Everyone, Pick your toes! Posted by: Barb Gordon |

Everyone, Pick your toes!

Posted by: Barb Gordon | 

Well, almost everyone. Who knew all these toes would turn out so cute. I guess next time I might try asking everyone to touch their toes to see what would happen. This actually was just a natural moment, the truly best images. When I photograph children especially, I try not to over coach them. Sometimes you miss beautiful natural images when you try and ask for too much or try to control the session too tightly.
When you are photographing portraits, take a moment to grab some images that are parts of the scene like I did with these guys’ little feet. Images of just an ear, just a hand, or the back of a head are all parts of the story. You may not even “feel it” but to a mom all of the parts are wonderful and will pull at her heartstrings.
I can relate to this a photo session I had of my husband and I on our farm just shortly after I had finished chemo treatments. One of the images was cropped just to my Labrador with my arms around him. To most people, not an award winning image, but to me, it was a heart tugging favorite and taught me a lesson to photograph more parts of images for my clients.

Finally a Flash for Outdoors By Barb Gordon

Finally a Flash for Outdoors

By Barb Gordon

I just purchased my first Alien Bee flash unit. It is a self-contained studio flash unit that I can take outdoors to use as a fill light. Perfect for groups when I can’t use a reflector.
Why use a flash outdoors? I am sure you have seen many images where people’s eyes were dull and lifeless. Eyes need a catch light, that little reflection that makes them look alive.
Many photographers underexpose a subject’s face especially with outdoor portraits. A reflector is a good answer when you are working with one or two subjects and you have an assistant to hold the reflector but when you have a family group you need something more.
I have tried small flash units held off to the side of the camera but they never had enough power and the recycle time was so slow. Keeping them stocked with batteries was yet another chore.
This little unit is small, light weight, and still enough power to add sparkle to a family group’s eyes.
I got the green one at http://www.paulcbuff.com/b400.php (And might I add that they have great customer service!)

Stop Using F8 all the Time By Barb Gordon

Stop Using F8 all the Time

By Barb Gordon

You can add a great deal of artistry and interest to your images by using other f-stops that are available. I actually do know a professional photographer who only uses F8. Really!
It is especially easy outdoors to shoot at wide open settings like this image that was shot at f4. Of course you will want to use manual settings and take a meter reading like a pro. (If you are unsure about how to do this, I offer a manual you can find out more http://barbgordonphotocoach.com/products/beyond-the-manual-beyond-the-photography-instruction-manual )
The boy’s mom said, “Oh, I like the background.” the minute she saw this portrait. She also ordered this pose. Why did it seem so interesting to her? It looked different to her because F8 is close to the amount of depth of field of the human eye so we are very used to that. Anything more detailed or less detailed will get our attention.
So to add variety to your photo sessions, use different f-stops for a variety in the looks you show your customers. It just might increase your sales too!
If you liked this article, please visit the Author's website at www.GordonPhotography.Biz 

Film or Digital

Film And Digital Photography: How Much Has Really Changed?

by: Andrew Goodall

Since digital cameras have taken over the photography world, there have emerged two types of photographers. There are old-school photographers who dismiss everything digital as fake, inferior, and not the same as 'real' photography. Then there are the digital photographers who think the film photographers are living in the dark ages. For the record, I use film. That is not because I don't like what digital photography has to offer. My reason for staying with film is simple; after 20 years of photography, I have a thousands of images on film that have yet to be put to good use. If I switched to digital now, those photos would probably be neglected for another 20 years and finally be thrown out. That's a lot of memories wasted. However, as a gallery owner, photography teacher, writer and club member, I am among digital photographers every day. Having lived and worked through all the years when photography has accellerated into the digital age, I have observed something that will surprise many people; not much has really changed. Being good at digital photography requires the same skills as traditional photography. You need to be able to work with aperture and shutter speed, understand depth of field and know how to handle moving subjects. A digital photographer requires sensitivity to light and contrast, and must develop a talent for creative composition. In teaching and writing about photography, I have been amazed by just how much things have remained the same. In some instances I have been certain that the new technology would create new challenges - only to find that for all practical purposes, nothing has really changed. Here is one example that is so similar it's spooky. In the days of film, you could buy film that was rated at different ISO speeds, relating to how quickly the film reacted to light. Faster films were great for allowing quicker shutter speeds in low-light conditions, but there was a sacrifice in quality. Photos taken on fast films had a grainy appearance, making them less suitable for printing big enlargements. Digital cameras have adopted the same ISO system. You can adjust the ISO setting on your camera, changing the speed at which your exposure will react to light. As before, this can be a great benefit, especially in low light. But here's the spooky part. When you set a higher ISO rating, your images become 'grainier.' Some people tell me it is pixellation, others tell me it is digital 'noise.' I don't know and don't really care. The point is, here is a whole new technolgy, recording images in a completely different way - and the outcome is exactly the same! Of course there are some major differences. The most obvious, and possibly the most positive change, is the elimination of film and developing costs from your photography budget. Add to that the convenience of being able to delete your mistakes and print your own photos, and your hobby just became a lot more cost-effective. That, however, has nothing to do with the actual skill of the photographer. Neither does the other revolution in the photography world. That revolution is software. With the aid of computers, people can work digital magic on their photos like never before. This has both positive and negative elements. Positive because the almost universal fascination with computers has seen a whole new generation take a real interest in photography. Negative because people too often rely on the technology to correct their mistakes, instead of learning to take better photos. Software can be wonderful. It can add a little 'zest' to a slightly flat image, or it can completely trasform a photo to portray colours and details that never existed in the real world. But software cannot overcome all the problems caused by bad technique. It cannot focus an out-of-focus image. It cannot correct a blurry photo caused by using the wrong shutter speed. And while cropping, cutting and pasting can solve some issues, they are no substitute for developing a real skill for composition. So, to return to my original theme: in the migration from film to digital photography, not much has really changed. That which is new is largely peripheral. While there are some advantages in terms of cost and convenience, most of the changes won't make you a better photographer. So here is my advice to photographers on both sides of the divide. Film photographers; don't be suspicious of new technology. Embrace it, make the most of its advantages, and you may be surprised just how easy it is to make the switch. Digital photographers; don't sneer at your more old-fashioned counterparts. The skills they have grown up with are the ones you really should be learning. ------------------------ Composition, aperture, shutter speed, depth of field...all the essentials of good photography seem simple when they are explained in terms you can understand. Visit http://www.naturesimage.com.au and check out Andrew Goodall's ebook "Photography in Plain English" to discover your own talent for photography. While you are there, subscribe to the online newsletter for even more tips...it's free! - See more at: http://designertoday.com/Articles/5347/Film.And.Digital.Photography.How.Much.Has.Really.Changed.aspx#sthash.9INbqXXY.dpuf

Surf Photography

By Mike Smolowe

What first intrigued me about surf photography was the idea of two completely separate entities, man and water, moving in opposite directions yet in complete unison simultaneously.  Where underwater dive photography concentrates on documenting the life below the sea, surf photography seeks to capture the life of the sea.  Continuously offering the ever-gratifying element of surprise, swimming in Mother Nature’s most highly concentrated form of energy with a camera promises never a dull moment nor the same photo opportunity twice.

The arrival of the first surf –specific water housing can be traced to the 1930s and a man named Tom Blake.  A pioneer of not only surf photography, but of surfing itself, Blake put the first fin on a surfboard and created a template for the modern windsurf board. Most importantly, however, Blake crafted the first waterproof box enabling surfing images to be documented from the water.

With the invention of the 35mm SLR camera, the modern housing began to take shape as medium format housings disappeared, making way for lighter, smaller equipment.  Evolution has brought us into the present digital age, where film has taken a backseat to the DSLR revolution.

Equipment

Today, water housings are typically made from hard plastic or carbon fiber, and can range from one single piece, to multiple adjustable lens ports and flash brackets.  Where dive housings require construction allowing for deep rated depth durability, surf housings stay near the surface, allowing for lighter, smaller construction and depth ratings to around 30 feet.  I recommend Aquatech© Water Housings.  Each piece on their housings is detachable, allowing for easy equipment change without needing to buy a new housing, not to mention they are the most durable housings I’ve seen.  

Attempts to shoot surfing with a dive housing will prove frustrating, obnoxious and, more than likely, dangerous.  Such a bulky, heavy piece of equipment can still be moved very easily by surging water above the surface, and without control of your camera/housing set up, it’s only a matter of time before you get a nice shot to the face from your lens port. I’ve seen too many broken noses and black eyes from ten-pound surf housings to trust something three times as heavy and twice as big in pumping surf.  If you want to try surf photography but don’t have access to the equipment or money to buy your own, borrow a friend’s or research rentals.  While they aren’t well advertised, they do exist.

Typical cameras used for surf photography are higher range SLRs with the highest frame per second speed available.  Because of the constant movement of water and small window for getting “the shot,” a high frame per second speed allows the photographer to concentrate on getting in the right position and holding the shutter down to ensure precision. 

There is a common misconception by those not familiar with surf photography that the photographer is on a surfboard shooting photos.  For the most part, surf photographers are swimming freely in the ocean, supported only by the strength of their legs and the fins on their feet.  Where dive photographers use large dive fins, surf photographers tend to use smaller body surfing fins that enable them to fit into tighter spaces and leave less to worry about when dodging waves.  My personal recommendation: Viper Brand© body surfing fins.

Lenses and Focusing

Surf photographers have many lenses to choose from.  Each lens serves a distinct purpose; a poor choice of lens can result in squandered opportunities.  The most common lens is the 15mm fisheye or non-full frame equivalent (I recommend the Tokina© 10-17mm).  A fisheye lens allows for perspective to be slightly warped, enabling more room in the frame.  The typical “inside barrel” shot, as seen below, requires the photographer to anticipate exactly when the wave will break while being in the right position to capture the surfer in the perfect moment.  To achieve a shot like this, a fisheye lens is needed and should be between one and three feet away from the surfer.  There is little room for error: one misstep can cause injuries to both surfer and photographer. But when a shot like this comes together, it’s magic.  
Fisheye shots also work well when attempting to highlight impressive action on a wave such as a big turn or air, or accenting the size and shape of a wave close up.  To achieve focus with a fisheye lens, you can set the focus before you ever get in the water.  A useful trick: put your camera on auto-focus, focus on a wall approximately 3 feet from the camera, then switch the focus back to manual and you’re set to go.  The more you stop down, the more will be in focus; pretty much any aperture smaller than f/5.6 will render everything in focus.

Sometimes when shooting at a large point or reef break with a channel, a photographer will opt to sit on a body board at a safe distance from the impact zone and shoot with a longer lens.  With the element of risk gone, you have the ability to frame the shot in the viewfinder and designate focus.  I find the best way to do this is enable the custom function that allows the rear button on your camera to focus (for Canon it’s the left of the two buttons on the top right on the back of the camera) and shoot on AI Servo continuous focusing.

When shooting wide angle it’s hard to have any control over selective focus, but with a long lens you have the ability treat surfing and water the same way you would shooting any subject on land with a small aperture.

Surf photography is unique because there are so many elements moving simultaneously. No matter how hard you try, you can never be in complete control of everything going on in the water.  For example, in this shot I was trying to highlight the wave in the background shooting at 70mm f/2.8 using AI Servo focusing.  It’s hard to tell from this angle, but this image is shot directly underneath a pier and at low tide. The surges of water pushing off of the pilings were pushing me back and forth as waves came and went.  Just before I hit the shutter, a surge sucked me down, causing the continuous focusing to shift to the surfer’s leash and thus creating a distinct depth of field.  This is one of those instances where an unavoidable and unanticipated thing happens that takes a vision and moves it to the next level.  As a surf photographer, it’s some of these unexpected types of images that I cherish the most.

Shutter Speeds

When I first began shooting water images, I misgauged how fast a shutter speed to shoot at to capture action with no signs of movement.  I began shooting at 1/500 of a second and couldn’t figure out why my focus was hit or miss because anything I had ever shot from land at even 1/320 had been sharp.  After a lot of testing and countless missed focuses I found that to ensure no movement at all, the magic shutter speed is 1/1000 of a second.  There are plenty of photographers that don’t even trust that and refuse to shoot at anything less than 1/1250, but 1/1000 has yet to give me any trouble.

That said, good morning or afternoon light doesn’t always allow for those kinds of shutter speeds. In these circumstances you have three choices:

1) Shoot as fast as your camera allows for proper exposure.  While you may not get perfect still action, sometimes you’ll capture something by accident that you didn’t anticipate. (below shot @ 1/500 second)

2) Experiment. Maybe shoot at 1/2 second and show some speed blur on purpose, or shoot at 1/60 second and pan with your subject.

3) Break out your flash.  Yes, it’s possible to control light even in surf  photography.  Different housings allow for different control. Possibilities range from on-camera flash to supplemental flashes that are held by other swimmers and triggered by either your on-camera flash or a pocket wizard.

Another common misconception (even by some surf photographers) is that every shot must be front lit by morning or afternoon, directional, “beautiful light.”  While these images have given surf photography its reputation, some of my favorite images are non-traditional.  Getting the fundamentals of shooting down is key, but don’t be afraid to try something new!  As in surfing itself, there is always room for progression. Count on it: if you don’t try something new, someone else will! 

Quick Tips

Everyone has his or her own methods. Here’s a quick checklist of the valuable tricks of the trade I’ve picked up along the way:

• When shooting fisheye, before you get in the water, spit on the lens port, rub it all over, then let it sit for a bit.  Keep doing this once in the water and when ready to shoot, dip the camera in the water right before you fire the shutter.  The spit will ensure that no water beads on the port for a good 5 seconds, so your image won’t get distorted by stray water drops.

• When shooting with a long lens, before you get your housing wet, wipe your finger along the inside of your ear and on the sides of your nose.  You will attract a small amount of oil that when rubbed on the front of the port allows for water to easily bead up and drip off the port.  Unlike shooting fisheye, however, you don’t want to dunk the port in the water.  When swimming, do your best to keep the lens port out of the water.  The oil is just a backup in case it gets wet.

• To capture still action, stay at or faster than 1/1000 of a second.

• Typical exposure in surf photography calls for shutter priority shooting.  I shoot at 1/3 – 2/3 over-exposed shutter priority to make sure I get the highlights straight out of the camera.  Unlike film, with digital you can always bring the blacks back.  Underexposing your image will result in increased noise when adjusting exposure in post-production.

• Always double check that your housing is sealed before you get in the water.  I’ve seen excitement to get in the water result in flooded housings and ruined cameras, so be careful!

• Don’t be afraid to experiment!

Freelance Photography: Digital vs. Film Case Study

• Melanie Brooks |
• Case Studies
• | February 15th 2012

Last week, the British Journal of Photography helped spread the news that Kodak will stop producing digital products as part of their ongoing strategic review? What is Kodak going to do? Refocus on good, old fashioned film.
At first, this sounded like brand suicide to me. But then I read on…

The news comes as Kodak is undergoing a wide-ranging strategic review of its businesses with the “commitment to drive sustainable profitability through its most valuable business lines.” But Kodak is quick to point out that the move won’t mean the end for Kodak-branded digital cameras. Instead, the firm plans to license its brand to third-party manufacturer – a move that mirrors Polaroid’s action in the years leading to and following its own bankruptcy. —bjp-online

Film has a core niche market. There are still photographers out there who use it, and use it religiously. Jonathan Canlas, a popular photographer based in Utah, recently came out with a book titled “Film is Not Dead: A Digital Photographer’s Guide to Shooting Film”. He also leads FIND (Film is Not Dead) workshops across the U.S. (which Kodak helps sponsor). There are about 65 testimonials about the workshop on Canlas’s blog,  from photographers all over the place. Some of them are so jazzed about the workshop they’re writing testimonials before they have even attended!
Canlas shoots ONLY in film, and his business hasn’t suffered from the trend towards digital photography in the least. In fact, I’d argue his business has grown from sticking to his chosen niche.
Stacey Hedman, a New England-based photographer, has been using film again for about a year. She started noticing that the photographers she most admired were using film, and she stared to pull out her family’s old cameras to play around with. In addition of going to film, Hedman and her fellow photographers are using manual light meters and cameras that haven’t been manufactured in over 20 years. “With film I feel more connected to the process—there’s more soul and art behind it,” she says.
Hedman suggests two reasons why photographers may prefer film over digital: the richness and creaminess of the photos themselves and the film’s ability to retain highlights. “What I mean by that is that digital may blow out the white in a wedding gown, to where you don’t see any detail at all,” Hedman explains. “With film, you can go really bright, overexposed even, and in the photo you will still see every piece of lace in the dress. Together these things can create an incredible color palate and tangible softness.”
Digital photography has created photographers who spend a heck of a lot of time using editing software like Adobe Photoshop to edit and correct for exposure or mistakes. “With film, you need to be more thoughtful and truly understand your situation before clicking the shutter,” Hedman says. “When my film comes back, it’s almost completely “done” editing wise, meaning less time in front of the computer editing thousands of images.” When Hedman uses film, she finds herself taking less photos because she’s being more thoughtful and money conscious—it costs her up to $30 to develop one roll. But the lack of necessity of retouching before sending them to her clients is worth the time spent behind the camera in the first place.

Hedman didn't retouch anything on these film prints.

When photographers send their film to a film lab to be processed, they typically scan your negatives immediately for a digital file. “The fact that I shoot film doesn’t mean that my clients can’t still enjoy an online gallery of their images with the ability to post to Facebook or share them on a DVD,” Hedman says. Some of her favorite photo labs on the west coast include Richard Photo Lab, Pro Photo Irvine, and Indie Film Lab. On the east coast she likes Chelsea Photographic in New York City and Old School Photo Lab in New Hampshire, near where she lives.
I know a slue of photographers who credit digital cameras with the rise in semi-professional photographers flooding the market—especially the wedding photography market. Just because someone has a nice camera, doesn’t mean they really know how to use it. They may have no idea what an aperture or an f-stop is, or bother to use manual settings on any occasion.
“The important thing to remember is that film doesn’t mean digital is bad, and digital doesn’t mean film is bad,” Hedman says. She personally considers her approach to photography to be a hybrid, because she prefers to use digital camera in the evening, or when an editorial client is on deadline. “Each medium truly excels for what it does, and it’s my job to know how and when to use my various tools.”
We’d love to hear from you freelance photographers out there about what you think of this “trend” back to film. Which do you prefer to use and why?

6 Totally Free Online Photography Classes

by Mark
Filed under Headline

5 Comments

Tweet

Guest post written by Melissa Tamura
This blog space is mostly dedicated to those who have at least intermediate experience in the world of photography. However, if you’re just getting your feet wet, there are some classes that you can take to help you beef up your knowledge. And the best part of these classes is that they’re absolutely free. Not to mention that you can take them from the comfort of your home. Of course, you can’t expect to acquire all the knowledge you need about photography by taking lessons over the Internet. However, these free courses may just help you understand a bit more about the craft.
1. Introduction to Photography – MIT, which originally taught this course, offers complete access to all of the coursework materials, lectures and syllabus for the Introduction to Photography class. While you will not be taught by a live professor, you will be able to follow the schedules and, according to the website, “foster a critical awareness of how imagines in our culture are produced and constructed.” In addition, it offers instruction on black and white techniques, digital imagine, lighting, film, exposure, development, printing and black and white techniques.
2. Photography Basics – Jodie Coston helps you explore both the creative and scientific sides of photography through a four-lesson online course. In the course, you will look at the history of photography, various camera and capture types, camera basics and lighting.
3. Intermediate Photography Video Lessons – If you feel that you’re beyond the beginner’s lessons listed above, you might consider eHow’s online series. This free photography lessons take you through 15 videos that look at everything from basic photography tips and techniques to framing, how to take good pictures, head shots and poses and candid photography.
4. Photoflex Lighting School – This free online school is a resource for those who want to learn how to improve both their photographic and video lighting skills. The site explains that it is a place for intermediate photographers to deepen their knowledge of the craft; however higher-level professionals are also encouraged to visit and learn.
5. Weekly Photography Assignments – About.com offers weekly assignments to help students learn the ins and outs of photography with hands-on lessons. The beginner’s course encourages you to dive in and learn the basics of photography through taking pictures of your home, pets, trees, water, items in motion and shadows.
6. Sites in Sight: Photography as Inquiry – If you liked the idea of taking an MIT course to learn photography then why not try one more? The elite institute of technology is offering free access to coursework for its “Sites in Sight: Photography as Inquiry” course. The class “explores photography as a disciplined way of seeing, of investigating landscapes and expressing ideas.” It’s a great course if you’re looking to expand your knowledge of photography.
So now that you’ve learned about the courses that are available to you, it’s time to dive in! Being able to take advantage of free coursework is something no aspiring photographer should pass up.
This article was written by Melissa Tamura, who writes on the topic of online engineering degrees for the Zen College Life Blog. She would love to hear from you at melissatamura@gmail.com

Photography Tip – Managing Your Photos

Image management is the term used by eBay sellers for editing, storing, and uploading your photos.
Most digital cameras come with photo editing software. I happen to like Nikon’s the best. You can set it so whenever you plug your camera into the computer it automatically opens and you can import your photos with one click.  Or, if you're a film photographer you can just scan your pictures via your printer, upload them into your computer and edit using one of the free editing software downloads below. 
There are also a number of software programs you can buy to perform this function. If you own an Apple computer you are lucky because all Macs come with i-Photo which is one of the best all around photo editing and management programs on the market. There are some very advanced (and expensive) programs available such as Adobe Photoshop, but if your digital camera doesn’t come with one, there are some good consumer-level programs available as well. If you go to www.tucows.com there are a number of free image and photo management programs you can download. One of the best is PhotoPlus. The download is free, but they make their money selling the support and training tools which cost far less than most expensive programs and are excellent.
Whichever program you use, you want to be able to easily plug your camera into your computer, import the photos and then give them file names so you can organize them, and edit and crop them. Most of the software programs have a feature which allows you to adjust brightness and contrast also just in case you didn’t get a great photo in the first place. This is a real time saver because you don’t have to re-shoot your product.
Once you have your photos edited and named, you will want to create a folder on your hard drive called Auction Photos or something like that. Within this folder you will want sub-folders with the product categories you are selling. Simply file your photos to the appropriate folder so you can easily find them when you are ready to upload them to your auctions.
Once you have your photographs on your hard drive you now need to get them into your auctions. eBay offers two ways to manage your images. You can insert images from your computer’s hard drive one at a time as you launch auctions and eBay will charge you for each photo. The first photo is free and each additional photo costs $0.15. So, if you used four photos in a auction it would cost you $0.45 for every auction whether the item sold or not. This is obviously too expensive if you are running dozens of auctions a week. eBay also offers a subscription hosting program based on the number of photos you host. It starts at $9.95 for 50 MB, and goes to $19.95 for 125 MB and $39.95 for 300 MB. This is also very expensive although eBay does give you free editing software when you subscribe to this service.
Another way to host your photos is on a web site. If you already have a web site you can simply upload your photos to a web page and just insert the web URL of the specific photo into each auction. Unfortunately this is very time consuming and you have to pay for the web space.
You can also host your photos with an Auction Management Service. My favorite is Vendio. Another popular service is Auctiva. These companies will host your images as part of their service. The money you save using eBay’s hosting service will easily pay for the cost of most auction management services. You not only get photo hosting but you get a lot of features to automate your auctions as well. In my opinion this is the best way to go if you are going to be launching at least 15 or more auctions a week.
The images are stored on the web site of the auction management service. When you create an auction, you get to the page to select the images you want to attach and simply double click or select a check mark next to the photo. The service inserts the URL of the particular image into your auction. When the auction launches, eBay just looks for those images at the named URL and they are displayed in your auction every time someone clicks on it. If you select a gallery image, that URL is fed constantly to eBay’s web site so it is always visible when members are searching, browsing or perusing the gallery.
Once you start using an auction management service you will appreciate both the speed, and therefore timesaving aspects of hosting your photos this way, but you will get the whole host of additional services such as templates, automated customer emails, shipping calculators, and inventory management tools that come with the service –usually for what you would be paying eBay to host photos individually.
by: EZauctiontools.com

Jewelry Photography Kit

Please read this Page carefully to photograph jewelry and small shiny objects.

The EZcube light tent and jewelry photography kit can give anyone GREAT RESULTS with just a little effort and practice. However, there are some things you have to know before you start.
First of all you need the right camera. Not every camera will work for photographing jewelry and other small objects. Your camera must have the following features:

• Optical zoom lens –an electronic-only zoom lens will not work.
• Macro setting that allows the camera to focus up close
• Manual Focus – The highly reflective quality of jewlry will fool the laser focusing system in most cameras almost every time.
• Exposure Compensation – This is a setting on the camera that allows you to adjust the automatic exposure setting + or – in steps such as +1, +1.5, +2, etc. Once again when you are shooting jewelry against differently lit backgrounds, it can fool the meter in your camera.
• Manual Exposure or Aperature Priority Setting – When you focus up very close with a camera you lose what is called Depth of Field (DOF). Depth of field is the distance that is in focus from the front of the object you are shooting to the rear. If you shoot a senic shot of someone standing on a senic overlook and they are in focus as well as the mountains in the background you have huge depth of field. When you are outdoors with lots of light, your camera will stop the lens down to a very small opening. But if you shot someone indoors with just the surrounding light (no flash) you would see that they are in focus but perhaps a lamp or a painting on the wall behind them would be out of foucs. This is because the camera needs more light so it opens the lens wider.Professionals call lens openings, F-stops. The smaller the lens opening, the higher the F-stop number and the more depth of field you have. The larger the lens opening, the lower the (remember lower and larger both start with the letter “L.”) F-stop number and you have less depth of field. Now here is the problem with jewelry. When a camera focuses up close such as within 6 inches of an object, the depth of field can be as short a one inch. This means if you are shooting a piece of jewelry such as a bracelet that is two inches in diameter, part of it might be out of focus.If you buy a camera with an Aperature-Priority setting, you can set it to a high F-stop, which will increase your depth of field when you shoot up close. Sorry that was a long-winded explanation, but this is very important.

So what does this all mean to you. If you buy an EZcube to shoot jewelry, and you don’t have the right camera, you will be very unhappy because you will not be able to get professional-looking photos. If you are going to sell jewelry on eBay or through your web site, you are going to have to invest in a camera with all of the features described above. This means you are going to have to spend about $300 or more.  (Or just use a good film camera instead)








by: ezAuctiontools.com

• 
• Search for:
• 
  

EZcube Table Top Photography Studio Light Tent

The perfect solution for eBay and web site photography that anyone can use.

Save Money. Look in our  EZcube Store for Special Package Pricing on complete kits.

Several sizes available for all product types.
This is where we sell the famous line of EZcube Table Top Digital Photography Studios used by more eBay professionals than any other studio solution on the market.
If you own a camera you can take perfect, professional-quality photos every time with no training whatsoever Three sizes for every application.
Using an EZcube makes product photography super easy. Simply place the object to be photographed in the EZcube tent and light the tent from two sides. There’s no need for flashes or strobes.
We recommend using daylight balanced fluorescent lights since they have good color balance and won’t get hot like incandescent lights (These come with all of our complete kits).
Simply place your item in the light tent, turn on the two lights and shoot. You will get a great-looking result every time. You can even place colored backgrounds in the tent. (We use construction paper from the art supply store).

Makes product photography super easy

• Perfect for anyone that needs to shoot images for a web store, print or online auctions
• Click on the EZcube Store Link at left to see the various models and our Discounted Pricing.
• Portable: EZcube tent folds up into a 12 x 12 inch flat package.  The lights can collapse and fit into a small duffel bag.

All complete sets come with the perfect lights for Digital Tabletop Photography. These professional quality lights are cool to the touch, are easily adjustable and stay locked in position making them very easy to work with.
Each light set consists of a sturdy adjustable height light stand, a high quality 10″ reflector with socket, and our 30 Watt Trumpet Top daylight balanced compact fluorescent bulb. Two lights work great for most product shots.

What is included with every EZcube?

1. EZcube^TM- High quality guaranteed.
2. White fabric background Sweep – Removable and machine washable, seamless backdrop.
3. Front Panel with double zipper- To completely enclose your product for shooting highly reflective items.
4. Top flap opening with double zipper- To access your products
without disturbing your setup; or to flip over something stationary.
5. Carrying case – Collapse and carry anywhere, or store the Frisbee size folded EZcube under the couch!
6. EZcube instruction manual and DVD - for basic use and lighting information, to get you started fast
7. EZ Rigging clips and grommets to suspend objects

Do you sell on eBay?

Subscribe to the oldest and largest FREE newsletter for professional eBay sellers. You’ll get up to the minute auction news, winning tips, product evaluations, wholesale resouces and more. Published continuously for 13 years -- the eBay Seller's News is still free! Please click here to read the current issue.







by : EZ auctions.com

Make Money With A Camera

Robert Atkins

• Sell it. Best camera for this type of work is a Leica, preferably an unused “special edition.”
• Pawn it. Not as good as (1), but still not bad. Again, Leicas are the best kind of camera for this work.
• Lurk around in a dark alley, and when someone comes by, hit then over the head with your camera and steal their wallet. Here the superiority of medium format work really shines. Mamiya RB67s or Pentax 6x7s are very good. If you have to use 35mm, rumor has it that Nikons work better than Canons. Under really difficult conditions, use a sturdy tripod (always a good idea).
• Sell pictures to your friends and colleagues. The best way here is to follow them around in the evening and weekends. If you are lucky you’ll spot them doing something like going into a massage parlor or being stopped by the police for DWI. Pictures of these events usually sell for quite a bit more than the usual portrait work. 35mm is the preferred format, and a long-range zoom is the lens of choice.
• Sports Photography. Follow a prominent sports figure around all day, every day, and take close-up pictures with a wide angle lens and flash as often as possible. With luck and persistence you will be the victim of an assault, for which you can sue. Even an out of court settlement can be quite profitable. I’d suggest an inexpensive P&S camera for this type of work.
• There is no 6, 7, 8 or 9. What you gonna do? Sue me for article fraud?
• Become a pro by joining IFPO and sell yourself to people even more gullible than you are. Make lots of money, retire, and write a book about how to make money with your camera.

Disclaimer:  This article is clearly intended to be a humorous spoof.  Please do NOT do any of the above.  'til next time, happy shutter bugging.

Auction Items Photos

By David Steiner
AuctionBytes.com
August 10, 2003
Several months ago, I wrote an article illustrating how to make an inexpensive seamless background for taking auction pictures (http://www.auctionbytes.com/cab/abu/y202/m11/abu0082/s02). A “seamless” eliminates distracting hard shadows behind the subject you’re photographing, giving your item a more professional look (and hopefully increasing bids on your auctions). The beauty of the seamless I suggested was that it only cost a few dollars to make and also folded up nicely for easy storage.
The EZcube is a photographic-nylon light tent that not only provides a seamless “sweep” background, but is also translucent. This allows diffused light to enter the inside of the tent from all sides, giving a soft, even light to the item you’re photographing. Here’s a page I created that shows an EZcube in action: http://www.auctionbytes.com/cab/pages/ezcube
The EZcube takes less than a minute to set up and simply entails pulling the expandable tent from its soft case, unfolding it, and attaching the “sweep” inside the cube by its Velcro tabs. (The sweep is a piece of nylon that attaches to the inside of the EZcube to make a seamless background.)
You can set up lights on either side – or do what I did, which was take the EZcube outside and let the sunlight filter through the light tent. The larger of the two available models opens up to a 30″x30″x30″ cube, which I found to be more than adequate for most of the items I sell. Dougherty’s site also sells a 20″x20″x20″ polyester light tent for smaller items.
The EZcube comes with a nylon panel that attaches to the front of light tent. The panel has a slit in the center that allows you to insert the lens of your camera and take pictures. This is very handy if you’re shooting something highly reflective and want to surround it 360 degrees. No more reflections in shiny metal teapots!
The front flap also diffuses light being thrown toward the front of your item. For example, I enabled the flash on my camera, and used the nylon panel to diffuse the flash so that no “hotspots” of light appeared on my item.
Another option is to put a piece of colored cardboard inside the EZcube, in place of the nylon sweep. That gives your pictures some variety, in case you get tired of the same white background. In fact, even though the nylon sweep is machine washable, Dougherty recommends using cardboard inside the tent to keep from soiling the material.
The most challenging aspect of the EZcube is folding it up to fit back into its 16″x4″ case for storage. There’s definitely a trick to it (the technique is outlined step-by-step here: http://www.tabletopstudio.com/documents/Folding-the-cube.htm). But once you’ve mastered it, you’ll be folding it like a pro!
I have to say that in nearly 5 years of doing online auctions, this is one of the most useful tools I’ve seen come along.
David Steiner

• 
• Search for:
• 
  

Kids

Tips on Child Photography

Learn To Photograph Children For Money Or Pleasure

Tips on child photography! How to create a stunning portfolio for yourself or your client - Where do you start? Whether you are just here to learn how to get the most out of your digital camera when photographing your own children, or are looking to make a living from this style of photography, hopefully these tips on child photography will lead you on your way.

Whilst infant or baby photography can be one of the most rewarding areas, it can also be quite frustrating. If you have your own or have been around young children long enough, you will know what I mean! The term "never work with animals or children" springs to mind and usually relates to photography or film-making. However, done right, you will end up with photographs that will last forever and really capture the spirit of the moment.

I have seen Mothers in tears (of joy I might add!) when they have seen some photographs of their children, and you cannot put a price on that kind of reaction! With regard to pricing, that is something you must decide depending on the demographics of your particular area. I find it easier to charge a little more for the sitting but offer prints at a competitive rate, I normally get larger orders that way!

If you are looking to do this type of photography for a living, it can be both lucrative and ongoing as you may well become the family photographer for many years to come. Kids change so much in just 6 months so establishing yourself early on would be a great business move. Just follow the links below in the order that they run.

If you have any further questions on any photograph in this section, please fill in the form at the bottom of the page. Also, please let us know if there are any other subjects you would like to see covered.

1. Be Prepared
2. Smile Please
3. Show Your Wares
4. The Setting
5. The Natural Approach
6. Clothes and Props
7. Equipment
8. Lighting
9. Be Ready
10. The Formal Shots
11. The Eyes! The Eyes!!

Click Here for Sample Photographs for Tips on Child Photography

Article courtesy of:  All Things Photography 

Photography Training

• ShutterMag

  Free Online Photography Magazine

  Looking for world-class free online photography training by the best photographers in the business?
  Quality online photography training and education is priceless in today’s competitive landscape. Shutter Magazine was created by photographers for photographers in order to help raise the bar of professional photography industry. This free online photography training and education resource is sure to help all professional and amateur photographers with how-to tips, including all the facets of being a photographer regardless of whether you are a professional or amateur.
  
  Training topics will include photography lighting techniques, photography off-camera flash tips, photography posing guides, photography business concepts and marketing strategies, Facebook for photographers, boudoir and glamour photography training, high-school senior photography concepts, photography selling strategies, family photography, lightroom how-to, photoshop how-to, and much much more.
  
  Our contributors include, Sal Cincotta, Sue Bryce, Lori Nordstrom, Jennifer Rozenbaum, Vanessa Joy, Jason Groupp, Skip Cohen, Taylor Cincotta, Laurin Thienes, and many others.
  
  Photography training and education courses don’t have to cost an arm and a leg. Shutter Magazine is geared towards giving you the photography training and education you need in all aspects of your business. Best of all, its free!
  

• Sign-Up
• Shoot-2-Sell
• ShutterMag
• FAQ
• Aperture Society
• ShutterFest

Cool/Cold Weather Photography

How to Use Your Camera in Cold Weather

'Tis the season, and we're getting lots of letters from NYI students and other Northern Hemisphere Web visitors about taking photos in cold weather. There are lots of great photo opportunities out there whether your idea of a good time is ice fishing, snow shoeing or just plain walking in the winter wonderland. You just need to get out there and take the proper steps.

The letters we get reveal that the proper steps for winter camera protection are often confused in people's minds. Here's an e-mail we got recently from a photographer in Ontario, Canada, that is typical: "I am happily snapping away, but having a bit of a problem keeping my camera warm and unfrozen in our cold, blustery weather. If I carry it bundled under my coat, should I keep it in a plastic bag (I read about this somewhere) to prevent condensation? Any other suggestions for camera protection?"

Okay. You asked. Here are the facts and the answers to all the basic camera tips regarding cold weather.

The problem with lots of camera tips about cold weather photography is that they get out of sequence. Here's why. There are really three different scenarios to consider: First, what to do when you take your camera from a warm, cozy home or car into the bitter cold outside. Second, what to do when you're shooting pictures outside in the cold. Third, what to do when you finally bring your freezing camera back into that warm cozy house or car.

Okay. First, what should you do when you bring your warm camera outside? Do you have to worry about moisture condensing from the cold air onto the warm surface of the lens or the film or the electronics? No. Cold air has low moisture content. There's little or no condensation when you go outside into the cold. (As we'll discuss, this becomes a problem when you go back inside.)

So what's the problem? The main problem is loss of battery power!

Batteries

The chemistry and physics of how batteries generate electrical energy means that at very low temperatures all batteries lose power. They're just not as efficient. This is a particularly serious problem with today's digital cameras that are totally dependent on battery power. So, when you take your camera and flash out into the cold, you should anticipate a loss of battery power. How do you prepare for this?

First, by keeping the camera and flash (and their batteries) as warm as possible, even outdoors. To do this, when you go outdoors, carry them close to your body, for example, under your coat. Let them share your body warmth except for those brief moments when you are actually taking a picture. (Keeping your camera protected and warm this way will also minimize the possibility of a manual shutter sticking because its lubricant freezes.)

The second way you prepare for the expected loss of battery power in the cold is to bring spare batteries with you when you go outside. And keep these spares close to your body too; for example, in a shirt pocket where they will also benefit from your body heat. Then, if your camera (or flash) batteries start to fail, you can insert warm fresh batteries.

All right. You're outside now. What should you do differently because of the cold? Your objective is to continue to try to keep the camera and flash as warm as possible. For example, let's say you're staked out waiting for wildlife to appear over yonder hill. Set up your tripod, but if possible keep your camera protected under your coat until you're ready to shoot. Here's where a quick-release head comes in handy. When you see your quarry, pop the camera onto the tripod quickly and quietly. An ice-cold tripod will do its job for far longer than an ice-cold camera, which is likely to fail. Tripods, by the way, will eventually freeze when temperatures are well below zero, depending on the type of lubricant in the tripod's joints and head.

We've noticed that some digital cameras, which tend to eat batteries anyway, conk out very quickly in cold weather. Carry lots of batteries. As we already noted, if you find your battery power failing, you have extra warm batteries with you.

Static Electricity

What other problem bedevils the photographer in the cold (other than frozen fingers and runny nose)? Static electricity. If you live anywhere in the North, you know the problem during the winter – if you walk on a carpet, you may get a shock when you shake hands or touch a doorknob. Realize that static electricity is a problem only when the humidity is low. And cold weather means low humidity because cold air cannot hold much moisture. When you use your camera outdoors in the cold, therefore, you risk creating a buildup of static electricity when you advance the film (this is the equivalent of walking on that carpet) and when the buildup is sufficient a spark may flash inside your camera, fogging the film. While this is rare, it does happen. We've seen it and the results ruin the affected photographs. How can you minimize this possibility in cold weather? Advance your film carefully. With a manual camera, advance the film slowly. With an autowind camera, shoot only one frame at a time.

Keep Yourself Warm

And the final camera tip for shooting outdoors is for you to keep warm. Dress in layers. Wear good warm boots. Bring along a Thermos of hot soup. (Coffee and alcohol are counterproductive; they make you less able to maintain your body warmth!) And, if it's really cold, consider some supplementary heating devices, such as skiers use – plastic packets of chemicals that can warm the hands or feet when they are kneaded, or even battery heated insoles for your boots. You need thick gloves, but these are not great when it comes to pressing the small buttons on your camera. So consider gloves sold in backpacking stores that have fingertips or mittens that can be folded back so that you can momentarily use your bare fingers.

Shooting in Snow

What about taking photographs when it's actually snowing or sleeting? If it's just a few flakes, just keep your camera under your coat except when you shoot. Not long ago, we were outside photographing when a heavy snow squall hit. In a few seconds, the whole world was awash in swirling, blowing soggy snowflakes. This kind of heavy downfall can play havoc with the exposed parts of an SLR or digital point-and-shoot, particularly the highly electronic models where any moisture can snarl the all-important circuits that control all the camera's functions, as well as digital cameras.

Here's a camera tip for when it's really coming down. Don't use your SLR unless you have it protected by a waterproof device such as the plastic-bag type housings made by Ewa. These handy gadgets are designed for snorkelers – you put your camera into the plastic bag and seal it. Your camera's lens is positioned so it "sees" though a clear optical glass filter. Your camera is protected from moisture by the plastic sack and the lens by the glass filter. We should note that these are fine for snowstorms as well as snorkeling. They aren't made for higher water pressure that scuba divers encounter at greater depths. That's another topic for another article.

Another approach in snowy conditions is to use a waterproof point-and-shoot or even a waterproof single-use camera. Several single-use models put out by Kodak and Fuji have ISO 800 film and should be able to capture an image as long as it's not too dark.

Whether you're using a waterproof holder or a waterproof camera, you'll have to make sure that snowflakes or water droplets don't obscure the view of the lens. If necessary, wipe your lens with a dry, lint-free absorbent cloth. We use either a well-worn all-cotton t-shirt for this purpose, or a microfiber cleaning cloth.

If you follow these precautions, you should have no problem keeping your camera protected when working outdoors and taking all the great winter photographs that you encounter, regardless of the weather..

Condensation

Now it's time to come back indoors. Here's where condensation can be a problem. You've seen moisture condense on a cool glass of water on a hot summer day. Your lens and the film inside the camera behave the same way when you bring them inside – moisture from the warm inside air condenses on their cold surfaces. The lens can become completely covered with moisture, as can the film and the mechanical and electrical components inside the camera. You don't want moisture – water! – on your lens or inside the camera. So how can you avoid this problem?

Let your camera warm up slowly. Place it on a cool windowsill or an unheated porch for a couple of hours so it can rise slowly to room temperature. Since condensation can play havoc with an all-electronic camera, you want even greater protection for them. This is where the suggestion of wrapping a cold camera in a plastic bag comes into play. The moisture will settle on the outside of the bag rather than on the camera's outside and inside surfaces. You can protect the delicate electronics this way. In fact, it's best if you place the bag on the camera while still outside, not when you bring the camera in.

With these simple precautions and camera tips, you'll be able to take great photographs outdoors in cold weather. Cold weather offers exceptional opportunities for wonderful landscapes because of its crystal-clear air. So don't be daunted when the temperature drops into the Arctic zone. Just dress properly, take these few precautions, head outdoors, and get going!
by: New York Institute of Photography