Sabatier Effect

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The Sabatier Effect refers to the phenomenon in which light areas appear dark and dark areas appear light on a negative. Additionally, a thin line appears in areas where the image has contrasting tones. When this effect occurs on a printed photo, it is known as solarisation.
While the Sabatier effect occurs when the film has been overexposed, solarisation takes place in the darkroom. However, contemporary terminology uses the terms interchangeably, rarely making the distinction between the sabatier effect and solarisation.
The Sabatier effect was accidentally developed during the 1800s when a photographic plate was inadvertently exposed to light before it had been processed, possible because the darkroom light had been turned on. Later, Man Ray popularized the Sabatier effect through his artwork.
Today, photographers can simulate the Sabatier effect by using an actinic light during the development process. However, while the Sabatier effect can produce dramatically intense photos, it is a difficult technique to master and consistently produce.

RGB

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The RGB system refers to a color model for film that is based on red, green and blue. From the basis of these three colors, the model constructs the rest of the colors in the image by mixing two or three of these colors in different proportions.
Although these colors are the basis of the colors in the image, none of these colors is specifically defined. Consequently, the red in one RGB color model may be significantly different than the red in a different system.
The CMYB color model, based on the cyan/magenta/yellow/black scale, is a common alternative to the RGB color system.
The original color model of an image is the platform from which the computer software like Photoshop can then effectively edit the image.
In addition to being central to photographic systems, color models such as RGB are also key to how LCD (liquid crystal display) screens and plasma television screens function.

Gamut

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A Gamut refers to the complete spectrum of colors that a given color system can produce. In photography, the gamut available will depend on whether the photographer is working with the RGB (red, green, blue) or the CMYK (cyan, magenta, yellow, key/black) color model.
Because each of these color systems starts with uniquely different set of primary colors, their combinations produce a distinct set of secondary and tertiary colors. For example, while the gamut of RGB includes a pure blue, that of CMYK will render a bluish purple. Depending of the subjects of the photograph and the desired effect, a photographer will elect one of the color models to have the resulting gamut in his photos.
If a color system lacks a certain shade within its gamut, then the color is “out of the gamut.”
Keep in mind that photographs don’t have to be in color to have a gamut. For example, pictures taken with black and white film or treated with sepia each have their own unique gamut. While black and white pictures will have a color spectrum that ranges from white to gray to black, the gamut for sepia toned pictures will span from white to light brown to dark brown.
Although it originated as a photographic term, gamut has come to have a broader meaning in the English language. In general terms, gamut can refer to any kind of spectrum.

Gamma

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A Gamma Correction, also known as gamma nonlinearity, gamma encoding or just gamma, refers to a nonlinear (logarithmic) equation that encodes or unravels the intensity of light in still photos or movies. Using gamma mapping, color systems, such as RGB or CMYK, can be made more uniform and smoother across a given plane or photographic surface.
Along with charting color uniformity and consistency, gamma can also catalog color contrast in a numeric form. While gamma correction may describe still photographs, it most often refers to images on computer movie screens.
Some common gamma values are the following:
+ PC images are encoded at 0.45 and decoded at 2.2
+ Mac images are encoded at 0.55 and decoded at 1.8.

Exposure

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Exposure is a term that relates the amount of light that is “exposed,” or shined upon, the film in a camera when a photograph is taken. When the film is properly exposed, the right amount of light has hit the film for the correct amount of time.
If film is overexposed, then too much light has hit the film for too long. Overexposure results in a photo that has minimal detail in the lighter areas and, therefore, appear to have large whiter spaces.
Conversely, underexposed negatives are produced when not enough light has been in contact with the film. Underexposed film will have more dark spaces that are poorly defined. Many camera manuals will state the camera’s exposure latitude, the range between underexposure and overexposure in which pictures will still turn out.
A photographer can manipulate the exposure for any given shot by opening or closing the camera’s aperture and by altering the shutter speed. Most cameras come with auto-exposure or exposure lock features. Auto-exposure tends to be most useful for amateurs. Experts recommend that you use the exposure lock mechanism in situations with highly contrasting light or with backlighting.
Exposure meters that measure a scene’s light are available to help a photographer calculate the appropriate exposure necessary for a given scene.

Color Wheel

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A Color wheel is a diagram that maps colors by their relationship to the other colors on the circle. While colors that are related to each other are placed side-by-side, complementary colors (colors that are inversely related to each other) are put on directly opposite sides of the color wheel.
In the color wheel, red, yellow and blue are considered primary colors while orange, green and purple are secondary colors.
The difference between primary and secondary colors on a color wheel lies in the fact that different blends of the three primary colors are responsible for creating each of the secondary colors.
When looking to find color balance in a photograph, it’s important to match complementary colors. The three different color systems are based on different combinations of primary colors.
RGB, the color space that most cameras use, is based on a Red/Green/Blue color wheel. The CYM color system is modeled with a Cyan/Magenta/Yellow color wheel. Finally, the RYB system relies on a Red/Yellow/Blue color wheel. The distinct color system a camera uses will produce an image within a defined color wheel. While painters rely on an RYB color wheel, photographers tend to capture their shots with either the RGB or CMY color wheel systems.

Color Temperature

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Color temperature, a term borrowed from physics, is the measurement (in Kelvins) of a color’s intensity on a scale of blue to red. In broad terms, color temperature refers to the visible light an object radiates based on its inherent heat.
While the red end of the color spectrum has a color temperature of 1,800K, colors that appear bluer fall within 16,000K. The following are the color temperatures of everyday sights: sunrise and sunset registers at around 1,600K; an electronic camera flash has a color temperature of 5,500K; a deep blue, cloudless sky emits 20,000K.
Ironically, warmer objects (those registering higher Kelvin temperatures) emit blue, a color that is traditionally considered to be a cooler color on the color wheel. Conversely, cooler objects radiate more reds, typically associated as a warmer color. For example, throughout a light bulb’s life, the bulb will appear red when it is hot. However, when the bulb is its hottest (i.e. just before it burns out), it will produce a visibly bluish light.
When the color of a photograph is off, the color sensitivity of the film hasn’t been properly calibrated to the color temperature of the photographed object. If you aren’t sure how to pair an object’s color temperature with the appropriately sensitive film, try using filters on your camera lens. Such filters can effectively balance a photo’s color.
Color temperature is also an important term in computer technology. Knowing your monitor’s range of color temperatures is key when you are choosing software for your system.

Color Systems

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Color system, also known as color space, refers to the manner in which colors are abstractly represented as numbers. In simple terms, the color space determines the colors that will be visible in a given photograph. When buying a camera or photography software, you can select one of three different types of color systems, each of which have unique properties to suit specific needs.
The three options for color systems include sRGB, Adobe RGB and ColorMatch RGB. The sRGB color space is a widespread system that is the default setting for Windows XP, web browsers and most image editors. As such, sRGB is the color system used by nearly all digital cameras today. If your digital camera doesn’t come with color space options, it is likely to be equipped with sRGB.
The ColorMatch RGB is a middle of the road color space that includes more colors than sRGB. While it is not usually available on point-and-shoot or digital cameras, the ColorMatch RGB is a color system that easily brightens photos, especially those that are too dark.
Finally, the Adobe RGB is a colors system that is more extensive than the sRGB in that it offers a broader range of colors. Consequently, this color space is generally only available on higher end, more expensive cameras.
The Adobe RGB color system is also compatible with CMYK links. Because it houses a broader color spectrum, the Adobe RGB is the best color space option for printed photos.

Color Depth

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Color Depth refers to the number that a given pixel is assigned in a photograph. The number that a pixel is assigned determines the color of the pixel. Color depth can render 16 million different colors (about as many as the human eye can discern) in a picture based on a 24 bit per pixel measurement. Simply speaking, color depth describes the range of colors a photograph could possibly have. Color depth is a term that is used in both photography and computer arenas.
Color depth is also referred to as pixel-depth, bit-depth or true color. Ultimately, the color depth determines the richness of, or the degree to which, a color appears on a photograph. Color depth works by attributing a single color to each pixel. In sum total, a picture comes together because each pixel is assigned a distinct color depth.
However, color depth alone doesn’t determine the quality of a photograph. Color depth along with the dots per inch (DPI) are responsible for photographic quality. The higher the DPI (the more dots or pixels that make up an image), the more color depth numbers are assigned. Consequently, with more colors in an image, the more refined and detailed a picture will appear.

CMYK

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CMYK is a particular color model based on four primary colors: cyan (bluish-green), magenta, yellow and key (black). Occasionally pronounced “c-mike,” CMYK may also be written as YMCK or CYM. The four primary colors of the CMYK color system can be combined a variety of ways to create other secondary colors.
Using in printing color photographs, this subtractive color model works by rendering the color of an object through the light that isn’t absorbed. For example, lettuce appears green because it absorbs all colors except for cyan and yellow, the two colors that combine to produce the secondary color that the eye sees as “green.”
Although black isn’t considered to be a primary color in most color systems, it is included in the CMYK color model because the combination of each of the three primaries forms a murky brown, rather than a true black. Consequently, “key” was added to the system as the black that is characteristic of the “key plate,” the standard plate which is inked with only black.
RGB (red, green, blue) is an alternative to the CMYK color model. The system a photographer chooses will depend on the true colors he wants rendered in the resulting prints. For example, while an RGB system can render a “pure” blue (one that is 100 percent blue), the CMYK tends to produce more purplish blues. The color that is most appropriate depends on the subject and the photographer’s eye.

Blooming

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Blooming refers to the phenomenon that occurs when the pixels on a digital camera overflow with sensory information. When the pixels on a digital camera can’t take in any more photons (the particles of light that produce an image), the excess sensory information causes the resulting picture to appear overexposed, blurry and less detailed.
Often, blooming occurs in scenes that are intensely backlit. In such cases, the bright light in the back produces more photons than a camera’s photodiode (the photon receptor) can take in.
To prevent blooming, some cameras are equipped with “anti-blooming gates” that prevent the overflow of photon data from ruining the picture. However, the anti-blooming gate feature can only minimize blooming if the scene isn’t set in a brightly lit area.
While some photographers may see blooming as a negative photographic effect, it can be invoke to an artistic effect. Although blooming does blur the details of a picture, it does give the image a dreamy, ethereal feeling. For this reason, blooming is a technique that may be used in gothic photography to lend the photographs a mysterious quality.

Ambient Light

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Ambient Light refers to any light in a given scene that isn’t artificial light, light supplied by the photographer. Sunlight, candlelight or light emanating from surrounding lamps can produce ambient light in a photograph.
In general, photographers use ambient light on or around an object to produce a certain mood or feeling for the resulting image. This subtle photographic technique is known in cinematic circles as low-key lighting.

When taking a photograph of lights, for instance at Christmas time, experts suggest making the most of ambient light. Flash photography indoors can be harsh, overpowering the serenity and softness of a image. Consequently, rather than use flash, adding candles or incandescent lights can enhance the ambient lighting of a scene without overpowering it.
Another common manner in which ambient light creates a mood lies in the deliberate ways certain scenes are lit. For example, if a photographer wants to engender a creepy or haunting effect, he tends to use ambient light that comes from beneath the image, making it seem larger and, therefore more menacing.
However, if there is not a clear distinction between an image and its background, ambient light shouldn’t be the sole source of light for the photograph. In these cases, ambient light should be enhanced either through flash photography or other sources of light the photographer supplies.

Additive Color

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Additive Color refers to the process of adding primary colors (of the given color system) together to produce secondary colors. For example, if the RGB color system is the primary color model, then the primary colors will be red, green and blue. By using an additive color system, a photographer can then add any combination of these colors together to produce any of the secondary colors (magenta, yellow or blue-green, known as cyan).
If all of the primary colors are added together, the resulting light will be white.
Additive color systems work in a directly opposite manner to subtractive color systems that work by absorbing all of the colors except the one that the object appears to be. For instance, a red apple appears red because it absorbs all of the colors of the color spectrum except for red. This negation of the other colors is the mode in which subtractive color systems work.
In the late 1800s, physicist James Clerk Maxwell and photographer Thomas Sutton proved the existence of the additive color system by photographing ribbon under red, green and blue colored filters. The results of each picture rendered an image that had produced an additive effect of all of the colors in the scene.

History of Cameras and Photography

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Although the foundations of photography date back as far as the ancient Romans, the history of cameras starts in the seventeenth century. The history of photography revolves around innovative attempt to reproduce images, whether the attempts were successful or photographic dead ends.
Camera Obscura
The ancient history of photography can be traced back to a device known as the camera obscura. A camera obscura consists of either a dark room or box with a tiny hole at one end. With a small enough hole, an inverted image of what the hole faces appears enlarged on the opposite wall of the camera obscura.

The camera obscura’s ability to reproduce images would become the basis for camera lenses as photography technology advanced. With the advent of the camera obscura, the combination of light and chemical processing also entered the realm of photography. At this point, the history of modern photography and cameras began.
A Brief History of Cameras
French inventor Nicephore Niepce produced the first permanent image in the history of photography. Niepce used a camera obscura and paper coated with photosensitive chemicals. The exposure time necessary to capture this historic first image was a staggering eight hours.
Daguerreotype and Calotype Cameras
In 1829, Niepce partnered up with Louis Daguerre. After Niepce’s death in 1833, Daguerre continued the research he and Niepce had begun. Through his continued efforts, Daguerre succeeded in reducing exposure time to a mere half hour. He also discovered that immersing images in salt would render the image permanent. Daguerre named his re-invention of the camera obscura the Daguerreotype and sold the rights to the French government in 1839.
“Daguerreomania” exploded in Europe and the U.S, where permanent images on glass and metal became popular. However, while reproducing images with the daguerreotype was popular, this new model could make only one image and not multiple copies.
Even as daguerreotypes became popular, the next step in the history of cameras was already underway. In 1835, Englishman William Henry Fox Talbot created the first paper negative. Nine years later in 1844, Talbot patented the Calotype. Although the Daguerreotype produced better quality images than the Calotype, Talbot’s invention could produce multiple copies from a single negative.
Talbot is also credited with publishing the first photo collection in the history of photography. In 1844, he published a collection of photographs entitled The Pencil of Nature.

The Next Step in the History of Cameras
Because the exposure times for both the Daguerreotype and Calotype were long, faster exposure times were the next step in the history of cameras. This became a reality with Frederick Scott Archer’s Collodion photographs in 1851. The Collodion process reduced exposure time to a mere three seconds.
To reduce exposure times, Collodion pictures were processed while the photographic plate was still wet. As a result, large amounts of developing equipment had to be available on location. Dry plate processing wasn’t available until 1871.
Between 1851 and 1871 a number of events occurred in the history of photography:

• 1861: James Clerk-Maxwell creates the first color photography system, using black and white photographs with red, green and blue filters.
• 1861 to 1865: Mathew Brady and his photography staff cover the American Civil war.
• 1877: Edward Muybridge’s pictures of a galloping horse prove that during gallop a horse’s four hooves leave the ground at once. Much money changes hands among San Francisco’s wealthy, who had bet on the outcome.

Dry Plates and Box Cameras
In 1871, Richard Maddox discovered gelatin could be used instead of glass for photographic plates. This step not only allowed for faster development but also paved the way for mass-produced film.
George Eastman took the process further and introduced flexible film in 1884. In 1888, Eastman introduced the box camera, the first product in the history of cameras available to the general public.
Since the end of the nineteenth century, photography technology has evolved at a rapid pace. The following are some landmark developments in photography during the 20th century:

• 1907: The first commercial color film is developed.
• 1936: Kodachrome, multi-layered color film, is developed.
• 1937: Photojournalism becomes an important part of reporting WWII news.

The Future of Cameras
The history of cameras and photography is ongoing with new innovations appearing regularly. With the digital camera, amateur and photographer can now take multiple pictures and view them almost instantly. Even underwater cameras are now affordable options for the general public.
Innovation and necessity have driven the history of photography and cameras. With the vast knowledge of photographic techniques available today, further innovations can be expected in the future.

Double Exposure

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Double Exposure refers to the technique of imposing two images into a singe space, either by taking two pictures on a single frame of film or printing two different images onto the same piece of photo paper. While a photographer will use a double exposure for artistic effect, if a double exposure occurs accidentally, it can potentially ruin a given shot.
Unfortunately, the later form of double exposure renders a blurry, undefined picture. Yet, when done correctly, double exposure appears on a photograph as if one image has been superimposed over another.

One way to create a double exposure as you are taking a picture is to use a filter: cover part of the lens and take a snapshot; then remove the cover, place it over the other part of the lens and take another shot. At times, more than two images are exposed to a singe frame of film. In these cases, the photographer has effected a “multiple exposure.”
Ideally, double exposure shots are best done with the camera set on a tripod in low to medium lighting.
Some cameras have a “double exposure” option as part of their features; most often, these are manual, rather than digital. However, modern computer software, such as Photoshop, allows a photographer to replicate the effect of a double exposure.

Distortion

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Distortion refers to an abnormality in image or sound quality. In photography, image distortion can occur in a photograph for a number of different reasons, including (but not limited to) a photographer’s error, a camera’s malfunction, the use of improper equipment or an off element within the scene being photographed.
For example, an amateur photographer can have distortion in his photos if he sets the camera’s aperture incorrectly, his hands are shaky or he uses the wrong film speed for a given situation. Similarly, if a scene has extreme backlighting or the wrong lens is used, the subject of the picture may also show up distorted on the negative and the final photo.
While amateurs tend to produce distorted pictures when they first begin to experiment with different photographic techniques, even the photos of the most professional photographer can suffer from image distortion. Consequently, image-editing software, such as Adobe Photoshop, has become a powerful tool in clearing up some distortion.
However, the degree to which distortion can be cleared up depends on the type of distortion a picture has. For instance, although the distortion caused by the red eye effect can be easily corrected by editing software, other types of blurriness may not be so easily fixed.

Depth of Focus

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Depth of Focus measures the displacement of film within a camera. Also known as “lens-to-film tolerance”, depth of focus is measured microscopically (in thousandths of an inch, for example). Although this term has been interchangeable with “depth of field” in the past, depth of focus refers to the image placement on film within the lens, rather than the distance of the object from the lens.

Like depth of field, depth of focus decreases with larger lens apertures, meaning that the image will appear larger on the resulting printed photograph.
Unlike depth of field, however, depth of focus decreases with a shorter focal length or with a subject that is further away (depth of field increases under these circumstances).
With a standard lens, the formula for depth of focus is:
(Focal length x F-stop setting) / 1000

Dots per Inch (DPI)

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Dots per Inch (DPI), a measurement of resolution, refers to the number of dots a printed photo contains per square inch of space. The more dots per inch means that the photo has a higher the DPI and, therefore, has a higher resolution. Photographs with greater resolutions appear more refined, smoother and are generally better quality.

DPI is a term that refers to photo printers, as well as computer monitors and scanners. However, a single printer is not necessarily limited to a specific dots per inch measurement. Many photo printers can be set to different DPI parameters, depending on the quality you want for your finished print.
Pixels per inch (PPI), while related to DPI, refers to the pixels per inch on a computer monitor. When printing a photo, remember that your DPI setting on your printer must be set substantially higher than your PPI setting: while computers can produce multiple colors within a given pixel, your printer can only print a single color within a given dot. Consequently, if you want your picture to print similarly to the manner in which it appears on your monitor, turn up your dots per inch setting on your printer.

Depth of Field

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Depth of Field refers to the distance around an object that appears in focus in the frame or photograph. The depth of field that a photographer chooses to enhance a given picture is an entirely subjective choice, depending on the aspects he wishes to enhance within the given frame.
Three factors play a hand in determining or affecting depth of field: the lens aperture (how open the lens is), the length of lens being used and the object’s size (the later includes the distance the object is away from the photographer).

The closer an object is to the lens, the less depth of field will appear in the resulting photograph. Conversely, placing the camera at a distance from the object being photographed will create a greater depth of field. For example, landscape shots tend to have greater depths of field while portraits have minimal depths of field.
Similarly, smaller lens apertures (lens with smaller diameters) and shorter lens lengths both create more broad depths of field.
When looking at a picture, you can recognize its depth of field by noticing where the photo becomes blurry and unfocused. The outer fuzzy edges pinpoint where the picture loses its depth of field.

Circle of Confusion

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Circle of confusion (also referred to as blur circle, disk of confusion and circle of indistinctness) refers to the effect of non-converging, unfocused light rays that have entered a lens. When light waves don’t converge after passing through a lens, they produce a larger optical spot, instead of coming together at a single point.
Being able to calculate the circle of confusion is important in that it allows a photographer to interpret the depth of field necessary to render a focused image in the photograph.
If the photographer is the proper distance from his subject, he can minimize possible light and chromatic aberrations. This better ensures that the different wavelengths of light entering the camera lens will form a concentrated, focused image on the film.
In simple terms, the circle of confusion is an estimated calculation of the depth of field necessary to produce a clean image.
While some photographers can use a specific equation to calculate the circle of confusion and, therefore, the appropriate depth of field, others prefer to experiment will distances to approximate the necessary depth of field.

Cropping

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Cropping is the process of cutting part of an image out of a picture to make the final photograph fit within a given space. When a picture is cropped, it isn’t enlarged but, rather, maintains its original dimensions. Cropping is usually utilized when a photographer wants to eliminate unnecessary or distasteful details of a picture.

One of the benefits of cropping is that it imitates the experience of a close up shot without altering the image’s proportions or distorting the original detail. If your camera cannot zoom close enough to the central object, cropping can reproduce the same effect. Cropping is also a term that refers to finding an image within a viewfinder, the mechanism on a camera with which one finds the central object.
Cropping a photograph can occur either before or after the picture is taken. If cropping happens prior to the shot, then the photographer has appropriately isolated an object within his viewfinder. If it occurs after the shot has been snapped, then one of two things has happened: the photographer has effectively cropped the image onto the negative; or, he has cut the final printed photograph.
By far, the easiest and cleanest way to crop a picture is to do so with the use of computer programs. Not only do such programs allow you to undo mistakes, but they also provide more precise measuring tools for you to crop with precision.

American Standards Association (ASA)

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ASA, an acronym for American Standards Association, refers to an antiquated scale for film speeds devised by Kodak during the 1940s. Film speed measures the degree to which film is sensitive to light. For example, a higher film speed indicates that the film requires less exposure to light, i.e. shorter exposure, to capture an image. Conversely, a lower ASA or ISO number means that the film is a “slow film” that needs longer light exposure to capture the same image.
Today, ASA film speed measures have been replaced by the ISO (International Organization for Standardization) standard that includes both linear and logarithmic dimensions.
The ASA and ISO film speed scales are important because they determine photo quality: the graininess of a finished photo. The sequence runs as follows: the larger the film’s grains, the faster the film, the less light exposure needed. Therefore, highly defined and detailed pictures such as portraits are generally taken on finely grained slow film. In contrast, scenes that have limited lighting or are in motion should generally be taken with larger-grained fast film that can capture an image with minimal light exposure.
Different film companies (such as Canon, Fuji and Kodak) produce distinctly different film speeds. Choose a film with a suitable speed based on the type of pictures you plan on taking.

Autofocus (AF)

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Autofocus refers to a camera’s ability to automatically adjust and focus its lens on a framed image. It functions by using a number of focus points to zero in on the object; then, small motors automatically position the lens into proper focus. The number of focus points a camera is capable of generally increases the more expensive the camera is.
Cameras can come equipped with one of two types of autofocus systems: a passive autofocus or an active autofocus. While the passive mechanism uses sensors to detect contrasting light, active autofocus uses timed lasers to calculate the image’s distance and then adjust the lens accordingly.

Nearly all digital cameras today are equipped with an autofocus and a manual focus mode.
Although Pentax ME-F first developed autofocus in 1981, it didn’t become a standard feature on consumer cameras until 1985. However, not all consumer camera manufacturers embraced the autofocus mechanism. While Cannon and Minolta immediately made autofocus a feature of their camera, Nikon and Pentax resisted. To this day, both Nikon and Pentax continue to produce manual cameras.
Pictures taken with a camera on autofocus, however, can lack some of the features associated with manual camera photos. Experts tend to agree that photographs taken with autofocus have poorer definition and lack continuous color in their depths of field. Similarly, cameras with autofocus generally have less aperture settings. Consequently, autofocus can limit the degree to which a photographer can manipulate his pictures.

Angle of View

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Angle of View is the amount of a scene a photograph captures and can be measured vertically, horizontally or diagonally. Also known as angle of coverage or field of view, angle of view changes given the type of lens a photographer uses to take a picture.
While wide-angle lens tend to capture more of a scene than any other lenses, longer lenses generally get about two degrees of a scene within their angle of view.
The further away an image that a photographer is attempting to capture within their angle of view, the longer and more narrow the lens should be. For instance, a picture of the stars or far-off marine life would be taken with a longer, narrower lens than one that has an image with an angle of view that is twenty feet away. Similarly, if a photographer wants to include more or less light within an angle of view, they can use a petal or a hooded lens respectively.
Whether you are a novice or expert photographer, changing the angle of view of a scene can add a fresh, unique spin to a traditional picture. Rather than shooting a photo straight on, as is the traditional method, a lowered or slanted angle of view may give your pictures an unconventional flare.

Ten Reasons to Learn to Take Good Pictures

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By Nancy Hill
Everybody has a camera, so why should you bother taking pictures? Let someone else worry about shooting the family reunion, the kids, the sports. You can always ask them for prints. Right?
Maybe not. You could be missing out on a lot if you settle for someone else’s photos instead of learning to take good pictures yourself. Here are 10 reasons why it’s well worth the effort to learn to take good photographs yourself.
1. Photographs are personal. Only you know how you see the world.
Everyone views the world differently. Your perspective is unique. Your sister will not capture your family reunion like you would. She will focus on the kids, while you like how many generations are in your family. Your best friend with her fancy camera does sweeping landscapes. You were with her on the shoot. While she was fussing with her tripod, you were fascinated by the kids fishing with their mother. She never even thought to look. Only you can capture the world you live in. Leaving it up to anyone else will mean your vision is lost.
2. Photographs provide an historical record.
Maybe all those Little League games you go to seem tedious after a while, but 20 years from now, your kids will love looking at those pictures, recalling their glory moments (and they will remember some), the kids on their teams, and the coach who kept believing in them. Same goes for other things in your life. Taking photos of your house will remind you of what you once valued, and what your tastes were. Cars change, woods give way to roads, property is sub-divided, old homes are torn down. Having photos of how things are now will give you a record when things “ain’t what they used to be.”
3. Taking photographs will kick your brain into a creative mode.
Simply by looking through the camera and deciding what part of the scene in front of you belongs in the picture will kick your creative side into action. The more you shoot, the more your creativity will come out. It’s a wonderful part of you. Let it play.
4. Photography is great therapy.
This is close to number 3, but it goes beyond creativity. Photography can help you see the world differently. If you’re upset, grab your camera and go out looking for beauty. You’ll find it. If you’re down, spend an hour shooting photographs – of anything – your house, your yard, your city, flowers, animals. Life through a camera lens is full of wonder. Focusing on how the world around you looks can also help break through your negative thoughts.
5. Photography is a great way to make new friends.
Photographers – amateurs, hobbyists, and pros alike – love to talk about photography. You’ll never lack for company if you join a photography club. You’ll also learn a lot more about photography by someone who takes good photographs than you’ll ever learn in a book.
6. Photography is a way to share your life with others.
Sometimes it’s hard to talk to family members. Just because you share relatives doesn’t mean you have much in common. Sharing your photographs with them is a good way to break through barriers, to show someone what’s important in your life. You can also share travel photographs with groups interested in the area you visited. The photos you took of soil eroded around a river might be just what a environmental group needs to get a grant to save the area. The possibilities are endless.
7. Photography is a gift you can give others.
Cards with your photographs on them make great gifts, and a calendar of family photos is a perfect present for your parents who have everything they could possibly want or need. Getting cards and calendars made has never been easier; you can even have it done online. You can also use your photographs on mouse pads, shirts, mugs, and even postage stamps. What could be more personal?
8. Photography will improve your web site and/or blog.
Your words alone aren’t likely to keep people on your web site for very long, so you need to include graphics. You can always use someone else’s work, but your own will be easier, more personal, and say a lot about you. Don’t overlook the power of a good photograph. It can take your web site to a new level.
9. Photography brings accolades.
Your images might not make you famous, but being known as someone who takes good pictures is a real self-esteem builder. It’s great to hear, “Wow! That’s beautiful! Can I get a copy?” Even a simple, “You take such good photographs. How do you do it?” makes the effort worth while. Praise is good. None of us can get enough of it.
10. Photography can bring in money.
Yep, it’s true. Take good photographs, and chances are you can pick up some extra cash. Whether it’s taking your neighbor’s kid’s high school senior pictures, winning a little cash in a photo contest, or selling your cards on a web site, photography can bring in some extra cash. Maybe someone backs into your neighbor’s fence and they need a photo for court. Who knows, maybe you’ll get so good your work will be published in newspapers or magazines some day. You could start small. Lots of magazines, especially women’s magazines, pay $25-50 for cute kid shots. There are lots of possibilities.
The more you learn about photography, the better your photographs will be. The better they are, the more confidence you’ll have – not just in your photographs, but in yourself. Don’t waste another minute — Grab your camera and start shooting!

Aberration

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Aberration, also known as “color fringing,” refers to the effect in which light passing through a lens becomes blurred and produces a fuzzy image on the film. If the camera lens is unable to focus light of different wavelengths or if the lens is scratched or otherwise damaged, chromatic aberration of the final image will occur.
In a normal lens where aberration doesn’t occur, the lens directs light of different wavelengths to specific areas of the film, depending on the particular wavelength. This process results in a balanced, clear and sharp image on the resulting photo. However, when this process doesn’t occur, aberration distorts the color and clarity of the original image, ruining the resulting pictures. Often, the edges of the pictures are the most distorted areas.
Aberration can occur in six different ways:
+ Astigmatism aberration
+ Chromatic aberration
+ Coma aberration
+ Curvature of field aberration
+ Distortion aberration
+ Spherical aberration.
Although some photographers generally consider aberration to be a negative photographic effect, others have used it to artistic effect. By intentionally blurring parts of a photo, the photographer can effectively comment on the distorted features or nature of the subject that he is photographing.

Portfolios 101

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by Nancy Hill
At some point in your journey into photography, you will know the time has come to show your work to people beyond your circle of friends and family. As wonderful as it is to know that time has arrived, it can also fill you with self-doubt. Letting those doubts hold you back could keep you from doing something that will bring you great rewards, and, the truth is, everyone has doubts. So take a deep breath and move on to a new step: develop a portfolio to show to art directors, gallery owners, and prospective clients.
Building Your Portfolio
A portfolio is a body of work with a central theme. It shows your vision and holds images that showcase your photographic talent and insight into your subject.
Every portfolio has a theme. Before you put your work together, find the themes that run through your images, then determine one that showcases your work. What subject matter shows the most insight? Pretty pictures alone won’t impress an art director or gallery owner. Your work has to have your unique stamp on it. Which body of work does this well?
It’s sometimes hard to judge your own work, so you may want to ask someone you trust for an opinion.
Purpose and Audience
Clearly define your purpose for assembling a portfolio. Who do you want to reach? Do you want to get jobs or have your work shown in galleries? Know this before you begin so you can select images and prepare your portfolio accordingly.
Once you figure out who your audience is, familiarize yourself with the kinds of photography that will interest it. An ad executive specializing in high-end clients is going to want to see slick, cutting-edge work. A portrait photographer who specializes in families will want to know you can capture groups of people. Art galleries also have their own preferences, so do your homework and make sure your work is something the gallery you are interested in shows. Don’t show nudes to a gallery that specializes in landscapes. No matter how striking your nudes, if that’s not what they’re looking for, you’ll be wasting your time, and theirs.
Selecting the Images
Gather all the images you think will interest your audience. Now sort through your prints or slides, eliminating anything that isn’t perfect. Slightly out of focus won’t do. Forget about trying to slip in any shots that are less than original. And keep your theme in mind. Don’t even let yourself think, “But everyone raves about this one. I’ll just slip it in at the end so they can see I really have an eye for things besides landscapes.”
If you have more than 30 prints after your first round of elimination, go back and eliminate some more. Aim for between 12-20 images. Maybe you can stretch your portfolio to 25 prints, but beyond that and you will tax the viewer’s patience and show that you are not yet a pro. Gallery owners, clients, and art directors are never shy about asking to see more of your work if they’re interested, and they will set up another appointment to meet with you to see it.
Either color or black and white is fine, but don’t mix the two together. The same usually holds true for the format you used when you took the pictures.
Presentation
There are several ways to go here. Some people send prospective buyers or gallery owners to a web site or send a CD. I advise against this. If your images will be shown as prints, provide prints. Computer screens simply don’t have the same color and textures as actual prints. You also have no idea how the viewer’s monitor is set up, so what looks great on your screen may be way too dark on the one your viewer will use. Don’t risk it.
One of the popular ways to organize your portfolio is in a binder that zips on three sides and has rings inside that hold clear pockets for your prints. These come in a variety of sizes, are professional, and you’ll be able to find one to fit your budget. Some photographers also use a briefcase style. Look around until you find one that fits your style.
If you’re going to show your images to a gallery, I recommend you purchase a portfolio box, which a photo store geared for professionals will carry. You can also find these online at lightimpressionsdirect.com or similar web sites that carry photo equipment for professional photographers. Always mat your work for this type of presentation. Neutral mats are best. Mats should be identical for every print in your portfolio, although the windows in the mats can vary.
Present your images in a logical order. Choose a cover image to represent the portfolio as a whole. This doesn’t mean it should have the name of your portfolio on it, but rather it should be the first image in your portfolio and should be an excellent representation of your theme.
Choose a size that works best for your work. Make sure your presentation case holds your prints comfortably.
Always keep your images fingerprint and damage free. If a mat is damaged, replace it immediately.
Other Things You Can Include in Your Portfolio
While your work is certainly the most important part of your portfolio, some photographers like to include additional information, including:
• an artist statement,
• a list of the photographs in the portfolio,
• a CD of the portfolio to leave behind, and
• thumbnails of photographs to leave with the art director or gallery owner.
Where to Find Supplies
Photography stores and web sites geared to the professional photographer will sell quality portfolio products, from carry cases and boxes to mat supplies and plastic sheets through which to view your work. Art supply stores are also good places to check out.
Putting together a portfolio is one of the best things you can do for your work. Even if you don’t feel quite ready to hit the galleries, your portfolio is a statement that your work is worthy of a professional quality presentation. There’s no feeling quite like the one you get when you have completed a cohesive body of work.

Is the Photo Gift Product Market for You?

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By Nancy Hill
You’ve no doubt seen photo mugs and photo calendars. Maybe you’ve even purchased some as gifts for friends or family members.
But don’t think of these photo products as simply a way to give someone a personal gift. In fact, gifts are only a starting point. With some imagination, you could turn these products into a lucrative business.
For example, you could sell a number of photo products at craft fairs or fundraisers. If you’re particularly enterprising, you could create a whole business taking photographs for companies and putting them on products they could use for promotions. You could also use them to showcase your own photography business.
So what’s available, and what can you do with these products?
Photo Books
Forget photo albums. You can design and have your pictures bound in books. There are numerous options, including size, single- or double-sided, paper weight, and color. Cover options include leather, linen, and vinyl, and both hard and soft covers. Some companies also allow you to add captions to the photos.
While they make great gifts, you can also think of them as a way to showcase your work for potential clients.
Prices vary greatly, depending on size and quality.
Photo Calendars
Like photo books, you have a lot to choose from, including size, binding, paper weight, and number of photos. Print up some samples and approach local businesses, offering to take photos and create calendars they can give to their customers.
Sell calendars at holiday craft fairs or online.
Send your own photo calendars out to your current and prospective clients. Hung on the wall, your work will be visible day after day.
Photo Mugs
These can be great fundraisers for teams and schools. Take a good photo of your child’s school, add a cute quote and they’ll sell. These come in a variety of sizes, colors, and materials. Most are dishwasher and microwave safe.
Beyond T-Shirts
You’ve seen the t-shirts. Like photo mugs, these could be good fundraisers. But think beyond t-shirts. Other photo apparel items include aprons, neckties, scarves, bibs, boxer shorts, and baby clothes. Other photo fabric items include pillowcases, photo purses, tote bags, blankets, quilts, and towels.
Stretch your creativity and you will find ways to earn money on these products. For example, you might find yourself a nice niche market around holidays taking photos for women who would get a kick out of giving their boyfriends boxer shorts with their photos on them.
Fun and Games
I love the idea of creating a deck of cards with my photos on them. How much fun is THAT? Other products include coasters, mouse pads, puzzles, magnets, clocks, watches, cutting boards, sports balls, ceramic tiles, luggage tags, note cards, serving trays, tins, and ornaments.
Very Cool Photo Items
Wine labels. Photos of an engaged couple on a wine label adds a really nice touch to a wedding reception. You can also put your photos on beer bottles. Imagine that.
You’ve probably seen Jones Soda bottles with photos on their labels. Guess what? You can send Jones Soda your photo and they’ll deliver a custom-made case of their sodas to your door. You even get to choose the flavor. (Go to www.myjones.com for more info.)
High-End, You-Better-Love-the-Photo Products
If you want to buy a very special gift using one of your photos, you can have the photo engraved on gold or silver. These are pricey, a pair of 3 x 6 pair photos in silver runs about $1,000; same size in platinum costs nearly $20,000. (Go to www.pmportraits.com for more info.)
On the more affordable high-end personal photo products side, you can have your photos printed on window blinds for around $200 or made into a four-panel screen for around $1000, depending on the exchange rate for the British pound. (Go to www.bagsoflove.com.uk for more info.)
You can find all of the photo products I’ve mentioned by doing a search for the products online. Prices can vary quite a bit, so shop around.

Taking Memorable Photos of Children

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By Nancy Hill
Children are a favorite subject for many photographers. Advertisers know a photo of an adorable child will grab people’s attention. Fundraisers know an image of a sick, wounded, or sad child will bring in donations. And parents cannot imagine a better subject than their child. Parents take cameras to sporting events, school functions, and parties. It seems like every moment of a child’s life is documented either in a still photograph or in a video. But how many photos of children are truly memorable?
Here are some tips on getting shots that draw total strangers into your photographs of children.
Take Time to Get to Know the Child
Most children let you into their world quickly. Before you start taking a picture, spend at least 10 minutes talking to the child. Ask questions about things that interest the child. Good openers include:
“Do you like bugs?”
“Would you rather be a giraffe or a butterfly?”
“What’s your favorite game?
Pay attention to how the child responds. Does he/she make eye contact? Capture that confidence when you take his/her picture. Does the child laugh at the questions or seriously contemplate them? Look for that sense of whimsy or pensive side when you take the picture. Does the child doodle when he/she responds? Then look for ways to show the child is creative. Does the child twist her hair while she’s thinking? Great. Include that in a photo.
If you’re taking photos of your own child, you already know your child’s personality traits, his/her habits, his/her facial expressions. Capture those instead of (or in addition to) a posed in-front-of-the-camera smile.
Observe, Observe, Observe
After you talk to the child, explain you’re going to get your camera ready and back away. The child will soon lose interest in you, giving you a chance to observe the child relating to the world. Inquisitive? Intent? Distracted? Capture that in your images.
If you’re taking photos of your own child, try observing your child as if you don’t know him/her at all. You’ll probably see some things you haven’t noticed before.
Be Unobtrusive
Use a telephoto lens. The best photographs of children are those when a kid is acting like a kid. To capture that and all the emotions that go with it, you need to be an unobtrusive as possible. Use a telephoto lens so you can have some real distance between you and the child. This will help the child tune you out and do whatever he or she does best, whether it’s play, dream, run around, make up stories. Capture that.
Alternately, move in close to the child to capture a curve of the cheek, curls tumbling down a forehead, eyes deep in thought.
Show the Child’s Environment
Try to take your photographs in a place that means something to the child. A bedroom, playroom, playground, field – all of these say something about how the child relates to the world. Does the child run freely across the open field or sit quietly reading a book? Does the child see how high he or she can climb a tree or does he/she prefer to lean against it and pet his/her dog? Is the child’s room spotless, showing the child’s organizational bent, or is it a wild jumble of clothes and toys?
Look for the Extraordinary in the Ordinary
Take photos of the child doing everyday things like eating breakfast, elbows on the table, hair not yet combed; sleeping, curled up with a favorite animals or spread eagle, blankets off, bold even in sleep; doing homework, scowling over a difficult problem or with one eye on the TV. These say a whole lot about who the child is, which is way more moving than a posed photo with perfectly combed hair and a brand new outfit.
Try Shooting in Black and White
This really adds drama. Check it out. You can have black and white prints made from color negatives. You can also turn digital prints into black and white either in your camera (depending on which camera you use) or in a photo software program.
Above all, respect the child’s world. It is complex, compelling, and very, very deep.

Diaphragm

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A Diaphragm is a round device on the face of the camera that has an opening at its end known as the “aperture“. The function of the diaphragm is to make sure that light only enters the camera’s lens through the aperture. While the aperture can be widened or narrowed to allow more or less light into the camera, the diaphragm is meant to shut out all other extraneous light so that the film isn’t overexposed.
Because it limits the passage of light, a diaphragm is also known occasionally as a stop or an aperture stop. Adjustable diaphragms are called iris diaphragms or merely irises.
A comparable analogy for the way a diaphragm and aperture works can be found in the human eye. While the eye’s pupil allows light to enter the eye (like a camera’s aperture), the iris blocks the entrance of light (like the diaphragm).
An alternative to the iris diaphragm is a diaphragm that consists of a series of “blades.” This more primitive type of diaphragm was more prevalent in older camera models. The more blades available on these older diaphragms, the blurrier the pictures of the images will be.

Camera Phones

Camera Phones: Pictures from Anywhere

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Camera cell phones provide fun ways of taking and sending pictures in a flash. In fact, these entertaining little gadgets are redefining how people communicate and take pictures. Every day, people are discovering more and more unique ways to take advantage of the distinct features of camera cell phones.
First Camera Phone
In 1997, Philippe Kahn invented the very first camera phone to take pictures of his daughter’s birth.
However, the Sharp Corporation, a Japanese based company, was first in producing camera phones that were available commercially by 2000. Camera cell phones were an immediate success: by 2003, thirty million Japanese people had discovered the joy of camera phone pictures. By this time, camera phones had become common worldwide.
How Camera Phones WorkCamera cell phones don’t work exactly like normal cameras. The cell phone’s display screen takes the place of a viewfinder on a traditional camera. To take the picture, a photographer must hold down a button on the camera phone. The exact button depends on the make and model of the phone.
Early camera phones produced poor quality pictures that had very low pixel resolution. Similarly, the pictures taken with these original models took up a large amount of the cell phone’s memory, meaning that only a few pictures could be stored on the phone. However, as technology has advanced over the years, cell phone cameras can store more pictures that are of significantly better quality.
Today, most camera phones produce megapixel images. In fact, high-end camera phones can offer resolutions that are as high as eight megapixels. While the increase in internal memory space has allowed users to store more pictures, alternative methods of storing camera phone pictures have also increased a camera’s capacity to store photos. Some of the options include:

• email services that send pictures to other camera phones, personal computers or online photo album
• removable memory cards.

Like digital cameras, camera cell phones drain battery power quickly. Yet, continual advances in camera phone and cellular technology are producing longer-running batteries, making the phones even more attractive to consumers.
Camera Phone Costs
The cost of camera phones depends on the model you purchase and on your cellular service provider. Camera cell phone prices range from $130 to over $600. Higher-end camera phones not only take pictures, but also play music and capture live video. Often, cell phone service providers (such as Sprint, Cingular or Verizon) offer rebates on these types of phones for new customers. This can significantly reduce the cost of such higher-end phones.
Camera Phone Advantages
Camera phone pictures have many advantages. Unlike the bulky cameras carried by professional photographers, a cell phone camera is small, light and easy to carry. Having it constantly on hand means that you’ll be able to take a picture whenever a photo opportunity arises.
While some people take pictures with their camera phones for fun, many others have discovered practical uses for camera phone pictures. A common example is a person shopping for anything from dollar store items to furniture or even an apartment rental. The shopper can send pictures to a spouse or roommate to get a second opinion or approval.
Camera cell phones have also found applications in security and safety. Crimes in progress have been captured with camera phone pictures. Amateur photojournalists have caught breaking news stories on their camera phones. Similarly, if you’re involved in a minor collision, you can instantly take pictures of the damage done to each car.
Businesses also use camera cell phones in a practical manner to aid in communication. Using a camera phone, companies quickly transmit images that must be seen immediately by people in another office.
Camera Phone Problems
Although human ingenuity has found many uses for camera phones, the technology has also been used for negative purposes. One underhanded way camera cell phones have been used is in cases of espionage. Both government spies or people planning to steal the secrets of another company have been able to effectively use camera phones to document and swipe top secret information. In fact, Singapore bans the use of camera cell phones in areas of national security.
Other negative uses of camera phones include voyeurism (with the added problem that peeping toms can immediately disseminate camera phone pictures online).
Concerns have been raised that the unscrupulous use of camera phones could result in invasion of privacy. For this reason, both Japan and South Korea have a law that a camera phone must make a clearly audible noise to alert people when a picture is taken.
A camera phone can also be used to discreetly take pictures in areas where pictures are forbidden. Unauthorized camera phone pictures are a matter of concern in museums, art galleries and other such areas where the flash of the picture can harm the piece on display.
For the most part, however, people are using camera phones for the reasons you’d expect: to quickly share special photos with friends and family. The advantages of a camera phone are obvious: no other mode of photography allows people to share pictures so quickly and easily.
Camera Phones In The Future
As cell phone technology quickly advances, we can expect camera phones to offer even better quality images and additional features. While some camera phones already come equipped with a flash, the more expensive models include video-capturing technology.
If current trends are an indication, the camera phone of the future will include options currently available only in digital cameras. In addition, phones will be equipped with options, such as built in music and video players. Prices will continue to fall as cutting-edge features become standard options.
What’s even more exciting is the fact that all of these features come on a phone that is small enough to fit in a pocket. Camera phones are indeed an incredible achievement that’s changing the world.

Contrast Grade

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Contrast Grade refers to a series of numbers and categories that characterize photographic paper. Using a one to five scale and a specific adjective (soft, medium, hard, extra-hard or ultra-hard), a photographer can choose the right photographic paper for negatives that have distinct contrasts.
For negatives with images that have sharp contrast, a photographer should print on a low number paper that has a “softer” rating. This will balance out the intense contrast to more accurately recreate the original image. Conversely, a photographer should use a higher numbered paper with a “harder” rating to increase the contrast of a negative that has a duller image imprinted on it.
While professional photographers may be more adept at choosing the correct contrast grade, amateurs tend to have a bit more trouble. Learning how to properly select the appropriate contrast grade takes some experimentation.
A helpful tip to keep in mind is that contrast grades should be chosen to offset higher contrasts or heighten lower contrasts in the negatives. The effect to look for in the final print is an image that has a balanced contrast.
However, some photographers may want to accentuate or minimize the contrast of the final print for artistic effect. In these cases, his technique for choosing the appropriate contrast grade will vary, depending on the desired effect.

Camera Accessories

Camera Accessories: Essential Items For Your Camera Bag

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A good camera bag should offer more than just great protection for your photography equipment. Your camera bag should be sturdy, easy to open and close and have plenty of room for all of your accessories. Once you’ve chosen the right camera bag, fill it with the all the supplies that you’ll need for your next photo shoot.
Camera Bag Essentials
When packing your camera bag for a shoot, some items are essential to have while others are good to have just in case anything goes wrong. Read the following list for suggestions about camera bag essentials.
Batteries: Whether you’re using a 35mm camera or a digital camera, you should always have spare batteries with you. This is especially true with digital cameras that tend to have shorter battery lives. With a digital camera, you can typically plan on about two hours of power or about 150 shots before you will need a freshly charged battery.
Extra Rolls of Film or Spare Memory Cards: If you’ve ever run out of film, you know how frustrating it can be to miss a good shot. Always carry several extra rolls in your bag. If you’re using a digital camera, extra memory cards are fairly inexpensive and will keep you from having to delete photos before processing to make room for more.
Lens Cloth: Before you start shooting pictures with your camera, make sure that it’s lens is clean. Use a soft cloth to wipe off any fingerprints or dust that may transfer to your lens or LCD screen before and while shooting.
Extras That Can Make a Big Difference
Having the basic items like batteries and film may be all that you need in most circumstances. However, packing a few more supplies can make the difference between good and great photos. Here is a look at some additional items that you should add to your camera bag.
Mini Tripod: A mini tripod can fold up and fit into most camera bags. A tripod allows you to position, stabilize and support your camera during shooting.
Rain Gear: Nothing is more damaging to a camera than water. Always have several plastic bags or shower caps in your bag to cover your photography equipment during rainy photo sessions. Rubber bands are also a must as they hold the plastic tight to your camera, giving you the freedom to continue shooting through the rain.
Specialty Lenses: Telephoto and wide-angle lenses are two of the more popular camera accessories. These extra lenses will give you more options when taking advanced or action photos.
Battery Charger: This is another popular item for digital camera owners. If you’re on an extended trip, being able to recharge your batteries each evening will allow you to continue to shoot at will the next day.

Cable Release

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Cable Releases are the mechanisms attached to cameras that allow photographers to snap photos from a distance. Generally attached to a camera atop a tripod, a cable release consists of a wire, extending from the camera, that has a button trigger at the end of it. The photographer holds the button end of the cable and presses to trigger the camera shutter to take a photo.
Cable releases, along with tripods, are best used for film that needs longer light exposure. In these cases, the camera’s shutter must stay open longer, causing the cameraman to remain steady and unwavering for a longer period of time. Consequently, when the photographer wants to eliminate the possibility of the camera shaking, he may use a tripod and a cable release.

Portrait photography, close-up pictures and photographs taken in dim lighting are some of the most common instances in which cable release mechanisms are used.
More modern cable releases are available in remote control form and can be used on most cameras. While manual cameras respond to the traditional cable release, digital cameras usually only respond to digital forms of cable releases. Additionally, most come equipped with a locking mechanism to prevent an unintentional shot from being taken.

Darkroom Construction

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Many photographers crave their own darkroom to process pictures. If you are building your own darkroom, don’t fret! It’s easier than you think. Even a beginner can turn a garage or an extra room into a darkroom dream-come-true.
The basic requirements for a darkroom are running water, light blockage, a dry area to dry your pictures and sturdy work surfaces. To lightproof a darkroom, start by blocking any windows with black masking tape, aluminum foil and a blackout shade. Then hang a blackout shade in front of the door that extends to the floor and beyond the door’s sides.
Darkroom Photographic Supplies
Divide your space into a Dry Side for printing and a Wet Side for chemical processing.
Darkroom Equipment: Dry Side

• film tanks and reels
• an enlarger
• a light-tight paper safe
• a safe light
• a timer
• an easel
• a grain magnifier
• a paper cutter
• a dodging and burning kit to darken or lighten areas of a picture
• sufficient storage space
• a safelight near the enlarger
• a print dryer
• a place to hang the film to dry.

Darkroom Equipment: Wet Side

• running water
• a sink at least five feet long
• one deep tray with holes on one side
• a short hose from faucet to deep tray
• four smaller trays, preferably 11”x14”
• print tongs
• film clips for hanging processed film to dry
• small, medium and large graduates for mixing chemicals
• 6 to 10 large dark bottles for chemical storage
• surgical gloves and face masks
• a safelight over the trays.

Darkroom Photo Enlarger
Although you can get a good photo enlarger for as little as $200, keep in mind that you get what you pay for. If cost is an issue, check auction sites that have good used equipment. Make sure that the enlarger you purchase has a standard lens mount, an option for a glass-less negative carrier. Also the bulbs the enlarger uses are affordable and easily obtained in your area.
Darkroom Chemicals and Safety
Ventilation is very important. While you can install a lightproof extraction fan above the “wet” area, this is an expensive method. A cheaper alternative is to use a range hood or conventional extraction fan, such as those used in a kitchen or bathroom. These fans can be purchased from a building supply warehouse.
If you have pets and children, be sure to store photographic chemicals in a secure place with the caps tightly sealed to prevent spillage.

Photography Equipment: Cameras, Lenses and More!

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Whether you’re an amateur or seasoned photographer, you’ll need some standard photography equipment at any photo shoot you plan. While you probably know that a camera is essential, other photography tools, such as memory cards or additional lenses, may not immediately come to mind.
Photography Equipment Essentials
Obviously, some kind of camera is the first tool that a photographer will need. The following list details the various types of cameras a photographer can use:

• 35mm camera
• digital camera
• disposable camera
• SLR camera.

The accessories you need are dependent on the type of camera you have. While a manual camera requires film (with extra rolls), a digital camera demands a memory card (with extras for longer, more involved shoots). Regardless of the type of camera, photographers should always pack extra batteries.
Another key piece of equipment to have is a camera bag. Often overlooked as a photographic tool, camera bags not only carry your extra film/memory cards and batteries, but they also protect your camera in between shots.
Photography Equipment: Helpful,Yet Less Essential
Now that we have the essentials nailed down, we can move on to the tools that can spice up your everyday shots. One such piece of equipment is the tripod. By setting up your camera on a tripod (unless you’re using a disposable camera, of course!) you can steady your shot, eliminating any blurriness in the picture due to a shaky hand.
Along with the tripod, a photographer can use a cable release bulb. This mechanism allows a photographer to trigger the camera to take a picture from a distance. Often, the cable release bulb plugs into the camera at one end while the other end remains in the photographer’s hand. At the appropriate moment, the photographer presses the button in his hand, taking a picture. With the cable release bulb, the photographer can set up a shot, be in the shot himself or stand in places (other than behind the camera) to manipulate lighting or props. Most important, the cable release allows the photographer to take the picture without even the slightest tremor to blur the picture.
Specialized lenses can enhance a photographer’s shots. While some lenses are primarily used by professionals, the zoom lens is one type that amateurs can enjoy without much training. Zoom lenses, also known as telephoto lenses, are best used when a photographer can’t get close to his subject. For example, try taking a nature shot of an insect or an action shot at a sporting event. A telephoto lens improves the quality of these types of photos.
Professional Photography Equipment
Although much of the equipment described below is best suited for professional photographers, amateurs, of course, can dabble with these tools as well. Generally, this equipment is left to the pros because each piece requires that the photographer know how to use it just right so that his shots turn out.
Similarly, these pieces of photographic equipment tend to be expensive. Consequently, a photographer should invest in them only if he’s committed to learning how to use them or if he already understands how they’re used.
In addition to the telephoto lens, pros may consider using a macro lens, a fisheye lens or a wide-angle lens. While the macro lens enlarges small subjects in photos (such as the eyes of a fly), both the fisheye and the wide-angle lenses capture subjects that have a broad scope, such as overviews of cities or landscape shots.
Filters alter the way in which light enters the camera’s lens. A filter either slightly changes the details or shades of a frame or it creates an image on the film that isn’t visible to the naked eye.
Pros may need a special flash attachment, as the more advanced cameras they use may not come with a built-in flash. Also, photographers can use different types of films: not only will they change between color and black and white, but they may also use films of different speeds. While slower film speeds are best used in poorly lit scenes with only ambient lighting, faster speeds are more suited for action shots, such as cars speeding by.
Darkroom Equipment
Photography equipment can expand from here whether or not you have a darkroom. If you’re stocking a darkroom you’ll need a dry area with storage bins, an enlarger and a dry tabletop to dry your photos. Also, you’ll need running water and a series of chemical baths for the wet area.
The best advice for both amateurs and professional photographers alike is to practice with both new and old equipment. Experimenting with photographic tools will not only help you refine your skills, but it may also help you create interesting shots!

Digital SLR Cameras

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SLR, which stands for single-lens reflex, refers to a type of camera that employs a rotating mirror (either a pentaprism or a pentamirror) that reflects the image that comes through the lens onto a focusing screen. From the mirror’s reflection, the images then appears in the camera’s eyepiece. The image only reaches the film after the focal plane shutter opens (when the photographer takes the shot).
Produced in 1935, the GOMZ sport was first version of the SLR camera to be made. Different models flourished throughout the WWII era that included improvements in the viewfinder’s orientation and the camera’s internal mirrors. Since the 1970s, amateur and professional photographers alike have been using SLR cameras.
Over the years as photographic technology improved, retailers produced SLR cameras that were equipped with LCD screens, improved lenses and microcomputers. Today, camera manufacturers such as Canon and Nikon have made digital SLR cameras available.
While digital SLR cameras give the photographer the advantage of viewing the scene without parallax distortion (apparent movement of fixed objects when the photographer changes position), they do prevent the photographer from seeing his shot at the moment the picture is taken.

Traveling with Photo Equipment

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By Nancy Hill
Traveling with photo equipment can get complicated, but traveling without photo equipment would be pointless to anyone who loves photography, so here are some pointers that should take some of the stress out of it.
1. If you’re flying, carry your camera onboard with you to avoid damage. When you go through metal detectors, ask the attendant to hand-screen your film. To help expedite hand-screening, carry your film in clear canisters or remove it from its packaging and place it in clear plastic bags.
If you can buy film where you’re headed, consider waiting until you get there to purchase it. It’ll at least make one leg of your trip easier going through screening devices.
Do not pack unprocessed film in checked luggage. The scanner equipment is stronger than the ones used for carryon bags, and may well fog your film.
Check your airline’s web site to find out carry-on and checked-luggage policies. Some overseas airlines or small airlines do not allow you to carry luggage onto the plane with you.
Digital media are not affected by x-rays, but magnetic devices could harm them. Because there may be powerful magnets in the motors of conveyor belts, place your camera as far away from the beginning of the belt as possible.
2. If you’re traveling by car, keep your camera inside when you’re driving so it will stay cool. Carry it with you when you leave your car; it can easily be stolen out of the trunk.
3. Always, but always, keep your eye on your equipment. It takes only a couple of seconds for anyone to grab an unattended camera bag. Dangling a camera from your neck isn’t a good idea, either; it’s very easy to cut a strap with a quick cut of a sharp knife.
4. Know what you’re going to do about storing digital images before your trip begins. Personally, I prefer memory cards. Lugging around a computer or portable storage devices is a hassle. If I’m particularly protective about images, I either go to a one-hour lab and have them download the images to a CD or I go to a cyber cafe and download the images to an online image bank. If I need more memory cards, I just buy them. They’re not hard to find. If I think they may be hard to find, I take extra ones with me. You can never have too many memory cards.
5. Insure your equipment. See if your insurance company already covers your equipment in case of theft or damage. If it doesn’t, get a policy that will, especially if you’re traveling with thousands of dollars worth of equipment.
6. Unless you know your camera inside and out, take your manual with you. Just pack it in your luggage.
7. Make sure you take all your cords, etc. with you. If anything needs an outlet, bring an electric plug adapter if you’ll travel overseas. Bring one for your car, too, if you’ll be doing a lot of shooting in the field.
8. Protect your camera from inclement weather.
9. Avoid leaving your gear in extreme heat.
10. If it rains unexpectedly, the very least you should do is get your camera under an item of clothes to shield it the best you can. Get out of the rain.
11. If it’s cold, warm your camera up with your body heat to avoid condensation. If condensation does occur, empty the battery and memory compartments and keep the compartments open until they’re dry. If you take them back outside with condensation, they may freeze, and that’s bad news.
12. Use a UV filter to protect your lens.
13. Take equipment you’re familiar with. Traveling isn’t the time to try out new equipment if you want to be confident you’ll get good results.
14. Travel light with a good bag. Don’t bring every lens or body you have “just in case.” By limiting yourself, you may also find new ways of seeing.
15. If you’re going overseas, declare all your photo equipment with custom officials at the airport before you leave so you won’t have to prove ownership when you return.