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Learn about megapixels and how they determine the quality of your digital photos.
UPDATE FOR : 10mp Digital Slr Camera

If you are looking for a digital camera, you no doubt have been met with the term megapixel, or MP. This probably sounds like a foreign language, but there is no reason to fear the terms. Instead, with some patience and careful research it is possible to really understand what a megapixel is, and what it means for your pictures. The first thing you should understand is all digital cameras have a MP or megapixel rating.

In digital photography megapixel tell you how many pixels your picture has, which directly relates to how large you can make your picture. If you have a camera that only has a 2MP size, you are going to be lucky to make that picture the size of a stamp. However, a camera that has a 6MP rating will be able to give you a gigantic poster sized picture that you can treasure forever, and see from more than 2 inches away. However, you should also realize that megapixel size will also affect your picture quality.

For example, a picture taken from the exact same distance with a 4MP and a 6MP camera are going to look very different. The 6MP camera will have much less blur and will be a crisp and sharp picture. Many digital cameras now come with sizes as large as 10MP without breaking the bank. You can purchase cameras with 10MP for as little as a few hundred dollars.

If you are looking for digital photography success with making large poster sized portraits then you really need to splurge the money on a camera with a high megapixel rating. You should never select a camera smaller than 7MP if you are planning on poster-sized prints. However, if you are only planning on doing pictures to a maximum size of 8x10 then you can stay to a camera in the 6MP and smaller range.

As you can see, the megapixel size you select has a huge impact on how much digital photography success you will really have. If you do not have very many needs for an advanced digital camera then you can save the money and just purchase a cheaper digital camera with a smaller megapixel size. However, if you want your camera to last as long as possible, and grow with all of your potential needs then splurging for the advanced camera can be a very good long term investment.


10mp Digital Slr Camera
 
 
21 November 2007 @ 03:19 pm
Visit my site: Digital Camera
Canon considers the Rebel to be the best entry-level digital single lens camera of its kind on the market. It's a priced below $1,000.00 which makes it affordable especially when the lens is included. It produces some fine images with pure, sharp colors. It's also very quiet.
UPDATE FOR : Canon Eos 30d Digital Slr Camera

The EOS 400D, called the Rebel XTi in North America, is a single-lens reflex digital camera. Canon introduced this unique looking camera in 2006. It’s the successor of the EOS 350D.

Canon considers the Rebel to be the best entry-level digital single lens camera of its kind on the market. It’s a priced below $1,000.00 which makes it affordable especially when the lens is included. It produces some fine images with pure, sharp colors. It’s also very quiet.

They upgraded the CMOS sensor to an impressive 10.1 megapixels. Among the other added features we get a larger continuous shooting buffer, an integrated image sensor, vibrating cleaning system and a more precise nine point auto focus system.

Canon didn’t stop there! They even improved the grip of the unit and gave us a nice 2.5” LCD with 230,000 pixels and a larger viewing angle which replaced an ill-conceived top status screen. The changes Canon made to the newer model has a tendency to underexpose the subject whereas the older versions overexposed.

As a user of this model I’ve come to find out that if you remove your glasses or cover up the view finder it greatly limits the light from entering the unit and giving you an unwanted look. Sort of like a filter for the light. This is a fault in the calibration of the product and can’t readily be fixed by upgrades.

I was personally impressed by the censor as the camera boasts 10.5 million pixels, RGB filter array, built-in low-pass filter and a nice 3:2 aspect ratio.

It outputs in three image sizes that can meet most photographer needs:
3888 x 2592
2816 x 1800
1936 x 1288

The camera allows you to save files in jpeg and large form raw files giving you the ability to connect via USB, video and remote to take your photos from the camera to your computer for printing and/or editing.

Rebel XTi retails at around $800.00 but if you want the optional lens kit that comes along for the ride you’ll be paying roughly $100.00 more. This lowers the bar for other $1,000.00 10 megapixel cameras like the Nikon D80 which was also showcased in 2006. I’m looking forward to upgrading to the 5.6 IS USM lens which is Canon’s fastest standard lens in production to date.

Change Summary And The White Sheet

In the end it all breaks down to the features. The Canon white sheet is impressive! The listing of features, the changes from the older camera to this version, is vast which makes this camera one of the best buys.

* -10.1 megapixel CMOS sensor with improved microlens array, fill factor and lower noise.
* -EOS Integrated Cleaning System
o .Anti-static coatings on sensor surfaces plus anti-dust materials in the camera body
o .Separate low pass filter with ultra-sonic vibration
o .Software based dust mapping / removal
* -Nine point Auto Focus sensor (same as EOS 30D) with F2.8 support
* -Continuous shooting burst up to 27 JPEG and 10 RAW images
* -Single large, bright, 2.5' LCD monitor with 160? viewing angles (horizontal and vertical)
* -Camera settings and adjustment on LCD monitor
* -Proximity sensor below viewfinder eyepiece to disable the LCD during composition
* -New viewfinder view includes 9 AF points as well as EOS 30D style status bar
* -Picture Styles, larger range of image parameter adjustment (same as EOS 30D)
* -Improved user interface
* -Image magnification available in record review
* -Histogram available as brightness (Luminance) or RGB (Red, Green, Blue)
* -Three settings for long exposure noise reduction (adds Auto option)
* -Auto rotation with three options (not recorded, record don't rotate, record and rotate)
* -Additional custom functions (magnified view in record review, LCD display at power on)
* -Up to 9999 images per folder on storage card
* -Automatic storage of setting adjustments (no longer requires a press of the SET button)
* -Improved print / share / direct print features
* -Lower introductory list price ($100 lower)

One feature that is revolutionary is the way the camera handles dust on the sensor! Dust, unfortunately, is attracted to electronics. Canon, after years of denying the existence of dust being able to get on the camera sensor, finally admitted it and fixed it!

Dust pretty much shows up from several sources but typically it’s from fragments released by the moving components inside the camera. Before you had to take the camera apart to clean it or use some sort of blower or mini vacuum.

Canon took care of this issue by implementing the following:

* Used materials in the mirror box and shutter chamber which are less likely to generate dust.
* Improved the body cap, again to not generate dust.
* Used anti-static coating on the sensor surface.
* Created a new separated anti-alias filter which vibrates to shake off dust.
* Added a Dust Delete Data feature which can map stubborn dust to be removed in software.

This all helps keep your camera healthy for prolonged use. You can smile as your fellow photographers take time out of shoots to try and swab out their cameras while you continue to snap gleefully away.

As I’ve mentioned earlier there are two separate versions of the Rebel XTi but what comes in the box? And what doesn’t?

* The 10.1 effective Megapixel Digital Rebel XTi camera body
* 18 - 55 mm F3.5 - 5.6 Mk II EF-S lens [lens kit only]
* NB-2LH li-ion rechargeable battery pack
* Battery charger
* Neck strap
* Eyecup
* Body cap
* USB cable
* Video cable
* CD-ROM featuring EOS Digital Solution and software instruction manual
* 179 page camera manual (printed)

Unfortunately the one drawback I found was that the camera did not come with a memory card. This can hinder your potential. So when you’re going out to buy keep that in mind. CompactFlash cards are fairly inexpensive these and depending on your needs I’d do what I did and pick up a 1GB card. For tech heads out there the XTi supports Type I and II cards and even the microdrive. You might also want to pick up a 50X or better CF card.

I love photography and my work dictated the need for the lens kit so I sprung for it. When you get the kit you also get Canon’s second gen 18-55 mm EF-S in the box. It’s not the best and aperture can vary to small and unclear. I had little use for this one since the other lenses are quite nice.

The Rebel XTi uses the same lithium-ion battery as its predecessor. The energy value of the batter is right in the middle of the pack with the life of it about 10% less. Bigger LCD takes more power.

Personally I love this camera. I use it as a back up to my professional setup. If you want quality for price and reliability then I suggest the Rebel XTi. It makes a great mid-range camera for everyday photography needs such as real estate agents, car dealers and family vacations.


Canon Eos 30d Digital Slr Camera
 
 
21 November 2007 @ 03:13 pm
Visit my site: Digital Camera
Are you searching avidly for a set of binoculars where money is no object? Are you able to get the best of the best in binoculars? Zeiss is the one to be looking at very thoroughly.
UPDATE FOR : Slr Camera Armor

Are you searching avidly for a set of binoculars where money is no object? Are you able to get the best of the best in binoculars? Zeiss is the one to be looking at very thoroughly. These will not only give you the best but, you will get what you pay for which is a lot.

Zeiss items can be found for a discount at www.binocualrs.com. You will have access to a large choice of binoculars. You can call them at (800) 246- 6285 for more information.

The Conquest 10x40 will give you the lightest possible binocular with the greatest ability. You can have your choice of two different types of this model so that you will be able to find one that will provide you with the best and clearest images. This binocular can be had for a meager $1200.

Zeiss binoculars have made a FL T model for the marketplace. This particular binocular is new to the company. This equipment will make the images you are looking at take on a sharp edge that has not been seem before until today’s technology. You will get such options as small shade fringing, largest color spread, and the most advanced optical ability and the lenses are completely covered. You may take this one home for $1900.

The Conquest is the most unique binocular product from the Zeiss Company. You can choose from magnification numbers of 8x30, 10x30, and the 12x45. This binocular has a little bit of everything in one box. The antiquate details of this binocular model may be a little difficult to learn and the make up may also give you a hard time but, the quality you will get once you learn it will be some of the best on the market. Once you buy this binocular model for around $1000 you will not need to look for anything else.

The FL T model from Zeiss that gives you a 7x42 model you will have a high amount of controlled light situation. You will get a better defined border and the view will be right in front of you to take in. You will find that the new technology of the Innovative Advanced Optics System gives you an easy way to help the environment. These binoculars have a nitrogen fill for the ability to stop fogging. The outside armor is the best protection for dropping or the environment you may come into. Find this wonderful piece in stores for around $1800.


Slr Camera Armor
 
 
21 November 2007 @ 03:09 pm
Visit my site: Digital Camera
This article talks about the main manufactures of digital cameras and some of their most popular models. It also talks about features one should look for to get nice sharp pictures.
UPDATE FOR : Ricoh Slr Camera

Selecting a digital camera is definitely not an easy task with hundreds of brands available in the market. Before you decide to buy, you should take a look at the many features like optical quality, zoom, storage media and etc. These are only a few features among the many digital camera models to be compared. In terms of image quality, the amount of mega pixel resolution and the quality of the lens are the main factors that determine the sharpness of the pictures. And one of the best ways to know the quality and crispness of pictures is to see a printed picture.

As for image storage, there are many different kinds of storage media or flash memory cards available for digital cameras, which are rewritable chips that do not require power in order to retain the content. This makes it possible to take many photos without the fear of losing them before they are stored in CD-ROM or hard disk of the computer.

Surely, choosing a digital camera is not an easy task with so many models and range of mega pixels, features and different prices. Some of major brands available in the market are Argus, BenQ, Canon, Casio, Disney, Epson, Fujifilm, HP, JVC America, Kodak, Konica Minolta, Nikon, Olympus, Panasonic, Pentax, Polaroid, Ricoh, Samsung, Sanyo, Sony and Toshiba. However the most popular among them are Canon, Nikon, Sony, Olympus, and Kodak.

Sony`s digital cameras are among the most innovative and popular in the industry. The cameras range from tiny 2 mega pixel point & shoots to bulky 8+ mega pixel units. Some of Sony digital cameras that are selling fast are Cybershot N2, Cybershot S700, and Cybershot T20.

Canon is also ruling the market with its amazing array of models. They receive high ratings from consumers because of their impressive construction and top quality images. Canon produces a wide variety of cameras, ranging from small point and shoot ELPH series to the professional range of SLRs. The most popular ones are Canon PowerShot A460, PowerShot A710 IS and PowerShot A640.

Nikon is not far behind in the consumer digital market where it is one of the major players.The Coolpix line of cameras with its impressive D-series SLRs has made a splash in the camera scene. Take a look at the fast selling ones: Nikon D40, Coolpix S50 and Coolpix L12.

Kodak digital cameras are known for their simplicity and quality. The easiest to operate when compared to its competitors. The one-touch image downloading, emailing, and printing features have made this brand even more popular in the market. Take a look at few of the models in the market: Kodak EasyShare V1003, EasyShare V803 and Easyshare C653.

Among the other major brands is the Olympus that offers innovative features like the 10x optical zoom on the Ultra Zoom models and the weather-proof body of the Stylus series. Some of the popular ones are Olympus Stylus 550UZ, Stylus 760 and Stylus 770 SW.

Before you start shopping for a digital camera, it will be helpful to know the lingo. Understand what the salespeople are talking about when they drop these digital camera terms - Borderless, CCD, Compact Flash, Digital Zoom, DPI, Firmware, F-stop, Image Format, Grayscale, LCD Screen, Mega pixel, Memory Card, Memory Stick, Optical Zoom, Secure Digital, SLR and xD Picture Card. So, to be on the safer side, it is better to have the knowledge of these terms so that you don`t get cheated.

There is so much that goes into buying a digital camera. Wrestle all the details under control with the various brochures provided by the manufacturers before deciding to buy one for yourself.

This article is under GNU FDL license and can be distributed without any previous authorization from the author. However the author?s name and all the URL?s (links) mentioned in the article and biography must be kept.


Ricoh Slr Camera
 
 
21 November 2007 @ 03:05 pm
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Wholesale Digital Cameras Help and Ideas.
UPDATE FOR : D Slr Camera

Digital imaging technology has improved dramatically over the past few years. Previously, all serious photographers agreed that Digital Single Lens Reflex (DSLRs) could not produce the same quality and precision as conventional Single Lens Reflex (SLR) cameras on a dollar-for-dollar basis. ie. a $1,000 SLR camera would be far superior to a $1,000 DSLR camera.

Recently, the technology has evolved to such an extent that Digital Single Lens Reflex cameras are a great alternative for serious amateurs or professionals. You actually now get more 'bang for your buck' in that optically the lenses are equivalent and as there are less moving parts in digital cameras, you are sure to get fewer problems.

DSLR cameras have a different imaging mechanism. Whilst the viewfinder is similar to traditional cameras (optical viewfinder with shuttered mirror), exposure is completely different. Standard SLR cameras rely on mechanical or electric shutters which only allow light in during the exposure cycle, DSLR cameras use a light-sensitive sensor to capture the image. Light actually comes in all the time, but the sensor only becomes 'active' during the exposure cycle.

Most digital cameras have a LCD on the back of the camera to activate of change the camera's settings or features. You can now also use the LCD to compose the shots. Non digital cameras don't have a LCD and you will need to use the optical viewfinder to compose the photograph.

In summary, gives the best of both worlds. All the features of SLR photography, which made it so popular such as precision imaging and the ability to interchange lenses. Plus additional benefits only available on digital cameras such as immediate viewing of photographs and the ability to capture literally thousands of photographs without 'changing spools'.

That said, Digital Single Lens Reflex cameras may not be for you. These are the key questions you should ask yourself before purchasing a DSLR:

* How much can I afford to spend? It?s true that Digital cameras offer good value, but as everyone is making the switch to digital, you can usually find excellent traditional SLR cameras auctioned off on ebay for a fraction of their true value.

* Do I really need digital technology? The key benefit of digital technology is the ability to immediately see your photo. This is important if you're are a freelance news photographer, but not that relevant if you specialize in still-life shots in a studio setting

* Do I really need interchangeable lenses. If not, consider a high quality non-reflex digital camera. These cameras offer all the digital advantages but come without the high price tag.


D Slr Camera
 
 
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Here for the first time in print is the story behind the poem 'Tale of a Heart and Soul' as told by Poet Laureate, and the author. November, 1970.A village called Garmish, in West Germany in a small valley surrounded by mountains. A focus for the many on ski jumps, meadows, and hills in the valley, the valley with a population of at least than five thousand, supplying the churches, guesthouses and the few hotels. No movie house. The only way the traveler can find his way to the valley in winter is by automobile, the train runs up to the end of October.
UPDATE FOR : Slr Camera Holster

The Poem:

Tale of a Heart and Soul

This is an odd story (or tale)
to say the least,
where I came upon any angry old man once
in Garmish Germany, back in ‘73—.
We walked together in the surrounding hills
and thus, spotted two young boys—
with silver-white hair, perhaps three or four
years of age, playing with a wolf,
that was peaceful, joyful, quite happy….

“Awe,” said the old man in fright and spite,
Just what do we have here?”
Spooked in admiration he was,
angry for whom, knows what!
He said to me, irritatingly, “If I were that
wolf beast, I’d be wild, free and happy!
I wish, I wish, I wish I could be!”

And I do believe, sometimes when we
wish hard enough, God grants us just
that, what we want, but shouldn’t have…
a lesson perhaps, to be learned,
if not by the ‘wisher’ hopefully by others.

And then, all of a sudden, the old man
was calm, peaceful, joyful, singing a song,
wanting to play with the boys, haply,
as if he really knew them…!
(something was very wrong);
then the angry wolf, attacked him—
not me, perhaps (so I thought at the time)
it was the Old man, inside the wolf’s skin,
and the wolf inside the man,
and the wolf killed him,
and I shot the wolf…!

#1784 4-8-2007 (D) Sometimes things happen for reasons beyond our comprehension, and simply not knowing why, so we guess at its internal structure, its motivation, reasoning, motives for being, happening, when it is the simplest of all to say what you really think and feel, and that is usually right. As in this case, perhaps the man got his wish, and envy got its revenge, one of the deadly seven sins.

The Story

Here for the first time in print is the story behind the poem “Tale of a Heart and Soul” as told by Poet Laureate, and author, Dennis L. Siluk.

November, 1970.

A village called Garmish, in West Germany in a small valley surrounded by mountains. A focus for the many on ski jumps, meadows, and hills in the valley, the valley with a population of at least than five thousand, supplying the churches, guesthouses and the few hotels. No movie house. The only way the traveler can find his way to the valley in winter is by automobile, the train runs up to the end of October.

The hotel is small and clean, the rooms are not well heated; not much more can be said about it, although it has a bar in the back of it, and the architecture is of an old German Bavarian look. A man named Ski (for short: he was Polish) once a Staff Sergeant in the United States Army, a widower and retired and now living in Augsburg, Germany for the last seven-years. He is five feet nine-inches tall. He is in great physical condition and looks younger than he is. He has a handsome square chin, on his face, with deep blue eyes, and an unsmiling mouth that twitches when he is annoyed, irritated or simply angry, and quickly it shapes into grimness and germinates for hours. Seldom does he smile, but sometimes a cleaver smile appears. The secret of his youthful appearance is not his physical prowess, not his quick wit, nor his sharp words; at times odd if not mysterious they can be, but his lack of tolerance (his facial mannerisms, his boyish frown); also, he is clean shaving, and his hair is always groomed, cu short and perfectly. The color of his skin is milk white and smooth, he constantly grooms himself.

We had first met each other at Reese Compound (an American Army base) at its small PX (a store for the military personnel) through a mutual friend on the base, Bruce Small, a southern boy from North Carolina. He thought we might be interested in going to Garmish Germany together, perhaps skiing, or just for a weekend holiday, since we both liked to travel, to get away, and drink in the few Guesthouses they have. I got to know him, He was an angry man, Ski, and had a reputation as a thief, but I was very interested nonetheless, in doing as much traveling around Germany as I could, and it was a good opportunity I thought to have company and someone who knows the area with me. And Garmish was on my mind. He often became alarmed at anyone disrespectful to him or anyone around him he liked, and as I noticed, had very few friends. He suggested we go to Garmish in November—this was in August. I said it was premature, but I would think about it. During this time there was an investigation going on concerning him and a robbery at the big military PX in Augsburg, the officials involved, were looking at him closely, and I expect the cloths he was wearing, for the robbery involved, $3000-dollars worth of stolen cloths, taken. Anyway, I promised to keep him up dated and informed on the matter.

And so it was that I found myself one cold November afternoon standing with Ski on this hillside lightly covered with patches of frost and snow, a winter chill in the air, the valley of Garmish below us, and a cozy farm along side of us. For the most part, this was ski’s getaway during winter nothings I had learned.

Ski stood stone-still on the ground, a bottle of Jack Daniel’s [whiskey] in his side pocket, to keep his insides warm. We had a fence in front of us; se somewhat absently shifted his body, as if off and on, as if he was playing chess. There were figures in the far distance, between the farm house and the fence were we stood, behind. We both, Ski and I stepped off the dirt road, closer to the fence to get a better look.

DS: The great thing about his place is we are almost alone here.

Ski: There’s no snow, wait a few more weeks, all of Germany will be here skiing or resorting for the weekends.

DS: I’ve never downhill skied before.

Ski: Want to start learning?

DS: You going to give me a lesson?

Ski: perhaps, let’s see who those figures are, they’re coming out way.

(What I found to be those figures are off were two small boys about four-year olds, silver-white hair, fraternal twins, and a large wolf, they were playing with one another, a large cow with a bell had followed them, and remained close by. They must have been less than twenty feet away from the fence, from us. They waved at us, and in a casual manner went about playing again. I think I took a candid photograph, snapshot inside my mind of this; it was odd for such a scene. It seemed the children were unaware of the danger that lay before them, or it was us who were unaware, that there was no danger to be aware of.)

A little trigger for Ski, I guess that’s what you would call this, or this being the beginning of it.

DS: Cute boys! (The cow moves about.)

Ski: Cute nothing…a wolf is never cute with two young boys, it can’t be tame, and no wolf is tame.

DS: It doesn’t look like they’re going to be victims. He looks tame (what I wanted to say, was: ‘…you look more dangerous than the wolf,’ but I didn’t.)

Ski: A dumb wolf (to be exact: he meant a wolf that was domesticated, unwilling to be a wild wolf). I think the would was happier before he met his master, look at the pathetic thing, rolling over like a cat, he is nothing but a coward. If I was…! (The must had moved, because I heard the large cow bell around its neck ring.)

If I were the wolf those little boys would have been eaten up, and someone looking for little coffins.

DS: That’s quite a view on things?

Ski: I wish I could be in the wolf’s place…just look at those teeth, and muscles, and bulk, I mean I’d give heart and soul to take his place, free and wild, not like that old cow, with a bell, that’s how I feel now. But beastly free.

(Around the fence, and among the slightly green and brown patches of grass and snow, the ground hardening, winter was present, a light wind touched the cheeks of both men, the sound was a hum to a low sharp hiss. I saw the wolf look at Ski, several glances, the boys busy playing, the dark eyes of the wolf under a snow warm winter afternoon gleaming peacefully, harmlessly, it seemed. I listened to the sounds of nature, winter, and the birds the big cow nearby—and its heavy reverberating sound, deep resonant sound from the bell, the breath of the wolf—its intensity and Ski’s vile mumbling.)

Ski: The wolf is free, no problems, wild and allowed to be so, because it is expected of him, it is his nature, wish I could make some kind of a connection! I wish, wish wish!

Everybody on base (it was not large) knows everyone else, at least by sight. There was no reason I thought at the time, why he would wish such a thing, perhaps a joke, but he was putting heart and soul into his request, now that I think about it. But again I repeat there was no reason I thought at the time, why he would wish such a thing—although he was an angry man.

(Ski was shrewd and calculating and chose his witty words to hurt or paralyze his victims to be. He left me alone, perhaps I was his equal in combat, and one of his only friends—lest he lose me too, and have no one. He liked to create fights, chaos. It would seem he inherited a bad disposition, if not gene. We had gone to Munich together for the October Feast, and on the train he started a fight with one of the officials, and in the bathroom of a beer tent at the feast, he started a fight, and trouble seemed simply to be part of his shadow. One I tried to avoid, and often tried to pacify if not subdue, in a calmly manner. He talked about the Army in a negative way. And I really was getting a headache. Anyway, Ski stood looking at the wolf and the two children. He regretted what he had in life. Thus, losing any motivations for the human race.)

I had been learning a lot abut him the last few months. Shrewd, tough, hateful, thief, and now I were becoming acquainted with Garmish. He had in the past, called on me to talk, just talk about problems. I thought he was drunk, but he didn’t drink half as much as me. He even wanted to give me the cloths he had stolen from the PX. I said ‘no’ to his supposedly kind gesture, and he was a tinge taken back, I actually hurt his feelings. But here we were, both of us, standing behind a fence, looking at a dumb cow, and his bell, and two children playing with a wolf, and Ski in some kind of trance.

DS: Uh-huh. Let’s find a ski lift and go up higher so we can look over the valley?

Ski: What I meant was, my soul and heart have a connection with the nature of this beast-wolf I was keeping that a secret. I’ve never mentioned it before, to anyone—I should have been born a wolf, never even told Bruce, my best friend.

DS: What are you thinking?

Ski: God made me wrong. I think murder is in the sky, the eyes of the wolf are dull, no fierceness. What I saw was not what he saw evidently, the two boys seated on the ground peacefully playing. This was a vehicle of his own, his own invention, where it would lead to was profound. He must be kidding or mad, I told myself. I had to slap my face to wake me up to face this charade. Why? I told him; “I don’t think so, no I am sure you are wrong.” He found himself to tell me.

—In a moment he was calmer. As if he made a connection with the beast (as if someone had stepped in, and opened a door, and he jumped through it…). I told him not to talk so foolishly and surprisingly, he smiled said, “Don’t worry.”

Ski: the creek, you’ll love the creek; enjoy the cool clear fresh water. (He said it in a low, smooth and almost humble voice.)

DS: of course, I’d never have thought of that, going to a creek, but nevertheless, that sounds tranquilizing. Matter-of-fact, you’ve never mentioned that before. (He had not, so I would find out later, because he had never known of one in the vicinity, only a long time resident or a beast of the wild would know)

It was as though the wolf almost overheard Ski…!

DS: Isn’t it curious the wolf is starting to hiss louder, starting to get up, looking deadly at the boys and you Ski? I mean, its whole composure, equanimity, self-control, is changing in front of us.

Ski: Yes, you are right (he mumbled then: ‘…sometimes when you ask, alas, you receive, not really understanding what you are asking for.’)

DS: (Strange I thought at the time, what Ski said, now subjectively it fits into the composure of the wolf) I think something is going to happen, better we try to protect the boys?

(The picture, four of them, the cow in the background, his bell ringing, clanging, and keeping all alert to the growing alarm: the wolf that now had glossy black-and-deep red eyes. Ski with a darker flesh, and dove like eyes, calmer than me, I had never seen him this way. There seemed to be a narrow line between the beast and Ski, a line I hoped no one crossed over—some kind of unknown intensity was growing, over something I didn’t know was going to happen. Something had overturned. The wolf’s eyes were looking like headlights. I wished I had a guillotine—so I thought ((cut off the head of this intensity)), but I did have my 38-Special (revolver) tucked into by pants, and shirt, fastened to my belt, on my left side, for emergencies. The beast was no longer lying down, he was on all fours. And Ski merely stood their serene, except for the blinking of his eyes, his face was calm, his pulse didn’t seem to have raised one iota, no violence whatsoever on it, almost innocent, paleness only circled his eyes, soft eyes. Ski leaned forward over the fence looking at the wolf closer, and the wolf at him.)

First I saw simply a leaping shadow jumping over the fence. Then a snarling sound and two shapes on the ground somewhere around three feet from me. He, the wolf, killed Ski, ran back to the two boys, I cursed myself for not reacting quicker. My eyes looked at the attack, and then watched him make his escape. But when I cleared my head, I pulled my 38-revolver from its holster, from the left side of me, attached to my belt, unsnapping its leather safety latch overhead (it all took so long it seemed) and shot the beast at about twenty feet distance. In fact, the bullet struck its head, and was laying a foot away from the two boys, whom were simply sitting up, not sure if they were amazed, dumbfounded or what.

I never have understood completely, what took place, about that happening, just that it is so, but the why of it all, why it took place in the first place, will never be clear; I told myself, it is preposterous, but really there is nothing preposterous about it. My friend had simply figured out a nice neat way to decapitate his heart and soul (his spirit and will was strong in his quest) from one body of flesh to a new possibility, a wolf. I repeat, the reasoning, I’ll never know, it is like asking I suppose: why does the devil want to be like God. I doubt the devil knows him self completely.

I suppose someone, somewhere, sometime, someplace, will come along and say, there’s a mathematical element to this, or astrological one, or something psychological, or even demonic, involved here—for it is not possible. I’m always bewildered with such talk. I realize everything I say is virtually invisible talk, so broad; there is no room for daylight. Perhaps sometimes, God grants the fool his wish.

The bite from the beast, caught Ski right under his chin, took a slice out of his throat, as easily as cutting through butter. And that wasn’t preposterous. He loved and savored what he did, that long moment, not for protection or food did he kill, perhaps for a long lived envy or revenge. These are not yes and no questions, I doubt there aren’t any complete or perfect answers, only guesses, conjectures here; those minutes seemed like hours before and during the attack, when he wasn’t Ski to me, never once combed his hair, or tidied up this or that, or wiped his shoes clean, off against his pants legs, as he normally would. He was silent, not a sad silence, but an unexplained one indeed, for whom I had known him to be. It was only 12:00 O’clock (PM), the two itsy-bitsy little boys ran to the farmhouse thereafter; the cow following behind, clanging its bell in alarm. It was kind of like he killed himself, and I killed him too! The only thing that bothered me was that he involved me.

In short, I didn’t realize the significance of his will, even though he was begging to be that wolf. Chewing his lip, frowning at the wolf, I didn’t take it at first seriously, who would, I thought he was just being his old spiteful self, but the moment took place, strange as it be, but I think he savored the moment—he was in ecstasy, and I was his witness, and this is his story. He could have killed me, even after the first attack, but he didn’t, I knew then, and I know now, it was his cup of poison, his suicide note, fast and powerful, almost odorless.


Slr Camera Holster
 
 
21 November 2007 @ 02:56 pm
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Ahh...wide angle photography, probably one of the easiest types of photo to take; but also one of the hardest to excel at.Have you ever tried to cram 30 people into a single photograph? You'd try to stack them, have some of them on the floor or even ask some of them at the back to jump at the press of the shutter!? You're also trying to make sure that you are able to see the faces of these people in the photograph. Difficult if your camera's lens is not wide enough and you have to move yourself further back to accommodate, which may not be possible if space is limited. When shooting indoors with flash, moving back may even give you an underexposed photograph, as flash is often not powerful enough to reach longer distances.
UPDATE FOR : D200 Digital Slr Camera

Hi Friends and Fellow Entrepreneurs,

Ahh…wide angle photography, probably one of the easiest types of photo to take; but also one of the hardest to excel at.

Have you ever tried to cram 30 people into a single photograph? You’d try to stack them, have some of them on the floor or even ask some of them at the back to jump at the press of the shutter!? You’re also trying to make sure that you are able to see the faces of these people in the photograph. Difficult if your camera’s lens is not wide enough and you have to move yourself further back to accommodate, which may not be possible if space is limited. When shooting indoors with flash, moving back may even give you an underexposed photograph, as flash is often not powerful enough to reach longer distances.

Apart from the utilitarian purpose of getting good group photographs, shooting wide angle lets you portray the scene in full detail with unusual and sometimes, exaggerated perspectives. This is especially true of super wide angle. Small objects can be made to appear larger than larger objects within the same scene, effectively shifting the balance of the image composition. When used well, it can bring attention to the subject of interest in the foreground, at the same time preserving the context of the whole image by showing the location or event in the background.

Choose your foreground interest wisely

-Wider Options

Lenses are categorized by their focal lengths. Typically, lenses fall into one of these categories:

? super wide angle (10~24mm)

? wide angle (24~35mm)

? standard (about 50mm)

? telephoto (70~300mm)

? super telephoto (300mm and beyond)

These numbers indicate the focal length, which describes the field of view achievable using that lens. Incidentally, the field of view of a 50mm lens is considered to be an approximation to what the human eye sees. For the DSLR owners, they can choose from a variety of lenses ranging from a super wide lens all the way up to a super telephoto. But what about the rest of us?

Digital compact camera owners are not left out of the picture. There are a multitude of wide-angle adapters for digital compacts; both made available as accessories as well as by third-party manufacturers. These can be attached via lens threads or bayonet mounts on their bodies. There are also some from third-party lenses which can be attached magnetically!

-Focal Length Multiplier

Note: The ‘focal length’ of the lens determines the ‘field of view’, which is the angle of view seen using this lens. ‘Field-of-view crop’ is often referred to as ‘focal length multiplier’ for the sake of simplicity.

Digital photography, from the hardware perspective, is based on principles of 35mm film cameras. For a photographer who shoots with film, there is no such thing as a ‘focal length multiplier’, because to them, everything is 1x. This means that a 50mm lens is a 50mm lens. Not so for a digital SLR. A 50mm lens virtually becomes a 75mm lens, when attached to a Nikon D200 digital SLR. This is because the ‘focal length multiplier’ of 1.5x causes the 50mm lens to have a field of view equivalent to a 75mm lens.

Shooting wide angle is basically one way of depicting a scene using a wider field of view, which in turn is achieved by using a lens with a focal length of less than 50mm on a 35mm film SLR camera. These days, with the proliferation of digital SLR cameras, there might be some confusion to how focal lengths are calculated.

To keep things simple, we can use this rule of thumb. If you are using a 35mm film SLR, your focal length multiplier is 1x. If you are using a digital SLR, your focal length multiplier could be any one of these, depending on the model of DSLR camera: 1x (eg Canon 1Ds Mk II), 1.3x (eg Canon 1D Mk II), 1.5x (eg Nikon D200 or D70) or 1.6x (eg Canon 30D).

To get the actual focal length (and hence field of view achievable) of your lens, multiply the lens focal length with the multiplier.

Example 1

Nikon D200 (multiplier is 1.5x) with a 17~70mm lens

The actual focal length range of this combination is 25.5mm-105mm, achieved by multiplying the lens range with 1.5

Example 2

Canon 1Ds Mk II (multiplier is 1x) with a 70~300mm lens

The actual focal length range of this combination is still 70-300mm.

Example 3

Nikon F5 (35mm film camera with multiplier of 1x) with a 15mm fisheye lens

The actual focal length of this combination is still 15mm.

The reason behind the focal length multiplier falls to the size of the recording media, the CCD or CMOS. Different cameras use different sized CCD/CMOS for different reasons eg. to make a smaller camera and for better power efficiency. For compact digital cameras which do not fall under the digital SLR category, focal length multipliers are rarely used because they don’t have interchangeable lenses. What they do have are wide angle adapters or telephoto adapters. A wide angle adapter may be referred to as a 0.7x wide adapter. What this number means is that this adapter shortens the focal length of the built-in lens by multiplying it with 0.7, effectively creating a wider field of view.

Super wide angle shots sometimes appear distorted, but they do show a lot more in the background, lending context to an image

-Focusing with Wide Angle Lenses

An inherent characteristic of camera lenses is that wide angle lenses come with more depth-of-field compared to telephoto lenses. This reduces focusing errors to some extent, which means that you can focus on almost anything around the center of the frame and get an acceptably sharp image. In this case, a small aperture further increases the chance of a sharp image. For best results though, we can use the “1/3 of the distance rule”. Look inside your camera viewfinder, estimate the distance from the nearest point that is visible in the viewfinder, to the furthest point that is also visible in your viewfinder. Focus on a point that is roughly one-third of the distance away from you. If you cannot use autofocus effectively on that point (perhaps due to very dim light levels or low contrast early in the morning on a mountain), you can estimate the distance and manually focus your lens, using the distance scale on your lens. A small aperture (eg. f16) gives you more depth-of-field, so use it if possible. That’s why it’s good to carry a tripod, which will let you use smaller apertures without camera shake.

-Composing with Wide Angle Lenses

Wide angle photography has its own set of challenges. While it lets you show more of the scene, sometimes less is more. If not properly framed, a super wide angle image may include distracting elements which detract from your image, because a wide angle lens sees a wider field of view than a normal lens. Therefore it’s good to fill the frame well, composing it in such a way that only the necessary elements are included. Landscape photography is a classic candidate for using wide angle lenses. In order to shoot great landscape photography, foreground interest is important. Wide angle lenses let you include a sizeable portion of the foreground in the frame, so use it well by choosing a foreground that is actually interesting.

When shooting super wide angle, we can also get away with a slower shutter speed because the shorter focal length downplays slight camera shake errors, opening up new possibilites with photography. One example is hand-holding your SLR camera in a busy street downtown, capturing a sharp image of your subject while rendering the pedestrian traffic as a blur, due to the slower shutter speed.

-Wide Angle Care

Exercise more caution when handling your DSLR or digicam with a wide-angle lens/adapter. Some wide angle lenses have protruding glass which is more exposed and susceptible to accidental contact with dirty fingers or worse, it may end up getting scratched. If your lens accepts a UV filter, get one. It will protect your lens from countless dangers. Many wide angle lenses allow you to focus closer than a telephoto lens, so a lens hood helps to some extent to protect your lens from your overzealous attempts to get a closer shot.

Wide angle photography is exciting, go forth and experiment!

Enjoy !

Warmly,

Bernard Tan

Photographic Artist

http://www.dreamentry4u.com/photo.html


D200 Digital Slr Camera
 
 
21 November 2007 @ 02:53 pm
Visit my site: Digital Camera
Underwater cameras are modified forms of ordinary cameras. They have pioneering features that help to take clear pictures of marine life. They are designed to be waterproof and resist the pressure at varying depths. They are most useful for sporting adventures by scuba divers and scientists who research marine biology. There are many branded companies that manufacture and sell underwater cameras.
UPDATE FOR : Slr Camera R

Underwater cameras are modified forms of ordinary cameras. They have pioneering features that help to take clear pictures of marine life. They are designed to be waterproof and resist the pressure at varying depths. They are most useful for sporting adventures by scuba divers and scientists who research marine biology. There are many branded companies that manufacture and sell underwater cameras.

There are many divers who prefer to share their memories with others, by engaging the services of the agencies that rent new or used cameras. These agencies also provide them for sale.

There are times when people looking for underwater fun, cannot afford the cost of underwater cameras. In order to serve their purpose, there are rental services that provide customers the opportunity to hire the latest sensors and sub- sea products that primarily includes underwater cameras. There are qualified distributors who rent them at extremely competitive rates.

Most of theses agencies provide diving costumes, accessories, underwater video cameras and ROV equipments. They are also available over a flexible loan period and are customized to specific requirements.

There are many advantages of underwater camera rentals. The downtime as a result of product failure can be frustrating and expensive. The choice of a rental service can provide temporary backup cover for the existing system. It involves vital projects or a replacement system during routine maintenance or repair. There are qualified engineers who provide round the clock technical support.

Most of the renewed rental agencies have a worldwide network. They offer round-the-clock supply and technical support of cameras. They have large quantities for hire and also offer localized collection and delivery. The equipment is maintained to the very highest standard and is serviced by a qualified engineer, prior to shipment. The engineers configure the equipment to customer's exact specification, before delivery.


Slr Camera R
 
 
21 November 2007 @ 02:48 pm
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Digital cameras flash units come in many shapes and sizes. Low end digital cameras include low energy built in flash units. High end digital SLR cameras can support sophisticated external flash units which can provide superior lighting in difficult scenarios. Here are some basic facts about flash units both built in and external.
UPDATE FOR : Slr Camera Flash

Digital cameras flash units come in many shapes and sizes. Low end digital cameras include low energy built in flash units. High end digital SLR cameras can support sophisticated external flash units which can provide superior lighting in difficult scenarios. Here are some basic facts about flash units both built in and external.

Flash units came a long way since their early days. Back then flash units were using powder that was lit by electrical current and literally “blew up” to produce the light energy. Using these flash units was a risky business. It was also difficult as the flash units were not automatically synchronized to the camera’s shutter. The photographer had to make sure that the flash goes off at the exact right time synchronized with the shooting of the photo.

Nowadays flash units are sophisticated technology devices. They use an electronic flash tube that is automatically synchronized to the camera. The photographer merely needs to do nothing. New digital cameras can decide on their own if the flash is needed, they can set its intensity and other parameters and they can fire the flash at the exact right time when the shutter is opened. All this is done automatically in the background. Digital camera also provide the user with the ability to manually control the flash, force it to either fire or not to fire, set its intensity and more.

Flash units are divided into two categories: Internal built-in flash units or external flash units. Internal flash units are built into the camera. Almost all digital cameras include such a unit and allow the user some control over it through the camera’s menus and buttons. External flash units are attached to the camera’s body through a dedicated slide-in slot or by using an electrical cable. Not all digital cameras support external flash units. Usually the lower end pocket cameras do not allow external flash units while all high end digital SLR cameras do allow such external flash units. External flash units can vary a lot. They can have different light energy levels that they can emit and different mechanical characteristics. Some external flash units also include smart sensors to measure ambient light, distance and other optical parameters in order to optimize the flash effect.

Digital cameras can use their flash units in automatic or in manual mode. In automatic mode the camera measures ambient light and fires the flash when not enough ambient light is available. Sometimes the camera will make the wrong decision as to using the flash and will either fire or not fire the flash when the opposite was needed. Setting the flash intensity is important too. If the flash unit fires too much light energy on objects that are too close to the camera the digital photo will be washed out. On the other hand if the flash unit fires a small amount of light energy on an object that is farther away from the digital camera the digital photo will be a too dark.

Flash units have limitations too. They can not light any scene and any object at any distance from the camera. It is important to know your flash unit limitations. For example check what the maximum light energy that it can emit is and what the farthest that an object can be effectively lit from. This is also known as the effective flash range. If the object is out of the effective flash range it is actually better to turn off the flash altogether and use a tripod with a longer exposure. Sometimes it is useful to use the flash even if there is enough ambient light. In such cases you can manually force the camera to fire the flash. This is also known as fill-in flash as it is usually used to fill-in shadowed areas on objects in the digital photo.


Slr Camera Flash
 
 
21 November 2007 @ 02:43 pm
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Olympus is well known for producing high quality cameras way before digital cameras became popular. Due to the popularity of digital cameras, Olympus has been producing their own line of digital cameras. Here's my olympus digital camera review.
UPDATE FOR : Olympus Slr Digital Camera

Olympus is well known for producing high quality cameras way before digital cameras became popular. Due to the popularity of digital cameras, olympus has been producing their own line of digital cameras. Here’s my olympus digital camera review.

Professional photographers will definitely want to get hold of olympus Digital SLR cameras as they are the best in the business.

For example, I highly recommend the Olympus 5300 Digital SLR. It has a whopping 8 megapixel camera with 7 to 14 mm lens which can be used to take almost any pictures with clarity and precision.

One unique feature of the 5300 is its filter called the super sonic wave filter which can shake off the dust accumulating in the camera lens and sensors. It has 4 exposure modes and 14 scene modes which allows you to take any kind of pictures whether in day or night. The price isn’t cheap but you get quality.

Olympus also has a line of digital cameras for photo enthusiasts and amateur photographers. They are a lot cheaper than top of the line DSLR cameras making it more affordable for the masses.

An example is the Olympus CaMedia C-70 digital camera. It’s small and compact making it easy to carry anywhere and does not take up too much space. It has a 7.0 megapixel camera with 5x optical zoom. Good enough to take most pictures with clarity. It also has auto-focus which allows you to take pictures quickly and it can start up fast. The LCD screen is about 2 inches which is about the standard nowadays.

Other features include a SD card slot and USB 2.0 which allows you to take more pictures and easily transfer them to a computer.

There are other models such as the Olympus MJU-mini and MJU 500 which are equally good.

If you are looking for an affordable and high quality digital camera, you can’t go wrong with a Olympus digital camera.


Olympus Slr Digital Camera
 
 
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The conventional camera depended entirely on chemicals and mechanical processes - nothing else was required to make them work. Following along on the footsteps of major technological breakthroughs in consumer electronics, the new digital camera is part of this fundamental shift in technology. Find out more...
UPDATE FOR : Digtal Slr Camera

The conventional camera depended entirely on chemicals and mechanical processes - nothing else was required to make them work. Following along on the footsteps of major technological breakthroughs in consumer electronics, the new digital camera is part of this fundamental shift in technology.

The digital camera has two things: a built-in computer, and electronic recorded images. They have not entirely replaced the conventional camera, though, as film represents the highest quality of pictures.

The early digital cameras were used to store images on memory devices within the camera, then transferring the images to the computer with the help of cables. Today, most digital camera makers provide reusable and removable storage devices, such as SmartMedia cards, CompactFlash, cards and Memory Sticks. Some other removable storage devices include the floppy disks, hard disks, or micro-drives, writeable CDs and DVDs. This has considerably enhanced the volume of visual data that can be stored.

A digital camera uses light converted into electrical charges, instead of film, to take pictures. It focuses this light through a lens or a series of lenses onto a sensor, which records the image electronically. The sensor used the most is employed by a CCD (charge coupled device) while others use a CMOS (complementary metal oxide semiconductor).

If a CCD is used to transport the charge, its sensors create a high-quality, low-noise image, while the CMOS are more susceptible to noise while traditionally using less power. The CCDs consume as much as 100 times more power than that of a CMOS yet have been mass-produced for a longer time. They have a higher number of higher quality pixels yet both play the same role - they turn light into electricity.

What every photographer is looking for is clarity and high detail, with very little blurriness or a grainy look. This has to do with the resolution of the camera, which refers to the amount of detail the camera can capture. Hewlett Packard estimates that a 35mm film is about 20 million pixels, considered a very high-resolution picture - 1216 x 912, or 2 million total pixels, is a photo lab quality for the 4 x 5 picture.

To break it down even more, a 1 megapixel digital camera will produce images that are good for e-mailing or posting on the Web because their resolution is low. The images taken from a 2-megapixel camera are suitable for 4x5 inch prints while those taken from a 4-megapixel camera can produce 16x20 inch prints.

The digital cameras use four kinds of lenses. These are: fixed-focus, fixed-zoom lenses; optical-zoom lenses with automatic focus; digital-zoom lenses, and replaceable lens systems. The fixed focus and fixed zoom lenses are used in inexpensive cameras while the optical zoom lenses have both wide and telephoto options. The aperture and shutter speed are used to control the amount of light that reaches the sensor.

The aperture setting, or the size of the opening in the camera, is automatic in most digital cameras but a few allow manual adjustment. This is because certain professionals or amateurs want more control over the final image. The shutter speed is the time amount that passes through the aperture. This can be set electronically, which is different than using film in the conventional 35mm cameras. The digital camera has a digital shutter, rather than a mechanical shutter.

Overall, the digital camera and the traditional film camera have the same principals. The both have a viewfinder for aiming the camera, the lens for focusing, the ability to store several images and remove them later on, with a compact format for everything's storage.

Two different systems yet slightly the same - the conventional camera captured images with light-sensitive film to store them after chemical development, while the digital camera used memory storage and advanced image sensor technology, capturing images to store them in digital format that is instantly available instead of having to wait. Yet the digital camera is more environmentally friendly, keeping up with the issues of the world while photographing these issues at the moment they occur.


Digtal Slr Camera
 
 
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Panasonic is a world-renowned consumer electronics company today. Its digital cameras have recently entered the market. In this article, we will view the story of Panasonic and some of the latest cameras which have been launched by the company in the market.
UPDATE FOR : Panasonic Digital Slr Camera

Panasonic is a world-renowned consumer electronics company today. Its digital cameras have recently entered the market. In this article, we will view the story of Panasonic and some of the latest cameras which have been launched by the company in the market.

The inception of Panasonic took place in the year 1918 on a small work table in the house of Konosuke Matsushita. At that time, Matsushita invented the two-socket light fixture. This product became a success and Matsushita Electric Industrial Co. Ltd. was established.

Panasonic is the largest manufacturer of consumer electronics in the world today. The firm produces a wide array of products which cater to several needs of consumers. Its policy of achieving hundred percent customer satisfaction and providing optimal quality goods, has led Panasonic from strength to strength. In fact, the name Panasonic is synonymous with innovation, quality, performance and ease of use.

As far as digital cameras are concerned, Panasonic has got several types of digital cameras which can cater to various audiences depending on their budget and needs. In fact, Panasonic has also entered into an alliance with German camera maker, Leica to develop still digital cameras. The reason for this alliance is the fact that Panasonic is a small player in the digital market today. This alliance will help both Leica and Panasonic to take over an estimated ten percent of the digital camera market share.

Panasonic's latest line of digital cameras consists of mainly three series. One of these is the Lumix digital camera series. The Lumix camera makes use of lenses provided by Leica. This helps in getting images which are extremely clear and bright. The Lumix is a highly advanced camera and also comes with manual control options. Its shutter interval is also less than 0.04 seconds, hence allowing the photographer to take shots quickly.

Another series of digital cameras are cheaper and smaller, known as the D-Snap digital camera series. These cameras are trendy and small. They are super-slim and come in different colors. These cameras can also record videos and play music. The D-Snap digital camera is aimed at teenagers and youngsters who are looking for something smart and trendy and which also fit into their budget.

Slowly and steadily, Panasonic is establishing a name for itself in the digital camera world. This company, which has always believed in putting the customer's needs first, is sure to make a mark in this arena as well.


Panasonic Digital Slr Camera
 
 
21 November 2007 @ 02:23 pm
Visit my site: Digital Camera
Digital cameras can be perplexing to many beginners. When shopping for a digital camera it is very likely that you will encounter terms like white balance, pixel, ppi and dpi mean and how they affect image and print quality.
UPDATE FOR : Slr Camera Basics

Digital cameras can be perplexing to many beginners. When shopping for a digital camera it is very likely that you will encounter terms like white balance, pixel, ppi and dpi mean and how they affect image and print quality.

You may be probably expected to know the difference between things like optical zoom and digital zoom as well as the advantages and disadvantages between storage formats such as Compact Flash (CF), Microdrives, Sony Memory Stick, Secure Digital (SD), Multimedia and camera interface technologies such as USB 1.1, USB 2.0 and Firewire IEEE 1394. Lets make things simple and go to the basic things you actually need to know.

Pixels

A pixel is a abbreviation of the term PIcture ELement. Digital images are basically made up of small squares, just like a tile mosaic on your kitchen or bathroom wall. Are the more pixels the better? For viewing on the internet, resolutions of 640 X 480 is enough. For a typical 4R photo, you need a resolution of 1200 X 1800.

Difference Between Digital Zoom and Optical Zoom

Most cameras have both optical zoom and digital zoom functions. Optical zoom works just like a zoom lens on a traditional film camera. The lens changes focal length and magnification as it is zoomed. Image quality is high throughout the zoom range. Digital zoom simply crops the image to a smaller size and enlarges the cropped portion to fill the frame again. Digital zoom always results in a considerable loss of quality.

The Storage Wars

There are quite a few different memory cards used in different digital cameras.

Compact Flash (CF) - The original memory card. Somewhat larger than the others, but used on all high end DSLRs. Available in capacities up to 2GB.

Secure Digital (SD) - Very small - about 24mm x 32mm and 2mm thick. SD cards have a built in write-protect switch to prevent any unintentional removal and certain encryption capabilities. This may be of very little interest for most digital camera owners.

Multimedia - Same size as SD but with less features and no encryption capability. There are some that can be used in some SD cameras but they aren't 100% compatible with SD cards in all applications.

Memory Stick - It is introduced by Sony and used only by Sony cameras.

XD - Developed and used by Fuji, Olympus and Toshiba - even smaller than SD. 20mm x 25mm by 1.7mm thick

There's really no reason to pick a camera with one brand over another unless you have multiple cameras or other devices which may also use the same memory cards. Then it is more convenient if they can share the same cards.

Buying a Digital Camera

Some magazines advertise cameras at low prices yet they charge high shipping cost or they may tell you it is out of stock. Of course they have a more expensive model for you. Shop for cameras only from reputable dealers. At least they probably have a more responsive customer service.


Slr Camera Basics
 
 
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Sigma will be announcing their newest DSLR, the SD14. Presumably, it will be touted as a 14MP DSLR, but will only physically have about 4.7MP. Should Sigma be using this marketing strategy or just sell their camera for what is...
UPDATE FOR : D80 10.2 Megapixel Slr Digital Camera

Photokina is going to be one hell of a show this year, and one of the many secrets being released and teased is that Sigma is coming out with with another DSLR, the SD14. Just from the name, DigitalDingus assumes it will be marketed as a 14MP DSLR, but will actually be a 4.7MP imager. Confusing? Yes, and the tradition continues in the world of image sensor spinning.

Preliminary Results? Pretty Good

The SD14 appears to put out some great images, just like the SD10 and the SD9 did many years ago. And this I won't really debate because how can a person debate a camera in and of itself? What is to be debated, is the way Sigma and Foveon present their cameras in relation to all the other competitors on the market.

Sell Your Camera, Not Your Spin

The DSLR market is certainly competitive. The Megapixel Wars have been battling each other several years now, but why add to the problem of an already confusing consumer product by adding subjectively different terminology as well. Fuji is another company which loves to hype it's 'Honeycomb' sensors. In fact, Fuji and Sigma (along with Foveon who make the imagers for Sigma's SD DSLRs) are the two companies which I really have an issue with over any other camera manufacturers.

Sigma and Foveon are still telling the consumer, there is more than one 'pixel' which is absorbing light in their cameras. Not true. If this were true, the imager wouldn't be 3.34MP in the former Sigma SD10 (as in 10MP imager--3.34MPx3). With the SD14, I'm assuming Sigma and Foveon have not actually made a 14MP imager. If they did, I'd certainly revise my preview and would be congratulating both companies for taking a giant leap in technology and honesty. I still have a small grain of hope come September 26, 2006, when Sigma will announce the full details (however, I am sure we'll get a hold of the specs much earlier and post them here...as well as a gazillion other camera forums).

Why Sigma DSLR Images Look Good

Pixel. Pitch. Those two words need to be ingrained in every camera users brain. The reason why Sigma's DSLR images have looked rather good, is because the imagers have an exceptionally high pixel size (i.e., pixel pitch) which are in the same league as the Canon 1DMKII imager. Having fairly large pixels in a DSLR will consistently produce great images. In fact, the Canon 1D, only a 4.2MP DSLR, released over 5 years ago, is still used by many professionals. Why? The pixel size is 10.8?m x 10.8?m. We will discuss pixel sizes in another article, but for now, the general consensus is the larger the pixel, the better the image. The larger the bucket of water, the more water you can capture...

Resolution Does Matter In The Overall World Of Photography

While pixel size is certainly the #1 priority in my book, if your overall resolution is not in the same ballpark as your competitor's, your imager's benefits become less of a benefit. For example, Nikon has released the D200 10.2MP and D80 10.2MP DSLR. Canon has released their 13MP 5D. If the Sigma SD14 is actually 4.7MP, we have at least double the pixel count and over 25% more resolution from other competitors (we have to remember in order to get twice as much resolution, you would need four times as many pixels).

Now, Sigma and Foveon are attempting to make a claim you don't need high resolution imagers. This is somewhat confusing. Maybe Foveon just doesn't have the technological and financial resources like Canon and Nikon have to make larger imagers. It takes a lot of money to research and develop larger imagers with more resolution, while still maintaining or exceeding image quality of a comparable smaller imager. Canon has virtually endless financial resources and in-house imaging, and Nikon already has Sony making most of its imagers, so these two companies already have a formula for creating competitive DSLRs.

Regardless of a manufacturer's methods, the result has been creating an imager with more resolution. Why is it we see a few companies twisting the definitions of pixels and resolution, and duping an already-confused DSLR consumer market?

Resolution in itself is certainly not the only answer to a camera's quality. We see many compact cameras announcing higher megapixels every 6 months. Compact camera resolution and DSLR resolution are pretty much in different categories since DSLRs still have larger pixels, and the image quality, is by far much better. So please don't think I am saying resolution is better 100% of the time because in some cases, it is not. However, when you follow Nikon and Canon's image sensor technology, their images have become better over the years in parallel to more resolution. This is not easy. And it's not cheap. Which is why many camera manufacturers are not producing 10MP DSLRs currently.

Being The Oddball Sells

In today's world of consumerism, not only does popularity sell...but being the outcast as well. If you have a competitor, or a few of them, and you know darn well there is no chance to compete because you flat-out don't have the personnel or resources to compete on the same level, simply create a reverse-popularity market, and create yourself as the oddball product that is better than your competitor. Believe it or not, it works. And it works darn well. Take any popular product and do a little research on the smaller competitors. Then look at the smaller competitor's marketing strategy. More than likely, you'll see a form of 'oddball advertising'. And on a curious note, some major competitors even use the smaller competitors' strategies to further their market share! Overall, it's a sea of marketing disinformation and confusion.

Don't Compete With The Big Guys, Just Sell Yourself

Another point I'd like to make is if you're a manufacturer who is struggling to survive and can't compete with the big guys...don't. Don't compete with them. Just sell yourself. Just sell your product. If Foveon and Sigma would just sell their product for what it was, and not compare it to proven camera giants like Canon and Nikon, you wouldn't be reading this editorial preview article. You'd simply be reading a preview on a cool new DSLR, improving on its previous DSLR model.

Would I Recommend A Sigma DSLR?

Well, I will not debate the SD DSLRs image quality because they are darn good. If I begin to compare them to other DSLRs, the amount of lenses available, the lens technologies such as Canon and Nikon, as well as new imaging technology from Canon and Nikon, the Sigma DSLR option becomes much less significant. If you're a Foveon imager fan, then the new SD14 is certainly going to get you excited. But I would like to request if you are going to purchase a Sigma DSLR, you conduct some simple tests.

Most camera shops have displays of the latest DSLRs available and you can bring your own media card and take images, then go home and open them up in your favorite image editor. What I recommend, is waiting until the SD14 becomes available in stores, take some images with the SD14, then take some images with a Canon 20D and a Nikon D80 or D200. Take all the images home which you've shot and compare them. If the Sigma seems it's better, then I am not one to tell you, you should do anything different. Buy the SD14. But if you like the other images from the Canon or Nikon, then go in that direction as well.


D80 10.2 Megapixel Slr Digital Camera
 
 
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Panasonic has announced the launch date for the DMC-L1, its first digital single-lens reflex (SLR) camera with interchangeable lens. From 22nd July 2006 this camera will be available in Japan and already looks set to be a firm favourite.
UPDATE FOR : Panasonic Slr Camera

Panasonic has announced the launch date for the DMC-L1, its first digital single-lens reflex (SLR) camera with interchangeable lens. From 22nd July 2006 this camera will be available in Japan and already looks set to be a firm favourite.

Leica D Lens provides a superior optical performance and matches perfectly with the digital SLR camera body

The DMC-L1 has a new LEICA D VARIO-ELMARIT 14-50mm/F2.8-3.5 lens equipped with an aperture ring, focus ring and zoom ring, for easy, direct aperture setting. The focal length range is equivalent to 28mm (wide) to 100mm (medium telescopic) on a 35mm film and provides exceptional results. The lens also provides outstanding macro shooting due to a 29cm minimum shooting distance (0.32x maximum magnification, 35mm equivalent) across the entire zoom range.

Superb image rendering with MEGA O.I.S

The DMC-L1 comes with Panasonic's Optical Image Stabiliser feature which minimises jitter from shaky hands. Thanks to the gyrosensors and Venus Engine Plus LSI built into the lens, the system detects camera movement at a rate of 4,000 times per second O.I.S features two further corrective modes. Mode one constantly and continuously compensates for movements, ensuring that the image in the LCD and viewfinder is always clear. Mode two only stabilises the image the instant the shutter button is pressed. Both modes work with the DMC-L1, providing consumers with outstanding benefits. Mode one will be available for Olympus users if they are using the new Leica D lens.

Refined design makes the camera a pleasure to hold and use

This new camera features a shutter speed dial on top of the camera body, enhancing the sense of camera control. Combined with a classic design this ensure the Panasonic Lumix DMC-L1 is distinct in both design and operation. The body periphery and grip are covered with textured, simulated leather ensuring a secure and comfortable hold.

Complies with Four Thirds?* Standard

The DMC-L1 incorporates a live MOS sensor that conforms to the Four Thirds standard and offers 7.5 megapixels. It can be used with lenses made by a variety of manufacturers, giving users a host of equipment options. Noise is minimised by a special processing technology the runs on voltage as low as 5V. *Four Thirds? is a registered trademark.

The power of the Venus Engine III LSI

The Venus Engine III is a newly developed image processing LSI which maximises the performance of the Live MOS sensor. Offering high resolution, superior colour reproduction and detailed gradation, the Venus Engine III also reduces noise to the level expected from a digital SLR, thus achieving stunning picture quality. The Venus Engine III also improves camera responsiveness supporting high-performance consecutive shooting and a short shutter interval. The Venus Engine III requires only 80% as much power as its predecessor and when combined with the Live MOS sensor's low energy consumption results in longer battery life.

Full-time Live View for a whole new style of Digital SLR shooting

The heart of a digital SLR is the mirror box unit, which integrates a quick-return mirror, viewfinder, and AE sensor. This, combined with the full-time image output function of the Live MOS sensor, achieves a full-time Live View function that displays the image on the LCD directly from the sensor signal. This incredibly useful function can be selected in both Auto Focus and Manual Focus modes. In Manual Focus, photographers can enlarge an image within the frame and then select the area focusing, making it easier to check the focusing condition on the large 2.5inch, high resolution, 207,000 pixel LCD. It is also possible to check the depth of field by pressing the Aperture button.

Shake off dust with the Supersonic Wave Filter system

A big problem with digital SLRs with interchangeable lenses is the possibility of dust getting inside the camera during the lens changes and contaminating the image sensor. If this happens, professional cleaning is often required. The DMC-L1 manages this problem by incorporating a Supersonic Wave Filter dust reduction, which uses supersonic vibration to shake off dust that might otherwise affect the image.

A Digital SLR offering home networking capabilities

As with all Panasonic Lumix cameras, the DMC-L1 is uses SD memory and is also compatible with mass-storage SD standard based on FAT32. This includes the upcoming super-high-capacity SD Memory Cards allowing more than 2GB (SDHC).


Panasonic Slr Camera
 
 
21 November 2007 @ 02:05 pm
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Although the Rule of Thirds is considered to be the chicken soup of photography, beware. It doesn't live up to its reputation.
UPDATE FOR : Slr Camera M

If you search Google for 'rule of thirds,' you will get more than 3 million returns. Clearly it is a popular rule and deserves to be looked at closely. I examined about 50 of these websites and found them all to accept the premise that using the rule of thirds is a key to producing good photographs, although a few suggested that the rule should be viewed more as a guide. The following comments were typical:

'A handy rule to follow that will help you to compose a quality photo every time is the rule of thirds.'

'Everything you see in a frame needs to be composed along the lines of the rule of thirds.'

'Using the Rule of Thirds helps produce nicely balanced easy on the eye pictures.'

This advice is usually followed by a diagram showing how the rule of thirds is calculated. A small number of the sites go on to say that the rule of thirds was derived from the Golden Mean. Some even give a brief history of the Golden Mean. At least one writer justifies the use of the rule of thirds based on eye-scan studies.


What is the rule of thirds? It is a guide for positioning the center of interest in a photograph. According to this rule, there are four preferred points to place a center of interest. To find these points, draw imaginary parallel lines across your camera's viewfinder at the one-third and two-thirds positions. Do this in both the horizontal and vertical directions. These four lines will meet at four points. The points mark where the center of interest should be placed.

As I said, many sites make the claim that the rule of thirds is derived from the Golden Mean. And what is the Golden Mean (see also: Golden Cup, Golden Triangle, Golden Rectangle, Golden Ratio, Golden Spiral, all based on approximately the same idea). The Golden Mean is a ratio of two numbers (approximately 1:.62). It can be represented by a line that is divided so that the shorter segment is about .38 and the longer about .62 of the length. A golden rectangle is a rectangle whose sides have the ratio of 1:.62. In Diagram 2 the entire figure is a Golden Rectangle. By dividing the large rectangle at the .618 position, we get a square and another Golden rectangle.

As there are many mathematic sites that give the history and the derivation of the Golden Mean, there is no reason to repeat that information here. I haven't found any sites that give the history of the rule of thirds. It is always referred to as a simplification of the Golden Mean or Golden Rectangle. But is it? Not exactly. First, the rule of thirds uses lines placed at the 33% and 67% positions, whereas the Golden Mean places its line at 62%. So already we're 5% off. That's not too bad. But there is another problem. The rule of thirds is about points, the four points where the parallel lines meet. The Golden Mean is about a line. Points and lines are not the same thing. There is another problem. The ratio of the sides of the Golden Rectangle is approximately 3:2, or about the same as the sides of a 35mm negative. But the ratio of the sides of most consumer digital cameras is 4:3. Not only that, but prints often have a different height-to-width ratio (aspect) so your perfectly composed photograph is cropped when it is printed.

But if it works, forget all about these arguments. The most important thing is to get superior photographs. So the next question is, 'Does it work?'

Eye-tracking studies. There have been a number of scientific studies, many ongoing, to determine how a viewer's eyes move when he looks at a piece of art. The early results show that there is no universal eye-scan pattern. It depends, in part, on what the viewer is looking for and his level of expertise.

Do viewers really prefer paintings and photographs that use the rule of thirds? I am not aware of any studies done on the rule of thirds, but there have been quite a few on the Golden Rectangle.

The first of many objectives studies was done in the 1870s by the German psychologist G. T. Fechner. He presented his subjects with a set of ten rectangles of varied proportions and asked them to choose the one they found most pleasing. Although the Golden Rectangle was the favorite, it was chosen by only 35% of the subjects. The second favorite, a rectangle with a 1:1.5 ratio, was picked by 21% of the subjects.

Studies on rectangular preference have continued to the present with mixed results. Some researchers have found a preference for the Golden Mean while others have not. However, in those studies where a preference was found, it was never higher than 35%.

In 1894 the American psychologist Edgar Pierce did another interesting experiment. He asked people to place a line in a frame in the position they found most pleasing. The Golden Ratio was the most popular position. However, when Pierce placed additional lines on both sides of the moveable line, the subjects tended to move their line from the Golden Mean position to a position about half-way between the closest fixed lines.

Conclusion. First of all, for reasons pointed out above, the rule of thirds and the Golden Rectangle are not the same thing. One deals with points and the other deals with lines. Second, objective studies show that although there probably is a preference for art based on Golden Rectangle proportions, at best it is only preferred by 35% of viewers. Finally, the studies done by Pierce showed that subjects initially showed a preference for a line placed at about the 60% position in the frame. However, they changed their preference when additional lines were put into the frame. Since the rule of thirds doesn't take into consideration anything but placement of the center of interest, perhaps it's too simple a concept to be used in composing complex photographs.


Slr Camera M
 
 
21 November 2007 @ 01:59 pm
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For years camera companies have been battling each other in the digital SLR market with special proprietary features. Each company made the feature they had developed the hallmark of their digital SLR camera line. Now Sony has arrived on the scene, with a camera that claims to do it all.
UPDATE FOR : Dslr A100 Digital Slr Camera

What do you do when you're the latecomer to a very exclusive party?

You've got one of two options:

  • Dress up like everyone else and blend in with the crowd
  • Make a huge entrance wearing an outfit that's louder than a Rolling Stones concert

Sony has chosen the latter when it comes to their new digital SLR camera.

The Feature Fight

A year ago, there were five dominant players in the digital SLR camera business: Canon, Nikon, Olympus, Pentax and Konica Minolta.

Canon and Nikon duked it out for the attention and admiration of professional photographers, while Olympus, Pentax and Minolta preferred to target the consumer market.

With the megapixel race pretty much over, these three companies gained consumer attention with their own proprietary features.

Olympus developed the Supersonic Wave Filter, a device that 'scrubs' the camera's electronic sensor, removing tiny particles of dust.

Pentax made their cameras small and light, some of the most portable digital SLRs on the market.

Konica Minolta beat everyone else to the anti-shake arena, and made it an integral part of their cameras. The built-in anti-shake reduced camera vibrations for clearer hand-held shots, and it worked with every compatible Minolta lens.

But here's the key: since all of these technologies were proprietary, there was no one SLR that had them all.

Until now.

The Sony DSLR-A100

Sony claims that their new digital SLR camera has all of these features and more.

It includes a dust-repellent sensor (like Olympus), built-in anti-shake (like Konica Minolta) and a compact frame that mimics the size of the Pentax digital SLRs.

Then Sony takes it one step further.

The A100 has one feature not available in any camera from Canon, Nikon, Olympus, Pentax or Minolta. In fact, only two lesser-know cameras made by Fuji have something similar: extended dynamic range.

The human eye has exceptional dynamic range, and can perceive a lot of detail from shadow to light. Cameras can't.

A digital SLR will either lose detail in the shadows and correctly expose highlights, or will blow out the highlights when exposure is set for the shadows. A camera with extended dynamic range is better equipped to capture detail from dark to light, even when there is a lot of contrast in the scene.

In addition to the extended dynamic range, the DSLR-A100 also has an autofocus feature which activates when you bring the camera up to your eye, 10.2 megapixels for huge 16x20 inch prints and all the other goodies you'd expect on a high-end digital SLR.

What the Future Holds

Only time will tell how well Sony competes with the established digital SLR companies. Even though Sony is late to the SLR party, they are prepared to make a big entrance.

If they continue to release feature-rich cameras like the DLSR-A100, Canon and Co. will have to watch their backs.


Dslr A100 Digital Slr Camera
 
 
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Part 2 - simple, modified steps to obtain 'through the lens,' SLR film photography Special Effects. The Impressionist Effect, delivers a photo that has a Monet or Renoir look – strokes of color that display a sharper image from a distance. The Impressionist Effect is accomplished at the point of snapping the picture using a simple combination of two multiple exposures with in-focus/out-of-focus shots. This is a simpler procedure than outlined in your SLR user manual and guarantees perfect exposure.
UPDATE FOR : Nikon Slr Film Camera

This is a second article addressing SLR film photography Special Effects techniques that can be accomplished “through the lens”, being immediately immortalized on the film and ultimately the negative.

It requires no special instructions to the developing agent, whether your local photography shop or mail in developing service. Your prints will be developed with perfect exposure.

The Impressionist Effect, like the Ghosting Effect detailed in Part 1, is accomplished by using your SLR's multiple exposure feature, with a simpler procedure than outlined in your SLR user manual. The Impressionist Effect is more like photo art, ideal for still life or landscape photography, where all is motionless. This effect works particularly well for photographing flowers but would create an equally impactful and artistic photograph of any still life shot that exhibits lots of different colors; like brightly painted houses, fishing boats or toys.

You only take two exposures on the same film frame, one in-focus and the second out-of-focus. This will give your photograph that Monet-style look. The key is that nothing within the frame moves between the first and second shot.

The simple steps to execute the Impressionist Effect are:

1. Stabilize the camera using - a tripod is best, a stable surface is a second option. You might even want to use a remote shutter release cable to avoid any camera jitter.
2. Set number of multiple exposures on your SLR to '2';
3. For the roll of film in your SLR, determine the film speed (S);
4. Reset the camera film speed (Yes, you can override the setting) to (2 ? S) or, if not an exact match, set it to the absolute closest speed ((2 ? S) ? adjustment);
5. Turn OFF the camera's LENS Automatic Focus feature (located on the Lens itself);
6. Take your first shot with the frame in sharp focus;
7. Take the second shot with the frame completely out of focus (Yes, turn your lens to extreme out of focus.

REMEMBER: Check and reset the SLR film speed and number of exposures to their original settings before continuing with your next shot. Some SLRs will automatically reset the number of exposures back to '1' before advancing the film to the next frame. It's always better to verify this.

All of the SLR Film Special Effects for the Impressionist Effect, detailed in this and the previous Ghosting Effect article, require no special instructions for developing your film. Normal developing at the rated film speed will ensure the picture is properly exposed and developed.

This truly artistic photograph will have you considering a number of display options - maybe an 8” x 10” enlargement, or alternatively, a 4” x 6” print in an 8” x 10” double mat – accentuating the Impressionists Art with the classic beauty of a pewter frame. What a thoughtful gift idea for someone special or that special occasion.


Nikon Slr Film Camera
 
 
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Part 1 of simple, modified steps to obtain 'through the lens', SLR film photography Special Effects. The first effect, Ghosting Effect, is accomplished at the point of snapping the picture using a simple combination of film speed over-ride with the SLR's multiple exposure feature. This is different from the instructions in your SLR manual. This modified Special Effect procedure results in exposure-perfect pictures with surreal, ghost-like subjects in an otherwise 'frozen' or stable background.
UPDATE FOR : Slr Film Camera

I know there are some photographers that still like to pick up that trusty ol' SLR, insert a roll of film and get out there and experiment in the field. Then approach with grinning anticipation as they pick up the developed film from their favorite photo shop and have the person behind the counter ask, “How did you take that picture? It's awesome!”

It is this photography 'purest' to whom I appeal (this time) – the ones that still like using film every now and then. Most photographers have Digital SLRs (DSLR - “et moi aussi”). I know you can create this effect with Photoshop, after the fact; but having creative control over this special effect makes it exciting because you execute this photo miracle at the precise moment you push the shutter button.

Ghosting. This is what this special effect is called; accomplished by using your SLR's multiple exposure feature, but with a simple twist to ensure proper film exposure. The procedure detailed in this article is different from the instructions in your SLR manual. Ghosting is perfect for pictures involving subjects in motion, taken when the camera and the background is stable (not moving) and the subjects move through, around, or across the frame. I have had great success using this effect when photographing people moving about an historic site or children as they scamper over rocks. I have also used this effect for weddings and sports shoots.

Example: In one wedding photograph, the groom stood still at the bottom of stone steps to an historic dwelling, his hand extended towards his bride, who slowly moved down the steps toward her groom. My six deliberate 'clicks' of the shutter created an airy, surreal picture of the wedding couple.

Depending on the speed of the moving subjects, the shutter can be held down in rapid fire mode or each exposure can be meticulously choreographed:
1) each subject deliberately positioned in the frame,
2) one 'click' of the shutter, and
3) repeat steps 1 and 2 to the total number of multiple exposures you set in your camera.

So what are the mechanics of this “through the lens” shot to achieve the ghosting effect?

1. Stabilize the camera – using a tripod is best, a stable surface is a second option or, a steady hand as a last resort;
2. Set number of multiple exposures you require for the frame to (N) – usually 1 to 9;
3. For the roll of film in your SLR, determine the film speed (S);
4. Reset the camera film speed (Yes, you can override the setting) to (N ? S) or, if not an exact match, set it to the absolute closest speed ((N ? S) ? adjustment);
5. Take your picture, depressing the shutter button for a total count equalling the number of camera exposures you set in step “2”.

Example:

1. You want 6 exposures on the frame (N=6) so set the number of multiple exposures to '6';

2. You've determined the film speed is 200 (S=200);

3. Reset the camera film speed to '1200' (= 200 ? 6);

4. Depress the shutter button 6 times (for 6 exposures).

REMEMBER: Check and reset the SLR film speed and number of exposures to their original settings before continuing with your next shot. Some SLRs will automatically reset the number of exposures back to '1' before advancing the film to the next frame. It's always better to verify this.

There are no special instructions for developing your film. Normal developing at the rated film speed will ensure the picture is properly exposed and developed – simple and beautiful. This is photo art!


Slr Film Camera
 
 
21 November 2007 @ 01:42 pm
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A digital single lens reflex camera is an incredibly versatile and flexible piece of photographic equipment that can help you take the best photos of your life. There are several brands to choose from today that all have interchangeable lenses, allowing you to choose from a wide variety of shots from wide angle and closeups to telephoto images.
UPDATE FOR : Pentax Slr Camera

A digital single lens reflex camera is an incredibly versatile and flexible piece of photographic equipment that can help you take the best photos of your life. There are several brands to choose from today that all have interchangeable lenses, allowing you to choose from a wide variety of shots from wide angle and closeups to telephoto images.

But before you decide that a digital single lens reflex camera is just what you need, first consider how you plan on using it. If you mainly like to take snapshots of your family and friends and maybe some special events like weddings and anniversaries, you probably don't really need a camera as sophisticated and complicated as a digital SLR. In fact, a compact digital camera with a fixed lens will probably do the job just fine. So you can save yourself the added expense and steeper learning curve associated with dSLRs.

But on the other hand, if you are a photography hobbyist or perhaps you plan on increasing your photography skills in the near future, then a digital SLR camera will probably fit your needs well. Or perhaps you need a camera that can do double duty as both a simple fully automated point and shoot camera and a more sophisticated manual camera too, as more than one person with different skill levels will be using it. Happily, a digital SLR can fit the bill here too as most of them also have completely automated settings that can be used by almost anyone.

But if you decide that a digital SLR will work for you, which camera is best for you? Most likely you will need to do some research to find out what models are available in your price range and then read some digital SLR camera reviews online to learn more about which models are the best in that price range.

But from reading many of the online digital slr camera reviews by both independent reviewers and consumers, we have found two cameras that we can highly recommend based on their popularity in these unbiased reviews. For beginners, the Pentax ist DX is often mentioned as an extremely easy camera to learn and use and with a 18-55mm zoom lens and costs just under $1,000. For more advanced users that require even more features and capabilities, the Nikon D70s is well reported on by almost all reviewers that we saw, and with a 18-70mm lens, it costs around $1200. Of course, both of these cameras can be bought for less if you really make a good search for them online.

Regardless of which digital single lens reflex camera that you choose, they will all bring a higher level of photographic capability and sophistication to any photo that you take. If you follow the guidelines and tips provided above it can help you decide whether or not a digital SLR will fit your needs and help you decide also on which one will work best for you.


Pentax Slr Camera
 
 
 
 

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