Showing posts with label photography. Show all posts
Showing posts with label photography. Show all posts
Tuesday, May 22, 2012
Canon Digital Camera Guide
Canon digital camera innovations have always been at the forefront of photographic innovations and their compact digital cameras package a variety of functions into a deceptively small Canon digital camera body. These are particularly attractive to a wide range of users because of their light weight, ease of use, high image quality and high functionality. Canon digital camera experts are highly experienced in camera manufacturer, leading-edge optical technology, ultra high-precision mounting technology, electronic device technology and color management technology amongst others. All of this experience and expertise is combined to produce the Canon digital camera PowerShot series and the PowerShot DIGITAL ELPH/DIGITAL IXUS series.
Throughout their continuing research, the Canon digital camera development team has collected a large amount of photographic data and also made broad statistical analyses of the frequency involved in taking photographs. This data led to the creation of the Canon digital camera Photographic Space which is a graphical database of information relating to the relationship between surrounding brightness and distance between a Canon digital camera and the subject relative to the focal length and position of the zoom lens when pictures are taken.
The Canon digital camera Photographic Space led to the development of a new scene-recognition technology called "iSAPS" (intelligent Scene Analysis based on Photographic Space) Technology. Canon digital camera iSAPS Technology analyses the scene to be photographed and makes optimal adjustments of a number of key functions, including auto-focus, before the shutter is pressed.
The Canon digital camera iSAPS Technology closely estimates the camera-to-subject distance based on the lens focal length, zoom position and surrounding brightness which guarantees the most accurate exposure and white balance settings for the overall conditions.
At the high end of the Canon digital camera range are their single-lens reflex, or SLR, cameras. The Canon digital camera company has created ultra-high-precision imaging elements and high-performance digital imaging engines so that their digital SLR cameras possess the same ease of operation as their 35mm film counterparts but produce exceptionally high-quality images.
The Canon digital camera imaging engine, or DIGIC II, creates image data from signals output from a CMOS, or complementary metal oxide semiconductor, sensor. The CMOS sensor is really the brain of any digital camera. Canon developed the Canon digital camera DIGIC II high-performance imaging engine directly due to the increasingly high resolution CMOS sensors. With the help of a high-capacity DDRS DRAM (double data rate SDRAM) as the buffer memory, the Canon digital camera DIGIC II processes high-resolution images at ultra-high speeds.
Buying Digital Camera Batteries
A digital camera battery is probably the most important digital camera accessory. Some digital cameras can consume power at an alarming rate, providing no more than a few hours of continuous shooting time before the battery is drained. Other cameras are renowned for the long life of their digital camera battery which allows users to snap away with barely a thought to power consumption. It is important to know how you intend to use your camera and what type of battery it needs.
There are two types of digital camera battery. The most widely available digital camera battery is a standard AA-size battery. The other type of digital camera battery is a rechargeable battery that is made by the manufacturer, otherwise known as a proprietary battery.
A proprietary digital camera battery offers the advantage of being lighter and more compact, but they are substantially more expensive, making the prospect of buying one or two backup sets much less appealing.
The alkaline AA-size digital camera battery usually has a very short life - less than an hour in extreme cases - when used in a digital camera. This type of battery makes an acceptable emergency backup, especially if you are travelling with your camera. However, the Nickel Metal Hydride (NiMH) digital camera battery can be used instead of the alkaline ones with a charger and this rechargeable NiMH digital camera battery has a substantially longer life at an affordable price.
Another type of AA-size battery is the non-rechargeable Lithium batteries and rechargeable Nickel Cadmium (NiCD) batteries. The lithium digital camera battery has a superior life to alkaline AA's and offers good cold-weather performance but their price and non-rechargeable nature make them less useful than rechargeable NiMH batteries. It is also important to ensure that your camera can take a lithium digital camera battery. On the other hand the NiCD digital camera battery offers the advantage of retaining their charge while unused, unlike NiMH cells, but have shorter lives and need to be discharged completely before recharging which can be extremely inconvenient.
The LCD screen of a digital camera is responsible for consuming the most power from a digital camera battery so it is worth only using the LCD when necessary to help conserve the battery life. Always try to carry at least one backup set of batteries, especially if you plan on being away from power outlets for an extended period of time. The universally-available alkaline AA-size battery can make a convenient emergency backup if your regular digital camera battery fails.
Monday, May 21, 2012
Buying A Digital Camera
When it comes to buying a digital camera, you need to ask yourself one question. “What type of pictures am I looking to take?” Then from that point on, try to envision the image perfectly in your mind, also how you would like then to turn out for others to see. From there on in, it can be easy clicking and all this can be done just by picking out what you are looking for in the features of a digital camera and the picture you have seen in your mind. Buying a digital camera should not be stressful.
Most digital cameras come with the essentials things such as picture storage and a viewfinder and other times when it comes to buying a digital camera, you will find that some extras may be helpful to you on making what envisioned seem real on paper or on a screen. Some digital cameras come with zoom, a self-timer and even flash, so choosing these qualities just might be right up your ally for great picture taking. One of the neat features that some digital cameras offer these days is a moviemaker or mpeg maker, this allows you to capture a few seconds worth of homemade film and can complement any picture you have taken.
Buying a good digital camera does not have to cost a lot of money for anyone, even for the beginner. The good thing about a digital camera is that it takes out the cost of developing the film at a local store plus the drive to the store and back. There is an instant gratification feeling, just by viewing the pictures on the viewfinder or they may also be downloaded from your camera to your personal computer. Almost all digital cameras come with software that can be installed onto your PC and it gives you full freedom of editing your pictures until you are content and happy with them.
Friday, May 18, 2012
Bird Photography
Birds have been one of the greatest subject for photographers for centuries now because they have an inspiring beauty and mystify us with their gift of flight and diversity. When it comes to photographing birds and their behavior, catching it on film will add a tremendous visual impact and feeling to any picture. There are different locations where birds gather, but really the best place you may what to start is your backyard. The thing about birds is that they are busy little bodies and a bird feeder in the backyard is a great place to get a picture when they are feeding or even the bird in the air getting ready to pounce one of the birds that is currently feeding.
When you venture out of your backyard to look for birds to photograph your vehicle may just become your newest piece of equipment. Birds see our cars less of a threat then a person carrying a long lens underneath their arm. A vehicle makes for a great blind and along with this patience is a virtue. When you find a location such as a prime feeding ground, park a bit of a ways from it and stop your engine to cut down on noise that may scare them.
Standard,wide-angle and short zoom lenses can be used for photographing birds, but for serious bird photography, a quality 500 mm or 600 mm telephoto lens is ideal.
Please keep in mind to avoid any situation that can put stress on the birds and their surroundings. If you notice a bird that is starting to show any kind of stress, this means that there is a nest or chicks near by. Any further picture taking should be disengaged and you should leave the immediate area. As a photographer of birds or any wildlife, it is a good thing to remember not to put ourselves or the birds around us in any kind of danger.
Monday, May 14, 2012
Basic Photoshop Tutorials Using The Eraser Tool
Have an object with edges you want to isolate? This is one way to use the Background Eraser tool.
The Magic Eraser is often used to blast large areas that contain unwanted pixels. It certainly can be effective if you want to get fast results, but it is less than subtle. This works well when you want to eliminate big areas of color that you don’t need. It is not always as useful when you are working with areas that are more intricate.
This is one of the reasons that Photoshop is so great. This program provides the user with lots of selection tool choices. Each tool has its own options that can be
customized.
Now, there are some kinds of selection jobs that work better with the Background Eraser than with the actual Magic Eraser.
The Background Eraser is more versatile and gives you greater control over some of the more difficult tasks. For instance, if you are selecting intricately shaped objects, the Background Eraser may be the tool for the job.
Let’s say you want to isolate your image in your picture by removing the sky. The sky consists of edges that may prove difficult to work with. Remove the sky along with the detailed edges using the Background Eraser tool.
Some selection tools would not be able to handle the job because of the position of the crenulations and the arches of the towers. This makes it very tricky when you want to try to remove the sky that is hidden among all of that other stuff.
Here is the way that you can work with the Background Eraser tool to accomplish the above task. You can cut out the complex shapes easily using the Background Eraser. Now you may need to spend a little time fiddling with the options to get the most use of the tool when you are working on a complex project such as this one.
Begin by selecting the tool from the toolbox and in the options bar you will want to set the Sampling option to Once. Sample a section of the blue sky by clicking and the
background swatch icon will change color.
This lets you know the pixels that are headed for deletion. If you hold the mouse button down and spray the eraser’s brush around the image you will be able to get rid of all the pixels of the same color.
Pixels of other colors will not be removed as you spray around the edge of the building. If you want the best results you can tweak the Tolerance setting.
Thursday, September 2, 2010
Basic Photoshop Tutorials Using The Eraser Tool
Have an object with edges you want to isolate? This is one way to use the Background Eraser tool.
The Magic Eraser is often used to blast large areas that contain unwanted pixels. It certainly can be effective if you want to get fast results, but it is less than subtle. This works well when you want to eliminate big areas of color that you don’t need. It is not always as useful when you are working with areas that are more intricate.
This is one of the reasons that Photoshop is so great. This program provides the user with lots of selection tool choices. Each tool has its own options that can be
customized.
Now, there are some kinds of selection jobs that work better with the Background Eraser than with the actual Magic Eraser.
The Background Eraser is more versatile and gives you greater control over some of the more difficult tasks. For instance, if you are selecting intricately shaped objects, the Background Eraser may be the tool for the job.
Let’s say you want to isolate your image in your picture by removing the sky. The sky consists of edges that may prove difficult to work with. Remove the sky along with the detailed edges using the Background Eraser tool.
Some selection tools would not be able to handle the job because of the position of the crenulations and the arches of the towers. This makes it very tricky when you want to try to remove the sky that is hidden among all of that other stuff.
Here is the way that you can work with the Background Eraser tool to accomplish the above task. You can cut out the complex shapes easily using the Background Eraser. Now you may need to spend a little time fiddling with the options to get the most use of the tool when you are working on a complex project such as this one.
Begin by selecting the tool from the toolbox and in the options bar you will want to set the Sampling option to Once. Sample a section of the blue sky by clicking and the
background swatch icon will change color.
This lets you know the pixels that are headed for deletion. If you hold the mouse button down and spray the eraser’s brush around the image you will be able to get rid of all the pixels of the same color.
Pixels of other colors will not be removed as you spray around the edge of the building. If you want the best results you can tweak the Tolerance setting.
The Magic Eraser is often used to blast large areas that contain unwanted pixels. It certainly can be effective if you want to get fast results, but it is less than subtle. This works well when you want to eliminate big areas of color that you don’t need. It is not always as useful when you are working with areas that are more intricate.
This is one of the reasons that Photoshop is so great. This program provides the user with lots of selection tool choices. Each tool has its own options that can be
customized.
Now, there are some kinds of selection jobs that work better with the Background Eraser than with the actual Magic Eraser.
The Background Eraser is more versatile and gives you greater control over some of the more difficult tasks. For instance, if you are selecting intricately shaped objects, the Background Eraser may be the tool for the job.
Let’s say you want to isolate your image in your picture by removing the sky. The sky consists of edges that may prove difficult to work with. Remove the sky along with the detailed edges using the Background Eraser tool.
Some selection tools would not be able to handle the job because of the position of the crenulations and the arches of the towers. This makes it very tricky when you want to try to remove the sky that is hidden among all of that other stuff.
Here is the way that you can work with the Background Eraser tool to accomplish the above task. You can cut out the complex shapes easily using the Background Eraser. Now you may need to spend a little time fiddling with the options to get the most use of the tool when you are working on a complex project such as this one.
Begin by selecting the tool from the toolbox and in the options bar you will want to set the Sampling option to Once. Sample a section of the blue sky by clicking and the
background swatch icon will change color.
This lets you know the pixels that are headed for deletion. If you hold the mouse button down and spray the eraser’s brush around the image you will be able to get rid of all the pixels of the same color.
Pixels of other colors will not be removed as you spray around the edge of the building. If you want the best results you can tweak the Tolerance setting.
Monday, August 30, 2010
All About Photography
Photography is the art of reproducing pictures of people, objects or places in their exact likeness. These images can be transferred on any photosensitive material. Photography includes taking and printing pictures.
The backbone of photography is the camera, the instrument or device that works on the principle of optics. The camera and photographic techniques have undergone phenomenal changes since the time the first camera was made. The earlier model did not contain the film; instead, it had a small light-shield box with lens and translucent screen on either side. The image that traveled through the lens was stored on the screen. Known as 'camera obscura,' it was no more than a sketching device for artists.
Then the scientists discovered the quality of silver nitrate that changes its color when exposed to light. This was the beginning of photogram, a method of making permanent images.
They would place objects on the paper dipped in silver nitrate and expose it to the sunlight. After sometime the area covered under the object stayed white while the rest of the space turned black. However, the image formed was temporary, so the method did not last long.
Over the centuries, the principles, the method and the material used in photography went through many changes. After experimenting with various methods like Daguerre and calotype process, finally collodion, or the wet plate technique was universally accepted.
Modern photography has given a totally new meaning to the entire perception of life and privacy. Photography has made it possible to capture and preserve special moments, in private and in public life. History became more authentic with pictures, and photographs served as evidence in many cases. People made their family tree in their albums. Suddenly life was so much more fun and meaningful.
With the tremendous technological advances in the art of photography, it is no more just fun and frolic but has acquired the dimensions of a full-fledged profession. Photography has many branches and types, such as:
- Aerial photography is the art of taking photographs from the air.
- Art photography is devoted to beautiful pictures for the sake of beauty only.
- Studio or advertising photography is dedicated to promotion of products and institutions.
- Photojournalism takes pictures of events to support the news story and to create awareness among the people.
- Outdoor and travel photography is focused on taking pictures of landscapes and natural places.
- Sports photography records images of the sporting events and games that take place in the world.
- Some types of photography like the macro and scientific and macro or close up photography are restricted to specific fields and are not widely known.
The charm of photography lies as much in the end product as in the process of taking pictures. Looking at an album is like taking a trip down memory lane; it makes us feel highly nostalgic and emotional.
The backbone of photography is the camera, the instrument or device that works on the principle of optics. The camera and photographic techniques have undergone phenomenal changes since the time the first camera was made. The earlier model did not contain the film; instead, it had a small light-shield box with lens and translucent screen on either side. The image that traveled through the lens was stored on the screen. Known as 'camera obscura,' it was no more than a sketching device for artists.
Then the scientists discovered the quality of silver nitrate that changes its color when exposed to light. This was the beginning of photogram, a method of making permanent images.
They would place objects on the paper dipped in silver nitrate and expose it to the sunlight. After sometime the area covered under the object stayed white while the rest of the space turned black. However, the image formed was temporary, so the method did not last long.
Over the centuries, the principles, the method and the material used in photography went through many changes. After experimenting with various methods like Daguerre and calotype process, finally collodion, or the wet plate technique was universally accepted.
Modern photography has given a totally new meaning to the entire perception of life and privacy. Photography has made it possible to capture and preserve special moments, in private and in public life. History became more authentic with pictures, and photographs served as evidence in many cases. People made their family tree in their albums. Suddenly life was so much more fun and meaningful.
With the tremendous technological advances in the art of photography, it is no more just fun and frolic but has acquired the dimensions of a full-fledged profession. Photography has many branches and types, such as:
- Aerial photography is the art of taking photographs from the air.
- Art photography is devoted to beautiful pictures for the sake of beauty only.
- Studio or advertising photography is dedicated to promotion of products and institutions.
- Photojournalism takes pictures of events to support the news story and to create awareness among the people.
- Outdoor and travel photography is focused on taking pictures of landscapes and natural places.
- Sports photography records images of the sporting events and games that take place in the world.
- Some types of photography like the macro and scientific and macro or close up photography are restricted to specific fields and are not widely known.
The charm of photography lies as much in the end product as in the process of taking pictures. Looking at an album is like taking a trip down memory lane; it makes us feel highly nostalgic and emotional.
Saturday, August 28, 2010
Advertisement Photography.
Advertisement photography is by far one of the most competitive forms of photography. This is mainly due to the fact that you can earn far more money than in any other aspect of photographic industry.
Every day companies pay millions of dollars on advertisement; with one goal - to sell their product. Companies want to tell the reader that their product is best - so you must be able to match this.
The photographers work must be to the highest technical quality and he/she must have the ability to create a masterpiece from something simple. Close enough is just not good enough. Close enough will not sell a product.
To become an advertisement photographer one must first understand the market and understand what the client is looking for. The best way of understanding this is pick up a magazine and look at the ads. Study each image. Study the images you see on billboards or images that are used to advertise movies.
Most parts of advertisement photography can be classed as still life photography. So if you are interested in taking images for the advertisement market your first job is to set up your own home studio. This can be a great place to practice.
Every thing in your home can be photographed. Start off with a few glasses. But remember you are not trying to make the glasses look nice - you are trying to sell them.
The second thing you need is a large format camera. Buy a range of the best lenses. Slide film is your best choice for advertisement photography. The client may want to blow up the images to a billboard size.
The most important thing when starting off is creating a portfolio of your work. This can be sent to advertising agencies or can be shown directly to a company. Always have a few copies on standby. Also set up a web page. On-line advertising is growing at a spectacular rate. Your portfolio should also consist of a different range of images.
If you are thinking of using an advertisement agency, get their guidelines from them. These should be very helpful to you in understanding the market. Dealing with a well established agency should be very profitable for you if your photography is to par.
Advertisement can be seen everywhere - and about eighty percent of all ads use photography. Most advertisement these days consists of a few words and a stunning picture that should attract the viewer’s attention.
Every day companies pay millions of dollars on advertisement; with one goal - to sell their product. Companies want to tell the reader that their product is best - so you must be able to match this.
The photographers work must be to the highest technical quality and he/she must have the ability to create a masterpiece from something simple. Close enough is just not good enough. Close enough will not sell a product.
To become an advertisement photographer one must first understand the market and understand what the client is looking for. The best way of understanding this is pick up a magazine and look at the ads. Study each image. Study the images you see on billboards or images that are used to advertise movies.
Most parts of advertisement photography can be classed as still life photography. So if you are interested in taking images for the advertisement market your first job is to set up your own home studio. This can be a great place to practice.
Every thing in your home can be photographed. Start off with a few glasses. But remember you are not trying to make the glasses look nice - you are trying to sell them.
The second thing you need is a large format camera. Buy a range of the best lenses. Slide film is your best choice for advertisement photography. The client may want to blow up the images to a billboard size.
The most important thing when starting off is creating a portfolio of your work. This can be sent to advertising agencies or can be shown directly to a company. Always have a few copies on standby. Also set up a web page. On-line advertising is growing at a spectacular rate. Your portfolio should also consist of a different range of images.
If you are thinking of using an advertisement agency, get their guidelines from them. These should be very helpful to you in understanding the market. Dealing with a well established agency should be very profitable for you if your photography is to par.
Advertisement can be seen everywhere - and about eighty percent of all ads use photography. Most advertisement these days consists of a few words and a stunning picture that should attract the viewer’s attention.
Thursday, August 26, 2010
Adobe Toolbox Photoshop 7 Tutorials
You’ve probably been hanging out to get stuck into the very nifty Photoshop toolbox. In this article I’ll introduce some of the most frequently used tools found in the toolbox.
You’ll notice that some of the tool icons have small black triangles in their bottom right-hand corners. These icons contain hidden treasures! The triangle indicates that there are more related tools available; if you click on the tool icon and hold it down, a “flyout” menu will appear, displaying the additional tools.
Selection Tools:
You can use the selection tools to select certain areas of your document for editing. If you use a selection tool, only the area that’s selected will be affected by any changes you make. You can “feather” selections (specify a fuzzy radius for them) using the Feather field in the options bar.
Marquee tools (M) are used to create rectangular or elliptical selections, including selections that are “single row” (one pixel tall, stretching across the entire width of the document) and “single column” (one pixel wide, tretching through the entire height of the document).
To make single-row or single-column selections, click with the appropriate tool on the image area where you want to select a row or column. You can use the Lasso tools (L) to create freeform selections.
The Lasso Tool comes in three different forms:
Lasso Tool (L) Click and drag the Lasso Tool to draw a selection area. Releasing the mouse button will close the selection by joining the start and end points with a straight line.
Polygonal Lasso Tool (L) Click at different points to create vertices of a polygonal shape. Close the selection by moving your cursor to the beginning and clicking once, or pressing the Enter key.
Magnetic Lasso Tool (L) If you think you need help with making your selection, try the Magnetic Lasso Tool. Photoshop will attempt to make a “smart” selection by following the edges of contrast and color difference. Click once near the “edge” of an object and follow around it—Photoshop will automatically lay down a path.
You can also click as you follow the line to force points to be created on the path. Close the selection by pressing the Enter key or clicking at a point near the beginning of the selection. The Magnetic Lasso Tool is not available in ImageRead
You’ll notice that some of the tool icons have small black triangles in their bottom right-hand corners. These icons contain hidden treasures! The triangle indicates that there are more related tools available; if you click on the tool icon and hold it down, a “flyout” menu will appear, displaying the additional tools.
Selection Tools:
You can use the selection tools to select certain areas of your document for editing. If you use a selection tool, only the area that’s selected will be affected by any changes you make. You can “feather” selections (specify a fuzzy radius for them) using the Feather field in the options bar.
Marquee tools (M) are used to create rectangular or elliptical selections, including selections that are “single row” (one pixel tall, stretching across the entire width of the document) and “single column” (one pixel wide, tretching through the entire height of the document).
To make single-row or single-column selections, click with the appropriate tool on the image area where you want to select a row or column. You can use the Lasso tools (L) to create freeform selections.
The Lasso Tool comes in three different forms:
Lasso Tool (L) Click and drag the Lasso Tool to draw a selection area. Releasing the mouse button will close the selection by joining the start and end points with a straight line.
Polygonal Lasso Tool (L) Click at different points to create vertices of a polygonal shape. Close the selection by moving your cursor to the beginning and clicking once, or pressing the Enter key.
Magnetic Lasso Tool (L) If you think you need help with making your selection, try the Magnetic Lasso Tool. Photoshop will attempt to make a “smart” selection by following the edges of contrast and color difference. Click once near the “edge” of an object and follow around it—Photoshop will automatically lay down a path.
You can also click as you follow the line to force points to be created on the path. Close the selection by pressing the Enter key or clicking at a point near the beginning of the selection. The Magnetic Lasso Tool is not available in ImageRead
Tuesday, August 24, 2010
Adobe Photoshop Tool Shapes
In this article you will how to use the 3 must used tools in Photoshop (Magic Tool, Move Tool and the Crop Tool) and once mastered you'll never be with out them.
Magic Wand:
The Magic Wand Tool (W) selects areas of similar color You can change the tolerance (how close the color values should be to the sampled color in order to be selected) of a Magic Wand selection, and choose whether you want the selection to be contiguous (pixels that are touching) or not (in which case, matching colors across the entire document will be selected)
Tips and Shortcuts for the Magic Wand:
Hold the Shift key to add another selection to the first.
Hold the Alt key (Option key on a Mac) to subtract your new selection from the first.
Hold Shift-Alt (Shift-Option) to select the intersection of your first and second selections.
Use the arrow keys to move the selection pixel by pixel If you feel that this doesn’t move your selection quickly enough, hold down Shift and use the arrow keys to move the selection ten pixels at a time.
Press Ctrl-J (Command-J on a Mac) to copy the selection into its own layer.
To cut the selection into its own layer, press Shift-Ctrl-J (Shift-Command-J)
If this seems familiar to you, it’s because I mentioned earlier how to copy a layer using the same keyboard shortcut Now that you know that not selecting anything sometimes means that everything is selected, it makes sense that simply by selecting a layer in the Layers palette, you can copy the entire layer by pressing Ctrl-J (Command-J)
To deselect a selected area, click outside of it with one of the Marquee tools, or press Ctrl-D (Command-D on a Mac)
To reactivate your last selection, press Shift-Ctrl-D (Shift-Command-D)
The Move Tool:
The Move Tool (V) moves a selected area or an entire layer .
You can invoke the Move Tool temporarily when using most other tools by holding down the Ctrl key (Command key on a Mac)
Tips and Shortcuts for the Move Tool:
For most tools, holding Ctrl-Alt (Command-Option on a Mac) and dragging a selected area will temporarily invoke the Move Tool, allowing you to move and duplicate the selected layer quickly
You can also duplicate a layer by holding down the Alt key (Option key on a Mac) while using the Move Tool,
The Crop Tool:
The Crop Tool (C) is used to trim images Create a selection using the Crop Tool, then double-click the center of the
selection, or press Enter, to crop the image to the size of the selection To cancel without cropping, select another
tool or press the Esc key
Tips and Shortcuts for the Crop Tool:
You can use the Crop Tool to resize your canvas Expand your document window so that it’s larger than the image area, and create a crop selection that includes the image and extends onto the gray areas “outside” the image Applying this crop will resize your canvas to include those extended boundaries, making your canvas larger.
Magic Wand:
The Magic Wand Tool (W) selects areas of similar color You can change the tolerance (how close the color values should be to the sampled color in order to be selected) of a Magic Wand selection, and choose whether you want the selection to be contiguous (pixels that are touching) or not (in which case, matching colors across the entire document will be selected)
Tips and Shortcuts for the Magic Wand:
Hold the Shift key to add another selection to the first.
Hold the Alt key (Option key on a Mac) to subtract your new selection from the first.
Hold Shift-Alt (Shift-Option) to select the intersection of your first and second selections.
Use the arrow keys to move the selection pixel by pixel If you feel that this doesn’t move your selection quickly enough, hold down Shift and use the arrow keys to move the selection ten pixels at a time.
Press Ctrl-J (Command-J on a Mac) to copy the selection into its own layer.
To cut the selection into its own layer, press Shift-Ctrl-J (Shift-Command-J)
If this seems familiar to you, it’s because I mentioned earlier how to copy a layer using the same keyboard shortcut Now that you know that not selecting anything sometimes means that everything is selected, it makes sense that simply by selecting a layer in the Layers palette, you can copy the entire layer by pressing Ctrl-J (Command-J)
To deselect a selected area, click outside of it with one of the Marquee tools, or press Ctrl-D (Command-D on a Mac)
To reactivate your last selection, press Shift-Ctrl-D (Shift-Command-D)
The Move Tool:
The Move Tool (V) moves a selected area or an entire layer .
You can invoke the Move Tool temporarily when using most other tools by holding down the Ctrl key (Command key on a Mac)
Tips and Shortcuts for the Move Tool:
For most tools, holding Ctrl-Alt (Command-Option on a Mac) and dragging a selected area will temporarily invoke the Move Tool, allowing you to move and duplicate the selected layer quickly
You can also duplicate a layer by holding down the Alt key (Option key on a Mac) while using the Move Tool,
The Crop Tool:
The Crop Tool (C) is used to trim images Create a selection using the Crop Tool, then double-click the center of the
selection, or press Enter, to crop the image to the size of the selection To cancel without cropping, select another
tool or press the Esc key
Tips and Shortcuts for the Crop Tool:
You can use the Crop Tool to resize your canvas Expand your document window so that it’s larger than the image area, and create a crop selection that includes the image and extends onto the gray areas “outside” the image Applying this crop will resize your canvas to include those extended boundaries, making your canvas larger.
Sunday, August 22, 2010
Adobe Photoshop Brushes Techniques
Brushes are the core component of many tools in the toolbox, and confident brush handling is essential for the effective application of these. You need to master brushes because this gives you many ways in which you can use and edit brushes will equip you with a whole new set of skills, and give you access to a wide range of powerful and creative time-saving techniques.
The Brush Preset picker will help you to find the right brush fast so make the most of it
With some Photoshop tools, such as the Clone Stamp, the Brush Preset picker is used simply to edit the tool’s brush size, softness and opacity.
Because the Clone Stamp’s function is to subtly replace one area of pixels with another, you don’t need its brush tip to be shaped like a rubber duck, for example!
However you can use the Brush Preset picker to arm yourself with a variety of creatively-shaped brushes, should your project require them. Working smarter with the Brush Preset picker means maximising its potential. If you’re not already familiar with this interface.
The Brush Preset Picker
Click on the Brustic to open the Brush Preset picker, and scroll down to see the default set of brushes.
Towards the foot of the list of default brushes you’ll find a variety of unusually-shaped brush tips, including brushes shaped like stars and blobs.
Click on the picker’s menu icon to access other, specialised sets of brushes. You can use the picker’s menu to display a thumbnail of the brush stroke, or set it to show the brush tip and name.
The numerical value indicates the brush’s initial diameter in pixels. You can customise this to suit your requirements. When you select a new set of brushes, you can either replace the existing default set or append the new set to it so you can use both.
The Brush Preset picker will help you to find the right brush fast so make the most of it
With some Photoshop tools, such as the Clone Stamp, the Brush Preset picker is used simply to edit the tool’s brush size, softness and opacity.
Because the Clone Stamp’s function is to subtly replace one area of pixels with another, you don’t need its brush tip to be shaped like a rubber duck, for example!
However you can use the Brush Preset picker to arm yourself with a variety of creatively-shaped brushes, should your project require them. Working smarter with the Brush Preset picker means maximising its potential. If you’re not already familiar with this interface.
The Brush Preset Picker
Click on the Brustic to open the Brush Preset picker, and scroll down to see the default set of brushes.
Towards the foot of the list of default brushes you’ll find a variety of unusually-shaped brush tips, including brushes shaped like stars and blobs.
Click on the picker’s menu icon to access other, specialised sets of brushes. You can use the picker’s menu to display a thumbnail of the brush stroke, or set it to show the brush tip and name.
The numerical value indicates the brush’s initial diameter in pixels. You can customise this to suit your requirements. When you select a new set of brushes, you can either replace the existing default set or append the new set to it so you can use both.
Friday, August 20, 2010
Adobe Photo Shop Basics
Photoshop users may be used to using many of the tools that are part of the program but have you used the Gradient Editor as a way to customize Photoshop’s default gradients?
You need to have a good working knowledge of Photoshop’s Gradient Tool if you want to be able to make the most of the possibilities and this means you have to be able to master the editing options.
No need to be overwhelmed because this is a fairly easy thing to learn and master, it will just take a little practice.
Begin by selecting the Gradient Tool and then click on the gradient preview located in the options bar. This will open Gradient Editor and you are ready to get to work.
When you have opened Gradient Editor you will see several preset gradients. You can choose from the default Foreground, the Background gradient and even the more complex Chrome gradient.
With some practice you will be able to use the preset gradients to create new ones.
You can edit the preset gradients and design new gradients. Some of the gradients have more color stops than others.
The Foreground to Background gradient has two color stops while the Spectrum gradient has seven color stops.
If you want to modify a gradient you can do so by changing the color stops.
Click on one and choose a new color from the color picker, it’s that easy.
You can also click on an image and sample a color for your customized gradient. When you do this you can use the Eyedropper Tool to customize or you may want to add new color stops to a gradient that already exists.
You just click anywhere along the bottom edge of the preview bar and you will be able to add new color stops.
Maybe you want to add different opacity settings so that you can have an image fade from solid to transparent.
This can be done when you use the opacity stops that run along the top of the preview bar. The black opacity stop will be 100% solid while a white opacity stop will tell you that this part of the gradient is 100% transparent.
The gray stops show you the values in between.
You need to have a good working knowledge of Photoshop’s Gradient Tool if you want to be able to make the most of the possibilities and this means you have to be able to master the editing options.
No need to be overwhelmed because this is a fairly easy thing to learn and master, it will just take a little practice.
Begin by selecting the Gradient Tool and then click on the gradient preview located in the options bar. This will open Gradient Editor and you are ready to get to work.
When you have opened Gradient Editor you will see several preset gradients. You can choose from the default Foreground, the Background gradient and even the more complex Chrome gradient.
With some practice you will be able to use the preset gradients to create new ones.
You can edit the preset gradients and design new gradients. Some of the gradients have more color stops than others.
The Foreground to Background gradient has two color stops while the Spectrum gradient has seven color stops.
If you want to modify a gradient you can do so by changing the color stops.
Click on one and choose a new color from the color picker, it’s that easy.
You can also click on an image and sample a color for your customized gradient. When you do this you can use the Eyedropper Tool to customize or you may want to add new color stops to a gradient that already exists.
You just click anywhere along the bottom edge of the preview bar and you will be able to add new color stops.
Maybe you want to add different opacity settings so that you can have an image fade from solid to transparent.
This can be done when you use the opacity stops that run along the top of the preview bar. The black opacity stop will be 100% solid while a white opacity stop will tell you that this part of the gradient is 100% transparent.
The gray stops show you the values in between.
Thursday, August 19, 2010
Abstract Photography - Has photography come of age
“Never have I found the limits of the photographic potential. Every horizon, upon being reached, reveals another beckoning in the distance. Always, I am on the threshold.” -W. Eugene Smith
The invention of the camera liberated painting from its reportage role. Gone was the need to produce a likeness, detail the events of the story, painting was free to express emotions. True what had gone before contained an emotional content but now painting could experiment and through imaginative interpretation allow the emotional content to predominate. Freed from this constraint the painter was able to create a new language and explore the motivations of their art.
As the 19th century evolved and throughout the 20th century painters from the impressionists through the cubists and expressionists to the minimalists could to use colour, line and form to go straight to the emotional content of their work. The representational aspect of the work become coincidental and was pushed to the point that it became akin to lying on the grass making shapes out of clouds. Enjoyable as it may be it is secondary to the nature of clouds.
The introduction of the digital darkroom has given this freedom to photographers. The range of tools to fix and enhance the camera’s capture when pushed to its extremes produces a range of fascinating effects. When added to the filters built into the better software, images can be produced that any comparison to the original photograph is purely coincidental. As photographers explore these tools and incorporate them into their photographs so their visual language will grow. The revolution of the medium with the development from black and white into colour is taking its next step. Now with the digital darkroom’s ever growing range of tools the only limitation is the photographer’s imagination.
With the use of these tools, the skilled photographic artist can take the pop song and create, in visual terms, the lyric beauty of a baroque symphony or the down town jive of a jazz variation without a tree or a high rise in sight. Just the light captured by the camera and fine tuned into something completely different, something new that comes from the photographer.
The photographer has been liberated like the painter before them by technology. Now photographs can explore the full range of human experience including those they have no words to express. Large statements will be accessible by the photographer not only in physical terms. Although like their painter counterparts, through an additional feature of the technology, the large canvas is becoming the order of the day. That this canvas can express feelings rather than just illustrate them denotes that the photography has become an adult in the arts.
The invention of the camera liberated painting from its reportage role. Gone was the need to produce a likeness, detail the events of the story, painting was free to express emotions. True what had gone before contained an emotional content but now painting could experiment and through imaginative interpretation allow the emotional content to predominate. Freed from this constraint the painter was able to create a new language and explore the motivations of their art.
As the 19th century evolved and throughout the 20th century painters from the impressionists through the cubists and expressionists to the minimalists could to use colour, line and form to go straight to the emotional content of their work. The representational aspect of the work become coincidental and was pushed to the point that it became akin to lying on the grass making shapes out of clouds. Enjoyable as it may be it is secondary to the nature of clouds.
The introduction of the digital darkroom has given this freedom to photographers. The range of tools to fix and enhance the camera’s capture when pushed to its extremes produces a range of fascinating effects. When added to the filters built into the better software, images can be produced that any comparison to the original photograph is purely coincidental. As photographers explore these tools and incorporate them into their photographs so their visual language will grow. The revolution of the medium with the development from black and white into colour is taking its next step. Now with the digital darkroom’s ever growing range of tools the only limitation is the photographer’s imagination.
With the use of these tools, the skilled photographic artist can take the pop song and create, in visual terms, the lyric beauty of a baroque symphony or the down town jive of a jazz variation without a tree or a high rise in sight. Just the light captured by the camera and fine tuned into something completely different, something new that comes from the photographer.
The photographer has been liberated like the painter before them by technology. Now photographs can explore the full range of human experience including those they have no words to express. Large statements will be accessible by the photographer not only in physical terms. Although like their painter counterparts, through an additional feature of the technology, the large canvas is becoming the order of the day. That this canvas can express feelings rather than just illustrate them denotes that the photography has become an adult in the arts.
Monday, August 16, 2010
Baby Photography.
Babies can be the most challenging and rewarding portraits to take, but can also be the most frustrating.
Babies tend to sleep, eat and cry a lot and won’t pose in front of the camera but don’t let that put you off photographing them. Creating the perfect baby portrait, when done right, will certainly be rewarding.
One of the most important factors in photographing babies is patience and the way you apply child psychology when relating to the baby. Babies over six months may be shy and won’t react well to a complete stranger. This is where child psychology comes in - you must try to play with the baby, or even become a child yourself while taking the photograph. The keys of your car can be very effective. But remember, your job is to take a baby portrait; you must be able to react quickly when the infant responds to your entertainment.
Shooting a portrait of a newborn baby can be difficult. At this age the baby will not be active, so it’s better to focus on close-up headshots. Try using natural light from a bedroom window to add mood to the portrait.
Babies over a few months of age will be more alert and will have a lot more movement in them. Shooting fast is a necessity, the infant will tire quickly.
Babies seven months or older can be very tricky to shoot. The baby will bore quickly and will not want to stay in the same position.
If you are serious about baby photography and you tend to shoot from your own studio make sure you have a lot of toys to amuse the infants. A light colour background will work best and shoot the portraits in colour and black and white.
Parents may be worried about the affect of studio lights on their baby. Point out that strobe lights have no effect on kids. Try to point this out before the parent asks.
Don’t ever handle a baby without the parents consent. Most parents will be very protective and won’t react well to a stranger lifting the infant.
Watch out for the fingers - fingers in the mouth can be attractive but on most occasions they will obscure the face.
If you plan to resell the baby photograph to an agency make sure you get a release form signed from the parents. There is a large market out there for baby pictures but agencies or magazines won’t touch them without the parents consent. For baby portraits to be sellable they must be technically perfect, but the picture must illustrate the baby being active or some form of child care.
Babies tend to sleep, eat and cry a lot and won’t pose in front of the camera but don’t let that put you off photographing them. Creating the perfect baby portrait, when done right, will certainly be rewarding.
One of the most important factors in photographing babies is patience and the way you apply child psychology when relating to the baby. Babies over six months may be shy and won’t react well to a complete stranger. This is where child psychology comes in - you must try to play with the baby, or even become a child yourself while taking the photograph. The keys of your car can be very effective. But remember, your job is to take a baby portrait; you must be able to react quickly when the infant responds to your entertainment.
Shooting a portrait of a newborn baby can be difficult. At this age the baby will not be active, so it’s better to focus on close-up headshots. Try using natural light from a bedroom window to add mood to the portrait.
Babies over a few months of age will be more alert and will have a lot more movement in them. Shooting fast is a necessity, the infant will tire quickly.
Babies seven months or older can be very tricky to shoot. The baby will bore quickly and will not want to stay in the same position.
If you are serious about baby photography and you tend to shoot from your own studio make sure you have a lot of toys to amuse the infants. A light colour background will work best and shoot the portraits in colour and black and white.
Parents may be worried about the affect of studio lights on their baby. Point out that strobe lights have no effect on kids. Try to point this out before the parent asks.
Don’t ever handle a baby without the parents consent. Most parents will be very protective and won’t react well to a stranger lifting the infant.
Watch out for the fingers - fingers in the mouth can be attractive but on most occasions they will obscure the face.
If you plan to resell the baby photograph to an agency make sure you get a release form signed from the parents. There is a large market out there for baby pictures but agencies or magazines won’t touch them without the parents consent. For baby portraits to be sellable they must be technically perfect, but the picture must illustrate the baby being active or some form of child care.
Friday, August 13, 2010
A Picture Perfect Wedding
Weddings are definitely one of the happiest moments in a person’s life. But, this momentous occasion does not always come as blissful as the event itself. Days and even months before the big day, couples usually cram up with the littlest details.
The process of listing down and cutting down everything into specific details—the wedding date, the venue, the reception, the caterer, the designer of the gown and suit, all the way down to the wedding coverage—are the areas where stress usually ushers in.
Due to hectic schedules, most couples usually do not pay much attention to one of the crucial things in any wedding—the wedding coverage. Despite the overwhelming tension and excitement, couples do not have to be nonchalant when choosing their wedding photographers if they want their fun times and precious memories recorded very well.
WEDDING PHOTOGRAPHY PREFERENCES
To avoid making this slight neglect that usually leads disastrous results, couples have to decide first what kind of wedding photography they would want to have.
Most wedding photographers today categorize the types of wedding photography into two: the traditional or classic style and the wedding photojournalistic style.
The most common style used by wedding photographers today, the traditional or classic wedding photography is considered as a “timeless” and the “safest” style because you normally see in countless wedding albums. Characterized by classic poses of subjects aware of the camera, this style involves so much control from the photographer because he is in-charge in arranging individual and group shots before, during, and even after the wedding.
Having excellent portraiture skills, expect the photographer to focus more on the quality of the photograph by making the subject look great from the littlest details. Expect typical wedding photos like pre-ceremony pictures, formal shots of the bride and groom posing with brides maids and ushers, cake cutting, garter and bouquet toss, and the like when you choose a classic wedding photography. This style is ideal if the couple would want to keep portraits of family members for their wedding album.
If the couple is adventurous and unconventional, then you might want to consider the wedding photojournalistic style of photography on your big day. An increasingly popular style today, wedding photojournalism offers fresh and new style of taking photos in the occasion. Characterized by candid shots of the subjects unaware of the moving camera, the photojournalism style lets the attendees act freely to capture their pure and true emotion.
Sourcing style from his experience in journalism, the “photojournalist” pays more attention to minute details and candid shots rather than arranged ones. He’s more into eyeing interesting moments and capturing those in his lens to produce a narrative collection of images that tell a story.
Although some traditional poses will be present, expect photos that show actual emotions of the bride and groom and of other participants throughout the duration of the wedding when you choose the photojournalism style.
In order to avoid ruining the documentation of your wedding, here are some tips in making your wedding a picture perfect one:
1. Weddings are one of the most exciting chapters of one’s life. Make sure that you choose a wedding photographer that can meet all your standards. Meet with the photographer before hand the so you could discuss the details you want.
2. Inform the important participants about the schedule of photo sessions and make sure everyone attends the rehearsal to cut down the stress.
3. Have a reception area so guests can be informed about the itinerary. This will set the occasion in order.
The process of listing down and cutting down everything into specific details—the wedding date, the venue, the reception, the caterer, the designer of the gown and suit, all the way down to the wedding coverage—are the areas where stress usually ushers in.
Due to hectic schedules, most couples usually do not pay much attention to one of the crucial things in any wedding—the wedding coverage. Despite the overwhelming tension and excitement, couples do not have to be nonchalant when choosing their wedding photographers if they want their fun times and precious memories recorded very well.
WEDDING PHOTOGRAPHY PREFERENCES
To avoid making this slight neglect that usually leads disastrous results, couples have to decide first what kind of wedding photography they would want to have.
Most wedding photographers today categorize the types of wedding photography into two: the traditional or classic style and the wedding photojournalistic style.
The most common style used by wedding photographers today, the traditional or classic wedding photography is considered as a “timeless” and the “safest” style because you normally see in countless wedding albums. Characterized by classic poses of subjects aware of the camera, this style involves so much control from the photographer because he is in-charge in arranging individual and group shots before, during, and even after the wedding.
Having excellent portraiture skills, expect the photographer to focus more on the quality of the photograph by making the subject look great from the littlest details. Expect typical wedding photos like pre-ceremony pictures, formal shots of the bride and groom posing with brides maids and ushers, cake cutting, garter and bouquet toss, and the like when you choose a classic wedding photography. This style is ideal if the couple would want to keep portraits of family members for their wedding album.
If the couple is adventurous and unconventional, then you might want to consider the wedding photojournalistic style of photography on your big day. An increasingly popular style today, wedding photojournalism offers fresh and new style of taking photos in the occasion. Characterized by candid shots of the subjects unaware of the moving camera, the photojournalism style lets the attendees act freely to capture their pure and true emotion.
Sourcing style from his experience in journalism, the “photojournalist” pays more attention to minute details and candid shots rather than arranged ones. He’s more into eyeing interesting moments and capturing those in his lens to produce a narrative collection of images that tell a story.
Although some traditional poses will be present, expect photos that show actual emotions of the bride and groom and of other participants throughout the duration of the wedding when you choose the photojournalism style.
In order to avoid ruining the documentation of your wedding, here are some tips in making your wedding a picture perfect one:
1. Weddings are one of the most exciting chapters of one’s life. Make sure that you choose a wedding photographer that can meet all your standards. Meet with the photographer before hand the so you could discuss the details you want.
2. Inform the important participants about the schedule of photo sessions and make sure everyone attends the rehearsal to cut down the stress.
3. Have a reception area so guests can be informed about the itinerary. This will set the occasion in order.
Thursday, August 5, 2010
A Brief History Of Photography
For centuries images have been projected onto surfaces. The camera obscura and the camera lucida were used by artists to trace scenes as early as the 16th century. These early cameras did not fix an image in time; they only projected what passed through an opening in the wall of a darkened room onto a surface. In effect, the entire room was turned into a large pinhole camera. Indeed, the phrase camera obscura literally means "darkened room," and it is after these darkened rooms that all modern cameras have been named.
The first photograph is considered to be an image produced in 1826 by the French inventor Nicéphore Niépce on a polished pewter plate covered with a petroleum derivative called bitumen of Judea. It was produced with a camera, and required an eight hour exposure in bright sunshine. However this process turned out to be a dead end and Niépce began experimenting with silver compounds based on a Johann Heinrich Schultz discovery in 1724 that a silver and chalk mixture darkens when exposed to light.
Niépce, in Chalon-sur-Saône, and the artist Louis Daguerre, in Paris, refined the existing silver process in a partnership. In 1833 Niépce died of a stroke, leaving his notes to Daguerre. While he had no scientific background, Daguerre made two pivotal contributions to the process.
He discovered that by exposing the silver first to iodine vapour, before exposure to light, and then to mercury fumes after the photograph was taken, a latent image could be formed and made visible. By then bathing the plate in a salt bath the image could be fixed.
In 1839 Daguerre announced that he had invented a process using silver on a copper plate called the Daguerreotype. A similar process is still used today for Polaroids. The French government bought the patent and immediately made it public domain.
Across the English Channel, William Fox Talbot had earlier discovered another means to fix a silver process image but had kept it secret. After reading about Daguerre's invention Talbot refined his process, so that it might be fast enough to take photographs of people as Daguerre had done and by 1840 he had invented the calotype process.
He coated paper sheets with silver chloride to create an intermediate negative image. Unlike a daguerreotype a calotype negative could be used to reproduce positive prints, like most chemical films do today. Talbot patented this process which greatly limited its adoption.
He spent the rest of his life in lawsuits defending the patent until he gave up on photography altogether. But later this process was refined by George Eastman and is today the basic technology used by chemical film cameras. Hippolyte Bayard also developed a method of photography but delayed announcing it, and so was not recognized as its inventor.
In the darkroomIn 1851 Frederick Scott Archer invented the collodion process. It was the process used by Lewis Carroll.
Slovene Janez Puhar invented the technical procedure for making photographs on glass in 1841. The invention was recognized on July 17th 1852 in Paris by the Académie Nationale Agricole, Manufacturière et Commerciale.
The Daguerreotype proved popular in responding to the demand for portraiture emerging from the middle classes during the Industrial Revolution. This demand, that could not be met in volume and in cost by oil painting, may well have been the push for the development of photography.
However daguerreotypes, while beautiful, were fragile and difficult to copy. A single photograph taken in a portrait studio could cost US$1000 in 2006 dollars. Photographers also encouraged chemists to refine the process of making many copies cheaply, which eventually led them back to Talbot's process. Ultimately, the modern photographic process came about from a series of refinements and improvements in the first 20 years.
In 1884 George Eastman, of Rochester, New York, developed dry gel on paper, or film, to replace the photographic plate so that a photographer no longer needed to carry boxes of plates and toxic chemicals around. In July of 1888 Eastman's Kodak camera went on the market with the slogan "You press the button, we do the rest". Now anyone could take a photograph and leave the complex parts of the process to others. Photography became available for the mass-market in 1901 with the introduction of Kodak Brownie.
Since then color film has become standard, as well as automatic focus and automatic exposure. Digital recording of images is becoming increasingly common, as digital cameras allow instant previews on LCD screens and the resolution of top of the range models has exceeded high quality 35mm film while lower resolution models have become affordable. For the enthusiast photographer processing black and white film, little has changed since the introduction of the 35mm film Leica camera in 1925.
The first photograph is considered to be an image produced in 1826 by the French inventor Nicéphore Niépce on a polished pewter plate covered with a petroleum derivative called bitumen of Judea. It was produced with a camera, and required an eight hour exposure in bright sunshine. However this process turned out to be a dead end and Niépce began experimenting with silver compounds based on a Johann Heinrich Schultz discovery in 1724 that a silver and chalk mixture darkens when exposed to light.
Niépce, in Chalon-sur-Saône, and the artist Louis Daguerre, in Paris, refined the existing silver process in a partnership. In 1833 Niépce died of a stroke, leaving his notes to Daguerre. While he had no scientific background, Daguerre made two pivotal contributions to the process.
He discovered that by exposing the silver first to iodine vapour, before exposure to light, and then to mercury fumes after the photograph was taken, a latent image could be formed and made visible. By then bathing the plate in a salt bath the image could be fixed.
In 1839 Daguerre announced that he had invented a process using silver on a copper plate called the Daguerreotype. A similar process is still used today for Polaroids. The French government bought the patent and immediately made it public domain.
Across the English Channel, William Fox Talbot had earlier discovered another means to fix a silver process image but had kept it secret. After reading about Daguerre's invention Talbot refined his process, so that it might be fast enough to take photographs of people as Daguerre had done and by 1840 he had invented the calotype process.
He coated paper sheets with silver chloride to create an intermediate negative image. Unlike a daguerreotype a calotype negative could be used to reproduce positive prints, like most chemical films do today. Talbot patented this process which greatly limited its adoption.
He spent the rest of his life in lawsuits defending the patent until he gave up on photography altogether. But later this process was refined by George Eastman and is today the basic technology used by chemical film cameras. Hippolyte Bayard also developed a method of photography but delayed announcing it, and so was not recognized as its inventor.
In the darkroomIn 1851 Frederick Scott Archer invented the collodion process. It was the process used by Lewis Carroll.
Slovene Janez Puhar invented the technical procedure for making photographs on glass in 1841. The invention was recognized on July 17th 1852 in Paris by the Académie Nationale Agricole, Manufacturière et Commerciale.
The Daguerreotype proved popular in responding to the demand for portraiture emerging from the middle classes during the Industrial Revolution. This demand, that could not be met in volume and in cost by oil painting, may well have been the push for the development of photography.
However daguerreotypes, while beautiful, were fragile and difficult to copy. A single photograph taken in a portrait studio could cost US$1000 in 2006 dollars. Photographers also encouraged chemists to refine the process of making many copies cheaply, which eventually led them back to Talbot's process. Ultimately, the modern photographic process came about from a series of refinements and improvements in the first 20 years.
In 1884 George Eastman, of Rochester, New York, developed dry gel on paper, or film, to replace the photographic plate so that a photographer no longer needed to carry boxes of plates and toxic chemicals around. In July of 1888 Eastman's Kodak camera went on the market with the slogan "You press the button, we do the rest". Now anyone could take a photograph and leave the complex parts of the process to others. Photography became available for the mass-market in 1901 with the introduction of Kodak Brownie.
Since then color film has become standard, as well as automatic focus and automatic exposure. Digital recording of images is becoming increasingly common, as digital cameras allow instant previews on LCD screens and the resolution of top of the range models has exceeded high quality 35mm film while lower resolution models have become affordable. For the enthusiast photographer processing black and white film, little has changed since the introduction of the 35mm film Leica camera in 1925.
Monday, August 2, 2010
75 percent of people buy the wrong digital camera
When I teach a new class learning digital photography, over 75% of the students turn up with the camera the salesman suggested.
Guess what? They soon find out that it’s the wrong one for them. This can be a very expensive mistake. So the big questions are what is the right one for me and how do I know which is best for me.
One of the first things that you want to know about the camera that the salesman is trying to sell you is as follows - How long does the camera take to turn on and be ready to take the shot? In the consumer market this can range between 1 to 5 seconds most being towards the 3 seconds mark. How long does the camera take to focus on the subject? (Not to take the picture) most cameras take between 1 to 3 seconds most at around the 1-second mark. How long does the camera take to actually take the photo after you have pushed the shutter button completely? Again, most cameras take between 1to 3 seconds this is called shutter lag time. Now you can see to take a photo can take up to 5 seconds just to turn on and up to another 3 seconds to focus in and the up to another 3 seconds just to actually take the photo.
In a cheaper camera, but not necessarily cheaper it can be up to 9 seconds to take a photo from the camera turned off. You may say “yes but I will leave my camera on” ok that’s fine, but you may still have a lag time of up to 3 seconds just to take a photo. Just imagine how annoying it will be now that you have purchased your new digital camera costing you around $400 - $500 to find that you just can’t catch your child blowing out the candles because your new camera at the critical time of blowing the candles out took 1 second to focus and a further 2 seconds to take the photo. What was the result? A child sitting in front of a cake with black smoldering candles.
Can you set the white balance on your camera? Just what is the white balance?
About 60% of digital cameras don’t have this adjustment, you must buy one that can be set manually, not just one that has an “auto white balance” as they are not as good as they advertise.
Does your camera have different exposure modes?
Exposure modes are simply where does the camera take a light reading? The cheaper cameras just do an all over reading which can be very limiting to say the least. A good camera will have a “spot”, “centre weighted” and “matrix” metering system, which allows you to take great photos in any light situation.
When buying a digital camera, buy it for the fact that it’s a camera not a video camera as well. One student showed me all the features her camera had and that’s why it was more expensive – the only thing that it didn’t do well was take still pictures!
You can get so much out of your new digital camera! you just have to put some time in for learning how to use it properly and how to take better pictures – remember no one will ever want to look at a poor quality photo twice!
If you want to take really great pictures that will be in your family for years put in a little effort with your new digital camera.
Guess what? They soon find out that it’s the wrong one for them. This can be a very expensive mistake. So the big questions are what is the right one for me and how do I know which is best for me.
One of the first things that you want to know about the camera that the salesman is trying to sell you is as follows - How long does the camera take to turn on and be ready to take the shot? In the consumer market this can range between 1 to 5 seconds most being towards the 3 seconds mark. How long does the camera take to focus on the subject? (Not to take the picture) most cameras take between 1 to 3 seconds most at around the 1-second mark. How long does the camera take to actually take the photo after you have pushed the shutter button completely? Again, most cameras take between 1to 3 seconds this is called shutter lag time. Now you can see to take a photo can take up to 5 seconds just to turn on and up to another 3 seconds to focus in and the up to another 3 seconds just to actually take the photo.
In a cheaper camera, but not necessarily cheaper it can be up to 9 seconds to take a photo from the camera turned off. You may say “yes but I will leave my camera on” ok that’s fine, but you may still have a lag time of up to 3 seconds just to take a photo. Just imagine how annoying it will be now that you have purchased your new digital camera costing you around $400 - $500 to find that you just can’t catch your child blowing out the candles because your new camera at the critical time of blowing the candles out took 1 second to focus and a further 2 seconds to take the photo. What was the result? A child sitting in front of a cake with black smoldering candles.
Can you set the white balance on your camera? Just what is the white balance?
About 60% of digital cameras don’t have this adjustment, you must buy one that can be set manually, not just one that has an “auto white balance” as they are not as good as they advertise.
Does your camera have different exposure modes?
Exposure modes are simply where does the camera take a light reading? The cheaper cameras just do an all over reading which can be very limiting to say the least. A good camera will have a “spot”, “centre weighted” and “matrix” metering system, which allows you to take great photos in any light situation.
When buying a digital camera, buy it for the fact that it’s a camera not a video camera as well. One student showed me all the features her camera had and that’s why it was more expensive – the only thing that it didn’t do well was take still pictures!
You can get so much out of your new digital camera! you just have to put some time in for learning how to use it properly and how to take better pictures – remember no one will ever want to look at a poor quality photo twice!
If you want to take really great pictures that will be in your family for years put in a little effort with your new digital camera.
Saturday, July 31, 2010
10 Tips In Better Photography
Taking a good photo isn’t as hard as you may think. You don’t need the most expensive camera or years of experience, just 10 simple tips.
Enjoy!
Tip 1 - Use All Your Available Space
Don't be afraid to use all the space in your photo. If you want to take a picture of something, it's ok for it to take up the whole shot with no or very little background showing. Keep distractions out of your shot
Tip 2 - Study Forms
This is a vital aspect to photography. Understanding forms in your photos. Don't see an object, she its shape and its form and find the best angle to photograph it from. Form is all around us and I highly suggest you read as many books on it as possible.
Tip 3 - Motion In Your Photos
Never have motion in your photos if you are photographing a still object. If there is something moving while you are trying to photograph a stationery object, your photo won't turn out anywhere near as well. Also never put a horizon line in the center of your frame.
Tip 4 - Learn To Use Contrasts Between Colors.
Some of the best photos have shades of white, gray and black. You can take great shots with just one color on your subject, but the contrasts between colors in a shot is what makes you a great photographer.
Tip 5 - Get Closer To Your Subject
This is one of the biggest mistakes most photographers make, not getting close enough to their subject. Get up and personal and close the distance gap. You can always reshape and resize a good shot but you can't continue to blowup a distant object.
Tip 6 - Shutter Lag
Shooting action shots with digital camera's can be tricky due to shutter lags. What this means is, when you press the button to take the photo, it can take up to a second for the shutter to take a photo, by that time what you were photographing would have moved or changed somehow. This means you have to compensate for shutter lag by predicting what your subject is going to do and taking the photo just before it takes the action you want. More expensive digital cameras don't have this problem.
Tip 7 - Pan
If you are taking an action shot and your shutter speed is slow, pan with the object. Follow through with the subject, from start to finish and one of those shots will be a winner. You have more chance of getting a good shot if you take more then one photo.
Tip 8 - Continuous Shots
To pan like I suggested above you will need a camera that does continuous shots and doesn’t need to stop and process after every shot.
Tip 9 - How To Take Fantastic Night Time Shots
Night time shots can be spectacular, almost magical.... if done right! If not they can look horrible. Really horrible. Without adequate lighting, even good camera's can turn out crappy photos if the photographer doesn't know what he or she is doing.
Tip 10 - Study Your Manual
If your digital camera has a special night time mode, read the manual and follow their instructions on how to use it properly.
Enjoy!
Tip 1 - Use All Your Available Space
Don't be afraid to use all the space in your photo. If you want to take a picture of something, it's ok for it to take up the whole shot with no or very little background showing. Keep distractions out of your shot
Tip 2 - Study Forms
This is a vital aspect to photography. Understanding forms in your photos. Don't see an object, she its shape and its form and find the best angle to photograph it from. Form is all around us and I highly suggest you read as many books on it as possible.
Tip 3 - Motion In Your Photos
Never have motion in your photos if you are photographing a still object. If there is something moving while you are trying to photograph a stationery object, your photo won't turn out anywhere near as well. Also never put a horizon line in the center of your frame.
Tip 4 - Learn To Use Contrasts Between Colors.
Some of the best photos have shades of white, gray and black. You can take great shots with just one color on your subject, but the contrasts between colors in a shot is what makes you a great photographer.
Tip 5 - Get Closer To Your Subject
This is one of the biggest mistakes most photographers make, not getting close enough to their subject. Get up and personal and close the distance gap. You can always reshape and resize a good shot but you can't continue to blowup a distant object.
Tip 6 - Shutter Lag
Shooting action shots with digital camera's can be tricky due to shutter lags. What this means is, when you press the button to take the photo, it can take up to a second for the shutter to take a photo, by that time what you were photographing would have moved or changed somehow. This means you have to compensate for shutter lag by predicting what your subject is going to do and taking the photo just before it takes the action you want. More expensive digital cameras don't have this problem.
Tip 7 - Pan
If you are taking an action shot and your shutter speed is slow, pan with the object. Follow through with the subject, from start to finish and one of those shots will be a winner. You have more chance of getting a good shot if you take more then one photo.
Tip 8 - Continuous Shots
To pan like I suggested above you will need a camera that does continuous shots and doesn’t need to stop and process after every shot.
Tip 9 - How To Take Fantastic Night Time Shots
Night time shots can be spectacular, almost magical.... if done right! If not they can look horrible. Really horrible. Without adequate lighting, even good camera's can turn out crappy photos if the photographer doesn't know what he or she is doing.
Tip 10 - Study Your Manual
If your digital camera has a special night time mode, read the manual and follow their instructions on how to use it properly.
Sunday, July 25, 2010
5 Tips For Shooting Winter Landscapes.
Winter brings out the toughest elements in our climate, with many people putting away their camera bags ‘till early spring. But, if you do put away your camera you are missing out on the raw beauty that this magical season brings.
Here are a few tips to make the trip more enjoyable.
1. Wear the right clothes: It’s very important to wrap up warm when out shooting winter images. The winter season brings the toughest elements, so if you are planning to spend a few days out and about always be well prepared.
2. Watch the weather: It’s very important to know what the weather is going to be like. You don’t want to travel for a couple of hours and then hear a weather report that tells you that: the weather is wet for the next few days. During the winter months the weather can dramatically change in a matter of hours.
It’s always advisable to let someone know where you are going and which route you’re planning to take. If you do get injured or ever caught in a storm someone may be able to help.
3. Carry only what you need: Carry only the essentials. You don’t need to upload your camera bag with every piece of equipment you own. If you are going to be out taking pictures all day you are much better off going as light as possible. Carrying a light load will also help preserve energy. You could be climbing icy rocks or crossing snow filled hills; a warm flask would serve you a lot better than a third camera.
4. Look for detail: Snow, ice and frost bring out texture and atmosphere in most subjects. The early frosty morning is an ideal time for close-up photography. The frosty morning also brings out patterns in our landscapes.
Take care where you place your camera: if you are taking pictures early in the morning try placing it at oblique angles to the sun - this will give your images strong shadows. This will also add mood to your landscape images. Once you have found the perfect spot pay extra attention to foreground interest as this will add depth to your image.
5. Expose carefully: Snow and ice are extremely difficult to expose properly. Snow usually confuses your cameras metering system or your hand held light meter. When you take a light reading from snow you will automatically get an underexposed image. The meter will record the snow as grey.
Now is the time to start bracketing your shots. If you bracket your shots add 1 - 2 stops of light to compensate for your light meter reading. Using an 18% grey card, which I described in a previous article, should also give you a perfect light reading.
Here are a few tips to make the trip more enjoyable.
1. Wear the right clothes: It’s very important to wrap up warm when out shooting winter images. The winter season brings the toughest elements, so if you are planning to spend a few days out and about always be well prepared.
2. Watch the weather: It’s very important to know what the weather is going to be like. You don’t want to travel for a couple of hours and then hear a weather report that tells you that: the weather is wet for the next few days. During the winter months the weather can dramatically change in a matter of hours.
It’s always advisable to let someone know where you are going and which route you’re planning to take. If you do get injured or ever caught in a storm someone may be able to help.
3. Carry only what you need: Carry only the essentials. You don’t need to upload your camera bag with every piece of equipment you own. If you are going to be out taking pictures all day you are much better off going as light as possible. Carrying a light load will also help preserve energy. You could be climbing icy rocks or crossing snow filled hills; a warm flask would serve you a lot better than a third camera.
4. Look for detail: Snow, ice and frost bring out texture and atmosphere in most subjects. The early frosty morning is an ideal time for close-up photography. The frosty morning also brings out patterns in our landscapes.
Take care where you place your camera: if you are taking pictures early in the morning try placing it at oblique angles to the sun - this will give your images strong shadows. This will also add mood to your landscape images. Once you have found the perfect spot pay extra attention to foreground interest as this will add depth to your image.
5. Expose carefully: Snow and ice are extremely difficult to expose properly. Snow usually confuses your cameras metering system or your hand held light meter. When you take a light reading from snow you will automatically get an underexposed image. The meter will record the snow as grey.
Now is the time to start bracketing your shots. If you bracket your shots add 1 - 2 stops of light to compensate for your light meter reading. Using an 18% grey card, which I described in a previous article, should also give you a perfect light reading.
Monday, February 1, 2010
A Picture of Perfection
Never work with children or animals... easier said than done when you're a parent. Over the last few years I have tried many times to get the perfect photograph. With one child, trial and error often results in an image you are happy with. And with the advent of the digital camera, dud photos are a thing of the past. However, with three children, I've finally realised it's not possible to get the perfect picture, even with the help of a professional photographer!
I recently enlisted the help of such a man for the all-important christening photos. All dressed up and looking the picture of perfection, my husband and I set off with our adorable little troop to the studio!
Upon arrival our eldest took off upstairs with his eldest, our middle one trailing behind.
The baby then decided he absolutely had to be fed! As a breastfeeding mum it was no mean feat undoing my not very practical top to quite literally feed his demand! Eyes averted and a hastily placed teacloth spared some blushes, as we all waited until baby had his fill.
Finally, everyone gathered together, we were ushered into the studio, only for our eldest daughter to put on a display worthy of a two year old - and she is six! Tempers fraying we waited, coaxed and encouraged her to act her age!
Needless to say the session ran into overtime, the photos were hastily shot and as we left we vowed never to put ourselves or any photographer through such an ordeal again!
They say every picture tells a story. We received our pictures with trepidation. Amazingly the photographer had captured some wonderful angelic moments - although we still have some trouble believing the children in the pictures are ours. Maybe some new photographic wizardry replaced sullen angry little people with little shiny happy people.
However it happened, neither of us can look at the pictures without being transported right back to the stress of the day itself.
And so the beautiful photographs languish at the back of the wardrobe until such a time as we can laugh about the situation and our own naivety as parents. We thought it would be easy...
I recently enlisted the help of such a man for the all-important christening photos. All dressed up and looking the picture of perfection, my husband and I set off with our adorable little troop to the studio!
Upon arrival our eldest took off upstairs with his eldest, our middle one trailing behind.
The baby then decided he absolutely had to be fed! As a breastfeeding mum it was no mean feat undoing my not very practical top to quite literally feed his demand! Eyes averted and a hastily placed teacloth spared some blushes, as we all waited until baby had his fill.
Finally, everyone gathered together, we were ushered into the studio, only for our eldest daughter to put on a display worthy of a two year old - and she is six! Tempers fraying we waited, coaxed and encouraged her to act her age!
Needless to say the session ran into overtime, the photos were hastily shot and as we left we vowed never to put ourselves or any photographer through such an ordeal again!
They say every picture tells a story. We received our pictures with trepidation. Amazingly the photographer had captured some wonderful angelic moments - although we still have some trouble believing the children in the pictures are ours. Maybe some new photographic wizardry replaced sullen angry little people with little shiny happy people.
However it happened, neither of us can look at the pictures without being transported right back to the stress of the day itself.
And so the beautiful photographs languish at the back of the wardrobe until such a time as we can laugh about the situation and our own naivety as parents. We thought it would be easy...
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