the dramatic shots generally have an unusual element that makes them stand out from the crowd. They are well-composed and they carry no excess baggage. One of the best photos I've seen was taken many years ago in New York Central Station (1928) It's quite famous and you've probably seen it. Sunlight streams in through the windows dominating the scene, while people mill about the expansive floor in a hustle-bustle atmosphere. Photographers of yesteryear were past masters of judging the best exposure for a dramatic shot, without the benefit of modern gadgetry. I just wonder about that when I hear the death knell being tolled on the use of film. We're told that 60% of the income of Kodak UK came from digital cameras last year, as Kodak announced big job cuts. Immediately, the media produced a knee-jerk reaction that claimed film is dead. True the public are totally won over by the short-term gains of the digital camera, but what about the professionals? Many studio photographers may well switch to fitting a digital back on to their Mamiyas, but what about fieldwork? Big shots with view cameras and 6'9's, not to mention the use of long lenses for wildlife and sport, will still be dominated by film rather than digital. Digital cameras are great for the mass market, where shots are generally taken with the subject a close range. Some of the photos of flowers that I've seen for example, are quite exceptional. In many cases, using film for these shots would be beyond most average users because judging the best exposure would be too difficult. The public are happiest when they can they can just point and shoot. The modern digital camera allows them to do this and produce exceptional pictures of family events, so they're happy. However, put these same cameras to a stiffer test and film wins hands down. Even the latest, best and most expensive cameras still fall short of the best that film can produce, especially where the subject is at a fair distance e.g. most landscapes. Coming back to old-time photographers, I just can't see anyone producing, or rather reproducing the same quality shots of say, Ansell Adams, using a digital camera instead of film. For Ansell Adams, substitute Man Ray, or a host of other cult photographers and you'll soon catch my drift. Regarding photos that sell, the type of camera used is irrelevant when the client looks at the final result. I'm sure that Michelangelo never crossed swords with Leonardo about who had the better brushes. It's the masterpiece that counts, not the tools used to produce it. And yet this epic battle between digital and film cameras is important, because a lot of time and effort can be wasted, trying to produce shots that sell with equipment that just isn't up to the job. Without being prescriptive or dogmatic, it seems to me that any prospective Freelance photographer must weigh up the pros and cons of digital versus film carefully. It is the nature of the photograph being attempted that should decide the matter rather than personal prejudice. Another key factor is, of course, the preference of the client. Where the customer is happy with small digital images then convenience may suggest using digital. So, for someone who shoots a range of photos it seems sensible to become conversant with both. Digital and film cameras are totally different beasts, especially with regard to exposure ' rules of thumb'. After excellent composition, shots that sell need perfect lighting - so the modern freelance photographer should use the best tools, digital or film to achieve the perfect shot of his chosen subject. That's the kernel of truth I've yanked out of the splinters of this hoary old chestnut for you. About The Author Robert Hartness One of a series of articles by Robert Hartness, successful freelance and author of an hotlinked, flip-over, e-book, published on the web in October 2004. It offers a step-by-step guide to those on the threshold of freelance photography and is illustrated with 40+ published photographs. Acclaimed as a great reference source for serious freelancers. More information and order link - <a href="http://www.cashfromyourcamera.com" target="_new">http://www.cashfromyourcamera.com</a>

Where to Find Cheap Disposable Cameras

There are many kinds of disposable cameras. All disposable cameras are already inexpensive, but there are some that are even more of a bargain than others. While individual disposable cameras are almost always affordable, sometimes the price becomes an issue when many need to be bought at once, such as for a wedding. Aside from that, it's always nice to get the best price possible, even if you're buying a single camera. There are many sources for disposable cameras online, such as eBay. The way to get the best possible price per camera is to buy them in bulk. There are many retailers that cater to brides and grooms and offer good bulk prices, or even specific wedding packages. Typically, the more they buy, the better ? the greater the quantity, the lower the price per camera. Just remember that a discount disposable camera may or may not have a flash, and may not have the limited perks and options that are usually offered with disposable cameras such as processing with a CD. Typically they have 27 exposures each. Apparently some companies use generic (often reused) disposable cameras -- these are not as good as new unused ones. Your best bet is to buy in quantity or bulk to get wholesale prices for your cheap disposable camera. Look for specials and sales too. Disposable cameras can be found for as little as $2.00 for a daylight camera (with no flash.) When the prices are already so low it can seem like a waste of time to look for a lower price yet, but there are some amazing deals out there. And it can be especially important to find good deals when you need to buy a large quantity. The good news is, those deals are out there. Packages designed for weddings can be especially cheap, but of course they can be used for any large event -- family reunions, graduations, school functions ? the sky's the limit. <a target="_new" href="http://www.e-disposablecameras.com">Disposable Cameras Info</a> provides detailed information about digital, wedding, and underwater disposable cameras, as well as cheap and wholesale disposable cameras. Disposable Cameras Info is the sister site of <a target="_new" href="http://www.e-underwatercamera.com">Underwater Cameras Web</a>.

Extreme Digital Photography: Beyond Point-and-shoot

When my old Olympus digital camera got broke while caving during a family camping trip, I had mixed feelings. For quite some time I had felt that the quality of some of my pictures was hampered by the limitations of that camera, but I did not look forward to spending the money on a new one. The old camera wasn't bad, but there were certain situations where it was difficult to get good pictures with it. When taking pictures at my son's basketball games, for example, the camera would slow the shutter down to try to improve the exposure, and this would cause the fast-moving players to just look like a blur. The flash was of no help, because it didn't work well from that distance. All I could do was change the ISO sensitiviy, and that made the pictures grainy. Also, the camera was slow, so I'd often miss a good picture by about half a second. At football games, I had another problem; the players were just so far away that the camera's zoom wasn't enough. For a while, I tried using my old Yashica 35 mm film camera. I even bought a fairly large telephoto lens off ebay and managed to get some really nice football pictures that way. Unfortunately, though, I found that I wasn't saving any money by not buying a new digital as the photo processing was so expensive, especially by the time I added the extra cost of asking for cd's. Also, the Yashica had a manual focus, which allowed maximum control, but sometimes I wasn't quick enough with the focus and the shot was spoiled. Worst of all, since I couldn't see the pictures until I'd paid for the processing, a couple of times I found that there were few if any good shots on an entire roll. With digital, I would have simply taken a lot more shots and deleted the bad ones. So, finally I decided I needed a new digital, but I was spoiled by the control that the Yashica gave me. Simple point-and-shoot was not good enough. I wanted a camera with good optical zoom (digital zoom is just a marketing gimic) that would give me the ability to take control of more of the camera's features. I also wanted a camera with a quality lens (an oft overlooked feature in consumer cameras), but I did not want to spend a lot of money. I finally settled on the Panasonic Lumix DMC-FZ3 3MP Digital Camera with 12x Image Stabilized Optical Zoom. Everybody looking at digital cameras seem to look mainly at MP (megapixels), but 3MP is good enough for photo quality 8X10's if you don't do a lot of cropping and enlarging. So, that's a great area for potential cost savings. Personally, I'd rather spend my money on features that will actually help me take better pictures, not just bigger ones. And the Lumix is loaded with such features. Consider also that if you get a higher MP camera, you also need a bigger, more expensive memory card as well. This camera is admittedly too large to be pocketable, which may be an issue for some people, and if you use the adapter for filters it makes it even more bulky. However, it's pretty light weight (due largely to the battery type) and I like a camera that fits into the hand nicely instead of feeling like a toy. Also, there is a reason why professionals lug around those big cameras. It's because they take better pictures... if you know how to use them properly. Most people don't realize that a telephoto lens is not just for taking pictures of things far away. They are also great for portraits. And for taking pictures of my son's football games, the more zoom the better. One of the great thing about this camera for me is that my wife, who wants things to be simple, can use the camera in "simple mode". So, she can take great pictures of kids birthday parties and such without having to learn all the features of the camera. I have also used the "simple mode" sometimes, but for basketball games and other extreme situations, I have the option of using shutter-priority or manual modes, and have been able to achieve better results. And with the 12X optical zoom, the camera is great for football games too. I've seen postings on the internet where people who have bought digital cameras are wondering why they can't seem to get good pictures in certain situations. The answer is simple. Most cameras are made for the average user who wants something small and simple. They aren't made to work well in extreme situations. In this article, I have described what my needs were when buying my camera. Your needs may be entirely different, and may also change over time (as mine have). However, if you carefully evaluate your individual needs and take into consideration the pros and cons of different cameras before you buy, you will surely avoid some annoying surprises. The author, Greg Bonney, is the owner of Bonney Information and E-Commerce and founder of Scoutcamping.com (<a target="_new" href="http://www.scoutcamping.com">http://www.scoutcamping.com</a>). Copyright ? 2005 Bonney Information and E-Commerce.