Digital SLR Cameras — Should I Buy One?

Writen by Andy Needham

The price of digital SLR cameras continues to fall. It is not so long ago that these were only affordable by professional photographers. Even then it was considered a major investment to buy one. As technology has advanced allowing prices to drop you will find digital SLR cameras now being owned by an increasing number of photography enthusiasts.

As the market for digital SLR cameras has expanded this has had a knock on effect in the range of compact digital cameras that are available. We are now seeing less and less advanced compact digital cameras that have features similar to those found on an SLR. These are effectively being squeezed out of the market by the cheaper SLR cameras. This in turn forces more people to buy an SLR if they are looking for a serious camera with a wide range of features.

The biggest advantage from buying a digital SLR is the improvement you are likely to see in picture quality. There are two main reasons for this. The first is the size of the sensor that sits inside the camera and captures images. A sensor inside a typical SLR is far larger than one in a compact digital camera. The second reason is the quality of lenses. Those available to add to an SLR are of a much higher standard than you will find on a standard compact digital camera. You are also likely to find higher quality components and controls in general. The combination of these features all add up to better picture quality.

Another advantage is that you can build up a system of lenses over a period of time. The beauty of SLR photography is that you can buy specialist lenses for specific tasks. For example you can buy a wide angle lens for landscape shots and a macro lens for close up work. You will find that the largest part of your investment is in the lenses rather than the camera itself. This means that if eventually you would like to upgrade your camera or buy a spare one then your lenses should also work with the new camera.

It is important that you set aside a decent budget for lenses. Buying a cheap lens will lead to a reduction in picture quality. To help keep the overall costs reasonable when you are starting out you can consider buying a kit that includes a camera and one or two lenses. Always shop around for value. You will find prices really do vary from store to store.

If you own a traditional 35mm camera then you should be able to use the lenses you already have with a new digital model. This is true as long as any camera you buy has the same lens mount as your original camera. From time to time there are some restrictions that stop older lenses from working. I would always advise you to double check the compatibility of your existing lenses with the manufacturer before purchasing your camera. This is much better than being disappointed after you have spent your money.

There is one point to look out for with existing lenses or if you are planning to buy new ones. Any lenses made for 35mm cameras will have their focal length affected by the size of the sensor on a digital SLR. This occurs because the sensor inside a digital SLR is usually smaller than 35mm. This increases the telephoto capacity when the lens is used on a digital SLR and decreases its wide angle capability. New lenses have been introduced specifically for digital SLR cameras to alleviate this issue.

The leading brands are Canon and Nikon. Other established players are Fuji and Olympus. Konica Minolta has withdrawn from the market. Later entrants are Sony and Panasonic.

This article was provided by Andy Needham of http://www.cameras.co.uk/. Cameras.co.uk is a site that provides reviews, price comparisons and general help about buying digital cameras. There is also a special section where you can ask a question if you would like further help.

Stepping Up to Double Lighting

Writen by Kenneth C. Hoffman

For all you flash-on-the-camera photographers out there, you’ve come a long way but there’s a higher lighting plateau of quality photography called double lighting. Are the benefits of using two lights for your social events worth all the trouble and extra cost? Sure, the flash on the camera is safe, foolproof and convenient, but if you compare the two types of lighting, the difference is striking.

First, the color is more intense. The main light strikes the subject at an angle, sending the reflected, colorless light off axis, away from the lens. Except for highlights, the absorbed and scattered light entering the lens contains only saturated color. The light on the camera serves two purposes: to keep the density level of the shadow areas high enough for good contrast and detail, secondly to evenly light the whole picture area, and thirdly to flatter the faces and remove the bags under the eyes.

In order to achieve the above benefits, a proper ratio must be retained. One easy way is to set the lens on F8, the fill flash on F8 automatic, and the modeling light on F11 automatic. This configuration should produce twice as powerful a light coming from the modeling light as from the fill light no matter what the distance from the lens to the subject. Ideally, a flash meter should be used to verify and fine tune the output. If a flash meter is not available, a few test exposures will suffice.

A second method sets the fill flash on manual one half power and the modeling light at manual full power. This setting requires the F stop to be changed if the distance from the lens to the subject changes significantly unless OTF (off-the-film) is available in the camera.

While the fill flash can be conveniently kept small, there are several options available for the modeling light. A small silver umbrella reflector (minimum 18 inches in diameter) is the least expensive and does a good job. Better is a soft box (minimum 12 inches in diameter) but requires a more powerful head. Simplest is bare bulb which is soft but not too flattering to faces and requires a lot of power. Four hundred ISO is fast enough to use with 100 WS electronic flash. I recommend the use of a radio slave to trigger the second light for a guaranteed proprietary use. Other flashes in the room will have no effect on your second light, saving the batteries and preventing other photographers from using your light and/or ruining their own pictures.

Though a light stand is sufficient to support your second light, with a little instruction, a live person will save you a lot of running around. The modeling light may be situated to the photographer’s right or left side, producing a thirty degree angle to the subject. If the subject is twenty feet away from the lens, the modeling light should be seven feet to your right or left. An added benefit is that the backgrounds will be softly lit, but will never overpower the subject in importance.

For those photographers working with a digital camera with a built in pop up flash, a small slave flash will do the job. Vivitar makes a slave flash with a guide number of 93.

This is three times more powerful than the flash in the camera but 1/4 or 1/8 power can be set for a better ratio. With the camera ISO set on 200, the Vivitar DF200 is powerful enough to be used as a bounce flash. Aim the slave flash into a corner of the room (half on the ceiling) behind you and to the side. Use full power on the flash and try setting the aperture on F5.6. The camera flash may need to be softened with a piece of translucent plastic. I recommend a few test exposures to verify the ratio. One benefit of bounce flash is the nice modeling you get on the faces. Another is that the same camera settings can be used for any distance from the camera. You will be amazed at the saturated colors and the three dimensional effect of the modeling on the subject.

My experience as a wedding photographer allowed me to compare many styles of shooting. Comments welcome.

The Ultimate Advantages Of Digital Photography

Writen by Warren Lynch

Advances in the design and capabilities of digital cameras are happening nearly at the speed of thought. Digital cameras are experiencing technological advances as rapidly as PCs did a few years ago. Once marginally acceptable for taking a snapshot or two, the digital camera is forging its way into mainstream amateur and professional photography circles. And it’s no wonder.

Once of the best of the long list of advantages of digital photography is the immediate ability to view the scene through the digital camera’s LCD screen. Even the best TTL focusing doesn’t convey how the scene is going to come out as well as the LCD screen does.

Combine that nifty preview feature with the immediate gratification that comes from the ability to view the shot after it’s been taken, and there are no longer any excuses for coming home from vacation with a pile of lousy photographs.

Then there’s the low cost of film. Wait! Make that the NO cost of film. Sure, digital camera storage devices tend to cost a bit more than your average roll of ASA 1000, but it’s a one-time cost that keeps on giving and giving over and over again. Combine the no film costs with the no film processing costs and you suddenly find yourself being able to afford to shoot anything and everything you see without ending up short of beer money! Surely that’s an advantage all by itself.

Moving right along on the growing list of why you simply MUST own a digital camera, we come to what I like to call the ‘digital darkroom’ which is what the rest of the world likes to call graphics software.

Without having to mix a batch of chemical soup, without having to own a single red light bulb and without having to wait hours for your paper to dry, you can professionally process, morph, annotate, animate, enlarge, compress and remove the dreaded ‘red eye’ from your images with the click of a mouse. Hate how it all came out? No problem. Just click “undo” and start all over again.

Let’s not overlook the convenience of being able to e-mail shots of the kids to grandma. No trips to the Post Office, no ordering double prints at the drug store. You just snap, download to your PC and send the kid’s into cyberspace. While you’re in cyberspace, don’t forget to update your family photo album which you can have hosted for free at any number of the free “look what I did” photo album sites on the Internet.

Probably the best advantage of digital photography is that there is no cost for making mistakes. This allows you to experiment with different f/stops, white balance settings, focal points and lenses without emptying your wallet just to see how bad they turned out.

When there is no cost for making an error, you’re bound to end up taking better photographs as you learn how to take your digital camera to the limits.

This digital photography tip article is brought to you by award-winning professional photographer Warren Lynch. Exciting articles gives both beginners and advance digital camera enthusiast the leg up.

Flash Photography – How to Avoid 5 Common Problems

Writen by B.L. Hill

Whether the flash on your camera is built-in or a separate unit, you use it to provide enough light on your subject to take a good photograph. When just starting out taking pictures with your camera, you will most likely encounter at least one of these problems when using your flash. This article provides you with at least one solution to each of these common problems.

1. Flash Glare behind subject – this is usually the result of taking a photo of your subject with a reflective surface, such as a mirror, window or polished surface, behind the subject. If it is not possible to move your subject, take the photo at an angle to the reflective surface so that the light from the flash does not reflect directly back at the camera.

2. Subject too far away – you must know the range of your flash to know just how far the light will effectively reach. On average, the maximum distance is about 15 feet. If your subject is any further away the photo will be dark. Also note that there is a minimum distance as well, usually about 2 feet. This explains why the photo you took at the concert had the head of the person in front of you over-exposed and the stage in relative darkness.

3. Red-eye – the light from the flash reflects off the retina in the eyes of your subject causing them to appear red in the photo. Many cameras have a red-eye reduction feature that fires the flash once to make the pupils of the eyes close more and then fires again when the photo is taken a second later. If you do not have this feature or don’t wish to use it, simply have your subject look slightly away from the camera.

4. Glare on Glasses – if your subject wears glasses and prefers to leave them on, you can effectively eliminate the glare by having them tilt their glasses down slightly.

5. Shadows – if your subject is standing close to a wall, the flash may cause a dark shadow to appear as a halo around your subject. If possible, have your subject move away from the wall. If this is not possible and you can adjust the angle of the flash, bounce the flash off a reflective surface – a light colored wall or ceiling will do. The light from the flash is more diffuse and will reduce or eliminate the dark halo.

For more useful tips and information on photography, visit the photography tips website.

Sharing Your Photos – Using Sharing Sites and eMail

Writen by Ziv Haparnas

The photos we take are all about experiences – photos from our last trip, photos of friends and family and of places we visited. We also want to share those photos with our family and close friends and by that to share our experiences. In this article we will go over a few options for doing just that.

There are a few methods for sharing photos. Before the digital era sharing was done by printing photos and arranging them in photo albums. Then when family or friends gather they could go over those albums viewing each photo and talking about their experiences. Another way to share photos with people that were physically far away was via mail. Printed photos were put in an envelope and mailed.

The digital era made sharing photos and experiences much easier and almost instant. For example with digital photography you can share a photo at the instance it was taken with anyone in the world.

There are a few ways to sharing digital photos:

Sharing by email:

Photos are computer files and like any other file they can be sent as an email attachment to any number of email recipients. To share a photo over email simply create a new email, enter the email addresses of the people you want to share the photo with, write a small description in the email body and then attach the photo files.

There are a few things to consider when sharing photos by email. Most ISPs and free email services limit the size of the attachments that can be sent. Many limit those to just a few megabytes. Some providers also limit the size of the email mailbox and thus sending a large number of big photo files can clog the recipient’s mailbox.

It is not considered ‘ok’ to email large attachments unless you personally know the recipient and he or she expects to receive such an email. It is highly recommended that you resize the photos before sending them by email. In most cases the recipient will only use the files to view the photo on the computer screen. For that purpose a photo resolution of 640X480 or 800X600 is more than enough and the reduced resolution files will be much smaller. If the recipient needs to print the photo then a high resolution version should be emailed.

Sharing using online sharing services:

There are many online services that offer photo sharing for free. Using the service you can either share photos with a private group of people or share photos with the public. Sites such as www.flickr.com or www.shutterfly.com are very popular sharing sites. In addition to photo sharing they offer many other services such as photo printing. Using these services is simple: create an account with one of the services and start uploading your photos. When you’re done simply send the site’s link to whoever you want to share your photos with.

Sharing photos this way is very easy and efficient. You only need to upload the photos once and whoever you share the photos with can at their own time login to the site and view the albums. Most sites will resize the photo and reduce their resolution for faster viewing. However they will not allow the viewers to download the original full resolution file. In most cases this is not a problem as users can order prints directly from the sharing site. If they do need the original high resolution file you can always separately send it to them by email.

Sharing by FTP or other file transfer utilities:

In this method the photos are just uploaded to an FTP server. The people you want to share the photos with will login to the FTP server and download the photos. This can also be done using online storage services that allow users to upload any file and then other users to download them. Similar to photo sharing services these services allow the sharing of files. They do not limit the users in downloading the full resolution photo files but they also lack the advantages of easily browsing through photo albums and quickly previewing low resolution version of the photos. Usually FTP servers are used by professionals or companies that need to share a large amount of data between them. Also professional printing services will sometime host an FPT server and have users upload full resolution photo files to this server for printing.

Sharing by burning CD/DVDs:

This method is similar to the old fashion method of mailing printed photos. Instead of printing paper prints and mailing them you burn all the images for sharing on a CD (or DVD if more space is needed) and mail the CD/DVD to the people you want to share it with. This method is slow and used usually only when the amount of photos to share is very big and transferring so much data online is a hassle. An example for using this method is sending a large number of high resolution photos for a printing service

In conclusion there are many ways to share photos. For most users who simply want to share photos for viewing on the computer screen and maybe print a few photos using the online photo sharing and printing services is the best. These free services provide all the functionality most users need. Occasionally when you need to share a high resolution photo for printing you can easily send it by email.

Wanna be Models

Writen by Roger Lewis

I get asked the question “How do I get Started as a Model” so many times and I have to say there’s not an easy answer to this.

First are you really sure that this is what you want! If the answer to this is yes and if you are at least 1.7 meters (5ft.7inch) tall, slim and beautiful and self confident and between 14 to 18 years of age, there is just a slim chance that you might make it.

But you need something to be in your favour, in fact it’s so important that you stand little or no chance without it and you might as well give up right now and get back to your high school studies.

So what is so important that it will make or brake you, the answer to that is quite simple, it’s your Mom. Without her blessing and indeed her help your going nowhere baby.

Lets start with the law, you are a minor until the age of 18 and unable to be photographed without your parent’s permission and unable to attend a shooting session with a photographer unless your parent or guardian is present at the shoot.

Now you can understand the importance of this, as it not only safeguards the Model who is a minor, but it also safeguards the photographer as well.

After the shooting session is over a ‘Minor Model Release’ form has to be signed on behalf of the minor by the parent or legal guardian. This form is a standard document in the profession and it gives the photographer and his client permission to use the photos for whatever advertising purposes that are required, in exchange for a modeling fee that has been previously agreed upon and paid on the completion of the shoot.

How do you get discovered and believe me this is the difficult bit. Years ago when I was a full time Advertising/Fashion Photographer, it was sometimes just good enough to be found by the photographer and his opinion would add some weight when the model presented some recent photographs of herself to a Modeling Agency, providing of course she had all the above requirements. However today, things have changed with young model hopefuls posting their photos all over the internet and of course many of the model agencies keep a presence on line as well.

But I know of a story of a 14 year old girl in London, who at the time had no idea that she really wanted to be a model, but in the summer vacation was doing ‘Work Experience’ in the offices of one of the UK Fashion Magazines when she was ’scouted’ by a model agency rep.

Sometimes you just have to be in the right place at the right time, this of course does not prevent you from applying to all the top agencies yourself, getting to see as many as possible and if you are as good as you say you are and if they are looking for that special look you might just get lucky. But not without some hard work and discipline and dedication.

For example healthy eating and living, or put it another way eating correctly and getting to bed early. This healthy lifestyle would also include daily exercise to keep your body in shape.

Unless you become dedicated, when the time comes and you find that you have put on an extra kilo or two in weight, you’ve only yourself to blame if you didn’t get the job.

Last August I received an e-mail from a 14 year old girl who wanted to be a model. She had seen my website, read my comments on ‘wanna be models’ and wanted my opinion about her looks. I replayed and explained that I would run some test shots in return for adding a page of these photos to my website.

I contacted her Mom and we set up a meeting to shoot at my favorite beech location, this page has now become one of the most popular on the website. I think you should take a look to.

To read more about the above article go here: Wanna be Models.

About the author: I’m from London. I started out in the days of the Swinging Sixties and London was quite a place to be. In those days we use to shoot catalog fashion shots with a 10X8 inch View camera, so the color transparency images would be the same size as the image on the catalog page, I have to tell you right now that took quite some doing.

Now I spent most of my time with my website Pro SECRETS of Money Making PHOTOGRAPHY, writing about and teaching photography, occasionally shooting assignments.

To check out the story and Images of our 14 year old model go here: Teen Bikini Beach Shoot

Pinhole Photography: Right Back to Basics

Writen by Laurie McArthur

Why Pinhole Photography?

It’s fun. It’s creative. It’s educative about the basics that photographers deal with whenever they do their thing.

What is Pinhole Photography?

At its simplest, a pinhole camera is just a light tight cardboard box with a piece of aluminium pie dish containing a pinhole to expose the film or photographic paper.

Of course you need to design a shutter, (your thumb will do), some way to hold the film in place and a system to seal up the opening where you put the film in the pinhole camera.

There is no viewfinder; you just point the pinhole camera in the right direction. You can draw some lines on top of the camera to indicate the field of view.

Exposure times for pinhole photography are usually measured in minutes.

Exposure Determination.

Work out your exposure by the hit and miss method, also known as exposure determination by experimentation. This is where you say “Ooooh. I reckon about two minutes.” Then if it turns out ok, well and good. But if it’s not right, you either double it or halve it for the next exposure, depending on your assessment. Nothing wrong with that method for pinhole photography.

Suitable Camera Size.

Let’s say you’re using 4″x5″ photographic paper. The diagonal of your paper is about 160mm. If you make the distance from the pinhole to the paper about 50mm to 80mm this will be ok. Length of about half the diagonal of the film. You could make the length 20mm to 50mm giving quite a wide angle. There’s nothing to stop you building your pinhole camera around a four foot length of drainpipe giving you a 1200mm telephoto pinhole camera, except that the exposure time might be in the order of several hours or all day.

My best pinhole cameras have used 8″x10″ film and have a length of 50mm to 70mm. Everything is in focus from 250mm to infinity. Angle of view is around 135 degrees.The light runs off at the edges of the image.

Note: 100mm = about 4″

End of Technical Stuff.

There is much more technical stuff that can be studied but that’s all you really need to know to get started. So empty the breakfast cerial packet and build a pinhole camera.

Practical Stuff.

You can use pretty much anything light tight to make a pinhole camera: biscuit tin, breakfast cerial packet, 20 litre oil drum, golden syrup tin, jam tin, match box, black ice cream container etc. etc. Would you believe you can even use your mouth?

Yes, in the darkroom put a short piece of 35mm film in your mouth and close it. Go outside and press the aluminium with the pinhole firmly against your lips, then open your lips for about 10 seconds keeping your head still. Reverse the procedure. You can work out the rest for yourself.

Consider whether it will be better/easier to use the end or side of your tin/box.

If you use a jam tin you can use alfoil and a rubber band for a lid.

Use black paint inside a shiny tin if you have some handy.

Invent a shutter. Black plastic and masking tape will do.

If you decide on a jam tin or golden syrup tin with the pinhole in the side, consider using a baffle that springs tight against the sides of the tin to fasten your film too. A piece of plastic milk bottle will do.

Handy items to have around are: breakfast cerial packet, masking tape, blue tack, plastic milk bottles, rubber bands, alfoil, scissors, knife, glue.

Your pinhole camera will give a negative image on your photographic paper. In this modern, computer age it will be possible to scan, change to a positive and computer print.

An SLR camera can be used for a pinhole camera simply by removing the lens and attaching a pinhole with black sticky tape.

If you are making a pinhole, look for the smallest needle in the set.

It’s important to have a smooth, burr free pinhole for the sharpest possible image. Ideally, push the tapered section of the needle through in several stages, gently removing the burr with fine wet and dry paper between actions. Rest the foil on cardboard as you push the needle through so you don’t stretch the foil.

So Build a Pinhole Camera

I think that every photographer needs to build at least one pinhole camera and experiment with it. There is so much to be learned from pinhole photography which is photography at its most basic.

Laurie McArthur is a wilderness landscape photographer, based on the New South Wales Far South Coast, Australia. Laurie’s images may be viewed at http://www.southimage.net/

How To Care For Muslin Photography Backdrops

Writen by Kimberle Balsman

A successful photography studio must be able to offer its clients a variety of backgrounds. Although seamless paper backdrops are very effective and commonly used in commercial studios, I prefer to use muslin backdrops in my studio.

Muslin backdrops are significantly more expensive than seamless paper and require more storage space and care. However, they provide interesting textures and more realistic backgrounds for more sophisticated studio work. Muslin backdrops vary from very simple, single color backgrounds to complicated, hand-painted works of art. Likewise, they range in price from $30 to upwards of $400 per backdrop. Thus, if you decide to invest in muslin backdrops, you certainly need to know how to care for them properly.

Here are a few tips I have found helpful in caring for muslin backdrops:

Washing – I have purchased a variety of muslins from various manufacturers. Some will indicate that muslins can be hand or machine-washed. Others vehemently instruct you NOT to wash them. I have found through experience that washing muslins will quickly degrade their quality and hasten your need to replace them. I would avoid washing muslins unless absolutely necessary.

Stains or Soil – If your muslin backdrop becomes stained or soiled, try to spot treat using a scrub brush and mild soap and warm water. NEVER use bleach or harsh, abrasive detergents. If the stain resists spot treatment, you may need to soak the area in a warm water and mild soap solution overnight. You can drape the backdrop over a tub, strategically placing the spot over the tub and placing a smooth but heavy object on the spot to hold it in the solution. If this course of action fails to remove the stain, you may have no choice but to use a more powerful detergent or, perhaps, OxyClean. Keep in mind, however, that you may damage the backdrop and have to incorporate the damaged area into your photo background, shift it out of your camera’s view, or simply place your subject(s) in front of the stain.

Creases and Folds – Your muslin backdrop will arrive heavily folded, as there is simply no other way to ship a heavy, bulky muslin backdrop. If you know you will not need to use the backdrop for several days, simply hang it on your backdrop support and allow gravity to work for you. If you cannot wait several days to use the backdrop or if the creases and folds are still visible, use a hand-held fabric steamer. I use a Conair compact fabric steamer (model GS4, est. retail $30.00) with great results. Follow the instructions included with the steamer and be careful not to rub the muslin with the steam head. In the absence of a fabric steamer, you can (if you are brave) allow your backdrop to lay outstretched on a clean, no-traffic portion of your yard overnight. The natural dew will help to remove most of the wrinkles and folds.

Ironing – JUST DON’T DO IT! Ironing your muslins will create noticeable, shiny hotspots in your backdrop and ruin the material.

Dust and Hair – Muslin backdrops, like everything else in your home or studio, will attract dust and hair. To remove dust, simply shake the muslin as you would any other linen. To remove clingy pet or human hair, use a large lint roller (est. retail $4.00). They work fantastic and won’t break the bank.

Storage – It’s best to roll your muslin backdrops into a ball when storing them. Natural wrinkles, not patterned folds and creases, can actually enhance your backdrop and create even more texture, which adds to the realism of your backdrops. Many photographers like working with wavy, naturally wrinkled backdrops. If your photo shoot is casual, then you can certainly get by with using one. If, however, you will be doing formal, more serious work, I would highly recommend removing as many of the wrinkles as you can before the shoot. I like to store my muslin backdrops, rolled in balls, in large plastic tubs. This helps to eliminate excessive dust from collecting on them and makes it easier and faster for me to simply shake and hang them when needed.

Muslin backdrops, when properly cared for, can last a number of years. They represent a significant investment in your photography business. I hope these tips will help you to better preserve the quality and integrity of your muslin backdrops.

© Balsman Photography, LLC.

Kim Balsman is the owner of Balsman Photography, LLC, a small, professional photography studio in Longmont, Colorado.

Sydney Photographer

Writen by Marco Palmero

There is a variety of Sydney photographers available: from corporate events to weddings and fashion photoshoots. With the popularisation of digital photography, photography as a hobby or even as a business is booming. The difficult choice of discerning photographers is largely dependant on the client’s knowledge of photography as well as knowledge of what they really want. Sydney has plenty of possible photography locations and this article will highlight a few of them.

Here are a few outdoor locations that wedding Sydney photographers use. These locations may be a great idea to hold a wedding or to simply visit for a quick photoshoot right after the wedding ceremony. Near the city, Sydney photographer’s love using the steps and the columns of the building of NSW State library (North side). Alternatively they would use the Art Gallery of NSW just down the road. These locations are just a stones throw away from Sydney Botanical gardens – another photographers’ haunt. From there you can get the overused Sydney Opera house on Sydney Harbour bridge photo.

Towards the East, Sydney photographers go to visit the beaches of Bondi or Bronte. Slightly north and you’ve got North Head and Watson’s bay with the fantastic sunsets and the famous view of yachts. On the lower North Shore you can go to Balls Head and get a fantastic shot of the reverse view of the Opera house on Sydney Harbour bridge. Upper north shore have their parks and the northern beaches have – guess what? Their beaches. Western Sydney to South Western Sydney residents have access to local parks and reserves. Bankstown has a huge nature reserve which is popular for those wedding shots. Auburn also have their own botanical gardens.

Corporate Sydney photographers are easy to find. Simply look up the Yellow Pages and there are many of them: especially as a result of the latest boom in digital photography. Corporate events are mainly held in Sydney’s major hotel chains as well as local halls and custom built conference areas like Darling Harbour. Major hotels in Sydney that are popular with the corporate crowd are the 4 Seasons hotel, Hilton Hotel and Intercontinental Hotel.

Fashion Sydney photographers are also sought actively. Multinational companies, as well as fashion labels that don’t even sell to Australia, come to Sydney to have their catalogue photographed in this beautiful city. They use locations similar to the locations for wedding photography. It is also common for these companies to hire local talent.

Tutorials in Digital Photography

Writen by Low Jeremy

Michael loved taking pictures with the camera. This person started out using the 35mm. Model first that didn’t have any accessories such as the zoom lens.

It was only after saving up enough money working at the local bar that this individual can afford to buy a camera just as good like those used by the professionals. There were not that many models anymore where the user has to reload the roll of film.

The old ways have been replaced with digital cameras where the images are saved into the memory card that can be uploaded into the computer.

Michael thought that this is great since there won’t be additional costs anymore in having film developed. Since there was a computer at home, the digital camera can be hooked up and burned to a CD or developed using the printer.

After looking around, this person decided to get the Sony digital camera. This had 8.1 pixel graphics and was friendly. Each unit came with a manual, CD and charger.

Each time a customer makes a purchase, a short tutorial is given so the person will have an idea how to use it before leaving the shop.

It was hard to remember everything the clerk said at the store. When Michael got home, the manual and the digital camera were examined to be able to know every part of this new toy.

The CD that came with the unit was installed into the computer. This gave Michael also an online tutorial of how to use the camera, how to upload and have the pictures developed in the printer.

It didn’t take long to learn everything so that the digital camera can be brought out and used to take pictures. A friend at work who bought a similar item advised Michael to get some trial shots.

Since the images can be deleted from the memory, many pictures can be taken and reviewed. Those that are good were saved in the computer, which was sometimes used as the background in the desktop.

The digital camera is easy to use. The individual can learn using the tutorial features in the CD or learn more about this by logging into the manufacturer’s website.

The innovations in these small devices change every few months rather than years. This means the pixel graphics will improve making the model bought obsolete. The individual can upgrade the digital camera or choose to buy a new one later on.