Tips On Finding A Los Angeles Photographer

Writen by Christopher Luck

How do you find a Los Angeles Photographer for that special occasion at a price I can afford? As if moving to Los Angeles isn’t difficult enough in and of itself, there is always the hassle of getting things done when you don’t know anyone to cope with. So to find a Los Angeles Photographer, or any other service for that matter, in the town, there are some steps I always take to make sure I get what I want at the price I want.

When it comes to service providers, like a Los Angeles photographer, the first step you should do is to figure out exactly what you want. In the case of a Los Angeles photographer, you will need to determine whether you are going to have portraits done, candid photos as a party, or formal pictures and portraits at an event like a wedding or graduation. Once you determine what exactly you need out of a Los Angeles photographer, you will have an easier time looking for someone who fits your specific needs.

Next, you need to do your homework. Get out your yellow pages and look up photographers. It seems like an elementary way of locating a good Los Angeles photographer, but it is a necessity to get started. Find a few that look good to you based on the ad and what it looks like they specialize in. Once you have scoured your yellow pages thoroughly, check out the internet. Look up Los Angeles photographers in a search engine or business directory and look for more places you can check out. Also, you may want to look up the ones you have chosen from the yellow pages to see if they have a website. Often the sites have sample photos, portfolios, and the like which can help you to make an informed decision about the photographer that will work best for you.

Last comes the calls. Once you have narrowed your list of Los Angeles photographers down, you should start making calls. Talk to the photographer, find out about availability, find out about prices, and get a feel for the business. You want someone you feel comfortable with, so it is okay to just go a little bit on gut feeling. In addition, you should ask about additional services, like video or album creation. Once you have talked to all of the photographers on your list you will likely have a fairly easy time making your decision. Choose someone you have confidence in and feel comfortable with and you won’t go wrong.

Moving to a new city can be incredibly difficult. Having to find a service provider in that city, then, can be equally as daunting. However, finding a Los Angeles photographer or any other services provider doesn’t have to be that bad. By taking three simple steps, you will have done your homework and be able to book a photographer that meets your needs at the price you are looking for. Take your time and work with confidence and you will find your Los Angeles photographer in no time.

If you would like to find more of my personal articles on california photographers please check out my website on photographers!

Digital Cameras – 10 Tips to Get Great Pictures

Writen by Sara Wells

Photography is an art, and therefore there are no set rules for getting the perfect pictures. The following tips, however, will help to improve your photographic style, experiment, and get great pictures on a regular basis. Whether your subject is a child, a pet, or nature, try some of these tips on your next photographic foray.

1. Get on Their Level – With a live subject it is important to get at eye-level before taking the shot. For children and pets this may mean kneeling, squatting, sitting or even lying down to get on the same level as your subject. While it is fun to experiment with different angles, you will have much greater success if you look your subject in the eye.

2. Fill out the Frame – Photographs are more powerful and interesting if the subject fills out the frame. Many photographers make the mistake of being too far from the subject. It is best to zoom in close enough the that the subject reaches or goes just beyond the edges of the photo frame in your view finder. This allows the viewer to see more detail and expression, and prevents the background from taking over the photograph.

3. Get a Little Closer – When you think your shot is set, try taking a few steps closer. Get in closer to your subject will show detail and emotion that add interest to your photographs.

4. Simple backdrop – When photographing a specific subject be aware of what is going on behind them. You want to choose a backdrop that will not distract or obscure the look of the subject. Choose plain color background or simple natural greenery with few accents to really highlight your subject.

5. Use the Flash – Most people think that outdoor photos never require the use of a flash, but that is not the case. When the sun is at its brightest, can be the time when it casts the most shadow. Adding a flash on an already sunny day can even-out the shadows cast by wrinkles, strange angles, or other people. Just make sure that your camera flash is close enough to the subject to be effective.

6. Watch the Light — Light is one of the most important factors in photo taking. When you get ready to take a shot, pause for a moment to take accounting of where the sun is and what shadows may be obscuring the view. You don’t want your subject squinting into the sun, nor do you want the light so bright behind them that it makes the subject look dark in comparison.

7. Go Vertical – Don’t get stuck in a rut. Many pictures would look better if you just turned them vertically. There are certain subjects that lend themselves to a vertical framing such as lighthouses, the Eiffel tower, or a beautiful tree. Try going vertical with some less likely subjects to see the difference it will make.

8. Get out of the Middle – Another common mistake photographers make is to put the subject of the photograph directly in the middle of the frame. This technique is usually not the most pleasing to the eye. Instead shift your subject to one of the four corners of the frame so that it is prominent, but not center stage.

9. Steady does it – Make sure the camera is steady when you are taking photos. A steady camera will prevent a blurry photo. If you are not the best at holding steady consider using a tripod to get a clear shot.

10. Shoot Away – If you really want to get better pictures, take more pictures, more frequently. With a digital camera it is no longer a waste to snap away. Feel free to take a lot of photos of the same subject, just varying the angle, lighting, or backdrop. Experimenting will allow you to find the tricks that work best for you, and will ensure that you will have at least a few great shots of each subject.

Sara Wells is a successful writer for CameraLensETech.com She provides information and details on cameras and accessories on her website.

Fill-in Flash Photography – Some Things You Should Know

Writen by Roger Lewis

I’ve been asked should I use my camera flash when taking photos outside and under the following conditions the answer is YES.

If you’re shooting a portrait or close up where the subject fills the frame completely and your shooting in bright sunlight where the person is partly back-lit, the answer is most definitely yes!

It will bring the image to life by making it stand out against the background, it will also light up the face helping to remove unwanted shadows and adding a sparkle to the eyes.

You see, when you are shooting pictures of people where the majority of the light is from behind or where the sun is reflected off water, without your flash turned on their face will be too dark .

The same applies when the sun is casting a shadow across the face but with the use of your flash, you can eliminate dark shadows from the eyes and nose and create a better result which will please the most discerning critic. In affect this also helps to soften the face and in some cases helping to hide wrinkles, but remember you cant please everyone.

Which reminds me of the story of the wrinkled old Woman that had her picture taken by the local portrait photographer and even after the photographer spent hours retouching her picture he still couldn’t remove all her wrinkles. When she saw the picture she complained saying to the photographer, “This picture doesn’t do me justice,” he said “Madam you don’t need justice you need mercy.”

Why then, does you camera take a dark picture when the subject is back-lit, you see the camera will be fooled by the bright back-lit surroundings and set the exposure to cope with the bright conditions only allowing the face to appear dark, but with your flash turned on you end up with the perfect picture every time, so much so that your friends will ask how you did it. Also remember to use flash when bright sunlight is casting shadows over the subjects face, even if the conditions are not back-lit, it will also add a sparkle to the eyes.

By using your flash or turning flash on, you will fill-in the shadow areas making your picture much more pleasing.

Photographers please note, the best time of the day to shoot people is about two hours before sunset or two hours after sunrise, when the shadows are long and the light is soft and warm in color, especially by the ocean. It’s no wonder that professional fashion photographers shoot around this time of day.

Consider the days when I started out studying to be a young photographer at the age 13/14, the camera was a medium format size roll film camera, image size 6×6cm. and the film size was 120 black and white negative.

There was NO built-in camera flash, in fact there was no electronic flash, period. I use to own a flash gun that used flash bulbs, which I attached to the camera with the flash sync cable plugged into the camera bulb flash socket. The flash bulb was like a light bulb in size which you screwed into the flash guns bulb holder directly in front of the large flash reflector. The bulb was filled with magnesium wire and when you fired the shutter the batteries in the flash gun would ignite the magnesium in the flash bulb and create a flash. The flash bulb was covered with a protective layer of plastic to prevent it from exploding and I seem to remember that most times it was successful in doing so, but on the odd occasion it would explode… quite an alarming experience. It was a good idea not to work too close to the subject!

Back in the early fifties, it was quite an undertaking to shoot any event. But I was busy studying photography at school and in my spare time and was learning the basics.

Soon the early electronic flash guns started to arrive on the market and I remember that they had huge power-packs that you carried on your shoulder via a shoulder strap. Also flash guns were starting to get popular with novice photographers, with smaller size flash bulbs and then later the smaller electronic flash guns.

What does this mean to you, very little I expect but it may be of some interest to those of who might be of the same age as I was then, to know how far we have advanced. Just think for a moment and supposing you are 14 years of age now, how far things would have advanced when you get to be my age…

But you know, the same conditions apply when shooting an image if your in a ‘professional mode’, I mean careful composition of you picture, correct exposure and lighting and although with the advance of digital cameras the technology has changed, the above mentioned facts apply and are still as relevant to day as they ever were, plus the added advantage of your computer and the ability of digital manipulation.

To learn more about your Flash Photography go here: Flash Photography Pro Secrets

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 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 learn more about the author go here: PhotoRog Secrets blog

Welcome to the Wonderful World of Glamour

Writen by John Lloyd

Never before has their been so much opportunity for all, regardless of age, sex and looks now virtually anybody with a little ambition and perseverance can be part of this exciting and developing industry.

The dictionary defines glamour as

Professional High-end Digicams: Weaving Delight for the Serious Shooter!

Writen by Lopa Bhattacharya

Are you a serious shooter looking for more precise controls, enhanced features & better lenses, superior image quality while purchasing your cherished digicams for professional product shoots, adwork or publicity campaigns? Well, come out of the idea once and for all, that all these cameras are necessarily big and expensive beyond your affordability. Truly, digital has really come a long way in a short time, and professional high end digital cameras today cover every assignment for real-life application, so that the photographer can concentrate fully on making stunning images with cutting-edge technology. After all, there is the growing need for digital images in both print and electronic media, for which most photographers and graphics professionals are examining the options for capturing images digitally, whether by scanning film or by using digital cameras. And here, they are preferring the functionalities of the professional high-end digital models because of the gains in control, efficiency, flexibility, and productivity.

Did you know before reading this that with consumers worldwide buying 10 million digital cameras in 2003 and 2004, the sales of film scanners have declined considerably? Ask any commercial photographer today about his/her purchasing plans in the near future, and you’ll find a whopping percentage say that they plan to buy a professional SLR over a usual point-and-shoot variety. “Our point of view is that color scanners are past their sweet spot,” says Vince Naselli, director of TrendWatch Graphic Arts. “Increasingly, we think that creative professionals are going to be acquiring their content digitally in the first place so that, down the road, the increased use of digital cameras will lead to a decreased use of color scanners”, he adds. Kerry Flatley, research analyst at InfoTrends, also comments that “as digital cameras continue to improve in quality and provide professionals with needed flexibility, they will most likely cut into film scanner sales”. Thus, at the cusp of a migration from film and scanners to digital cameras, we are standing in the face of a vast expanse where the buzzword has shifted from ’scan’ to ‘direct digital capture’.

Now, let us have a look at some of the market-leaders of this huge variety of professional high-end cameras, the ones that creative professionals are buying and using for the best-quality scans, with high resolution, wide image density, large film format as their hallmark.

Kodak EasyShare DX6340 (MRP: Rs. 18,900): a unique combination of advanced performance, ease of use and value in a sleek design, this 3.1 MP camera, with a large high-resolution 1.8″ Indoor/Outdoor LCD display screen and unique, wide aperture professional-quality 4X Schneider-Kreuznach Variogon zoom lens that provides stunning image quality, has high-performance features such as aperture and shutter priority modes for the discerning photographer. No wonder that it has been declared the “Best performance” and “Best value camera” for the year 2003 (as per the Digit magazine’s Test Drive on digital camera comparison)

The latest offering for the Indian consumers from Eastman Kodak Company is the sleek EASYSHARE LS755 zoom digital camera (priced at Rs. 21,900/-), sized like a deck of cards to fit the pocket of the person having acumen for design and style. Featuring a professional-grade 4X Schneider-Kreuznach Variogon 3X (36 -108 mm equivalent) zoom lens and 5.0 megapixel CCD sensor to optimize photo quality, it comes with a 3X optical zoom and continuous auto focus capability.

Cannon India Pvt. Ltd., a pioneer in manufacturing a comprehensive range of the latest digital imaging products, has come up with professional high-end models like Canon PowerShot A95, Canon Ixus 500 and so on.

Featuring an increased sensor size of 5.0 Megapixels, the A95 has a total of 21 shooting modes – more than any other Canon digital camera. Including many features found in Canon’s higher end S and G series cameras which offer users flexibility and creative control, it stands for outstanding image quality and ease of use. While the 5.0 Megapixel CCD sensor enables it to provide superb image quality (suitable for high quality photo prints up to A3 size), its 21 shooting modes, ranging from fully Auto to Manual, offer users total control for complete creativity. An added advantage of it is that it can simplify things to ensure great looking photos in tricky situations.

On the other hand, Canon’s Ixus 500 model happens to be the ultimate in stylish, high performance digital photography, delivering quality prints up to A3 size. With a super hard Cerabrite finish, it brings together uncompromising build quality and an abundance of integrated technologies. With a 3x optical zoom offering a wide angle of coverage, with the 9-point AiAF ensuring accurate focusing, even with off-center subjects and with its DIGIC delivering superb image quality at high speed with less drain on the battery for extended performance; beautiful, instant photo prints are achieved effortlessly, thus making I an obvious choice for professional shooters.

Again, with the Digital SLR range of Canon’s professional high-end digicams (like the EOS 300D high resolution 6.3 megapixel cameras, the EOS ID Mark II cameras with faster processing of large files with superior color rendering and detail precision), digital technology is taking a quantum leap.

Thus, offering an extensive range of professional hi-end digicams, these brands are gratifying any and every need of entertainment and digital imaging. And, we welcome the new technology and price cuts for the quantum jump of sales of these “hi-end photographers’ toys”.

Lopa Bhattacharya is a content writer/developer working on websites for overseas/Indian clientele. Has worked for various corporate website projects, CD-Rom presentations, brochures, flyers and other communication materials on varied themes ranging from travel, hotel industry, photography, web design and software development to US-based clubs and network communities. Was previously an editorial associate for a news, culture and entertainment portal based on the life and times of Kolkata.

Black and White Photo Conversion

Writen by Peter Horner

Most images were produced in black and white for nearly a hundred years after the invention of photography, but now colour images have become commonplace. Creating strong three dimensional images on a piece of paper is one of the best attributes of black and white photography, as the effect can be more striking than with a colour photograph. Without the colour to distract us we become more aware of the subtle tones which can be found within a black and white image. In this article I will share the technique I use that will help you create beautiful, striking and moody black and white images from your colour photographs.

Digital cameras have a black and white mode but more information and detail will be recorded in colour, which will also create a higher quality printed image. This is why I always shoot in colour then convert images later. There are several ways of converting an image to black and white using Photoshop and many other image editing programs. You could simply desaturate the colours, but creating a black and white image with real tone and definition goes beyond this. Levels, curves and the Unsharp Mask can be used creatively with black and white conversion to provide further control over tones and contrast to create a stunning image.

Channel Mixer – I have found that using the Photoshop Channel Mixer is the easiest way to convert an image to black and white and produces the best results. The Channel Mixer allows you to control how much red, green and blue contribute to the final monochrome image.

The Channel Mixer can be selected from the adjustment layer popup menu in the layers palette or you can also access it from under the image menu.

Clicking on the left tick box entitled Monochrome will convert your photograph into a greyscale image, and gives you the ability to blend the red, green and blue channels. Adjust each of the sliders to produce an image to your liking. As a rule make sure that the total values for each channel adds up to 100%. This creates monochrome images that are the equivalent of ones shot on black and white film through red, green or blue filters. For example if you wanted to maximize cloud contrast in a blue sky, then a red filter would achieve this. I usually set the red channel to 0 and the green channel to 100 to cut down on the amount of noise, or sometimes a combination of red and green depending on the image.

Curves and Levels – Brightness and contrast can be adjusted in Photoshop by using the curves and levels tools, which can be found under Image > Adjustments Curves/Levels. Both curves and levels allow you to adjust the tonal range of an image. When using the levels command you can make adjustments to just three variables, highlights, shadows and midtones. I prefer to use curves as it gives you more precision. With curves you can adjust any point along a scale while keeping up to 15 other values constant. By adjusting the black point and white point in curves you can give your image more contrast. At opposite ends of the diagonal line you will find a small dot. When you grab hold one of the dots with your mouse and drag it around you will see the image change. To create more contrast drag the black point lower and the white point higher, so that either end of the diagonal line is curved. Practice using curves and levels and explore the different effects you can achieve with your images.

Unsharp Mask – The Unsharp Mask is my preferred tool for sharpening images, which can be found under Filter > Sharpen > Unsharp Mask. It is a traditional film compositing technique used to sharpen edges in an image and corrects blurring. The Unsharp Mask locates pixels that differ from surrounding pixels by the threshold you specify and increases the pixels’ contrast by the amount you specify. In order to get the look which I desire in my images I use the Unsharp Mask twice. I begin by using a high radius and lower amount, such as a radius of 50 pixels and an amount of 30%. This gives the image a much more intense look and details will stand out. The second time I use a lower radius of 1 pixel with a higher amount of 30%, which will correct any blurring and sharpen the image.

Peter Horner has years of experience in digital editing and printing technologies, as well as a passion for landscape photography. With this experience he co-created DesignerPrint, a large format printing company creating canvas prints, block mounts and poster prints. Learn more about Canvas Printing from DesignerPrint.co.uk

Buying a Digital Camera? Avoid a Mistake With 7 Insider Tips

Writen by Robert Bezman

So, you’re ready to buy a digital camera, huh? Maybe it’s your first, maybe it’s your fourth. It can still be an overwhelming and confusing venture. With so many digital cameras on the market today ranging in price from under $100 to over $7,000, it may feel like there are TOO MANY CHOICES!

Many people begin the buying process by investigating all the features and functions of 10 – 20 cameras in “their price range,” however that is determined. Some people find that process too frustrating and buy the first digital camera that “looks” right.

Personally, I’m an analyzer. As a professional photographer, when I start analyzing digital cameras, it’s like unleashing a sumo wrestler at an all-you-can-eat buffet… there’s no stopping me.

But, for the typical consumer, knowing the digital camera’s features and functions alone just doesn’t cut it. People want to know WHAT THE FEATURE DOES FOR ME!

Whether you go the feature/function route or not, there are 7 insider tips that can help save you money and avoid buying the wrong digital camera for your purposes.

Tip #1: How to Get the Best Prices on Digital Cameras

Wherever you are in the investigation/buying process, eventually you get to this step. If you want to buy a digital camera, the best prices are on the internet. Whether you’ve purchased anything on the internet or not, there are certain INTERNET BUYING STRATEGIES that will save you money, time, and aggravation.

• When purchasing ANYTHING through the internet, only consider the ENTIRE cost of the “digital camera + tax + shipping,” NOT just the price of the digital camera. This is the only way to compare “apples to apples.”
• Once you find the best ENTIRE cost, do not immediately buy it from that vendor! There are key INTERNET questions to answer:
• Is the digital camera in stock? There is often a mysterious correlation between the cheapest digital camera prices and cameras being OUT OF STOCK. You don’t want to order your digital camera and then have it sit on backorder for 3 months, do you?
• Does your Nikon (Minolta, Canon, etc.) come with a USA warranty or is it what’s called “grey goods?” You want to verify it’s a USA warranty, unless you don’t mind having to service it internationally. If it’s grey goods, you WILL NOT be able to service it in the US.
• When ordering your digital baby, beware of costly add-on accessories that may be needed eventually, but are suggested during this “special order promotion time” at 200% of the normal price.

Tip #2: Professional or Prosumer Which is Right For You?

Let’s begin by clarifying our terms. A professional digital camera is a digital SLR, while a prosumer is basically everything else. In that context, as of the end of 2005, digital SLRs could be purchased for $600 – $8,000 (Canon and Nikon, at least). The key points to consider are:

1. If you plan on shooting night photos or other pictures in low-light situations, many prosumer digital cameras take good quality photographs at ISO 100 or 200. However, to take good pictures in lower light at ISO 400 or 800 will typically require a digital SLR. Otherwise, digital “noise” will probably have too large an impact on picture quality.
2. If you plan on taking flash photographs at distances greater than 10-12 feet from your subject, an external flash unit needs to be used. And the only way an external flash unit can be used with your digital camera is to attach it to your camera’s hot shoe. Every professional digital camera has a hot shoe. Many prosumers also do, but NOT ALL OF THEM.
3. Salespeople often try to sway consumers away from professional digital cameras into prosumer models, saying that the digital SLRs have so many complicated features that they are difficult to use. That is only half correct. Digital SLRs are typically designed to allow consumers to take pictures easily using the more automatic settings OR to use the advanced features when they are comfortable doing so.

“Affordable” digital cameras have a tendency of making your budget happy, but disappointing the photographer in you.

1. Don’t overlook the ergonomics of the camera. Are the controls easy? Comfortable? How many buttons or levers need to be simultaneously set before getting the result you want?
2. If you’re upgrading from a less expensive digital camera, don’t assume that spending more or having more features will automatically make you happy. Always test out the camera. An affordable digital camera isn’t affordable if you wind up not using it!
3. The new digital camera is more than likely to operate differently than your older model. Does the new camera have controls that are counter-intuitive? Things like that can frustrate a person enough to not use their digital camera. Better to find out details like these before rather than after the purchase.

Here’s the bottom line: Optical Zoom is the only thing that’s important. Although some salespeople might argue with this, when buying a digital camera, my suggestion is to COMPLETELY IGNORE ALL DIGITAL ZOOM FIGURES. Digital zoom has absolutely no impact on being able to take a photograph of a distant subject by zooming in on it.

The main reason salespeople like to include optical zoom in the equation is because advertising loves to give you the digital camera’s “zoom factor.” Multiply a 3X Digital Zoom by a 5X Optical Zoom, and you have a 15X Zoom factor… a completely worthless and MISLEADING number!!

Tip #5: Is the Discount Digital Camera a Good or Bad Idea?

The most important consideration when considering a discount digital camera (or any other electronic device, for that matter) is to ask yourself: “WHAT IS MY GOAL?” Many consumers start by first falling in love with a digital camera and then become pleased or disappointed with its capabilities (usually after they buy it).

I’m proposing something outlandishly radical… go through the process the OPPOSITE WAY. First, ask yourself some basic questions:

1. What do I plan to do with the digital camera (and don’t say “take pictures”)? What are you most interested in – the occasional family snapshot, landscapes, macro work, heavy flash use, all of the above?
2. How much use will it get? (Twice a year, or once a week?)
3. What is most important to me: picture quality, camera size, camera weight, durability, telephotos/wide angle lens, etc.?

Based on your responses to these questions, a discount digital camera can be your best choice or a complete waste of money.

A “no-name” discount digital camera can be a logical choice, based on what your photographic goals are. But don’t think a $49.95 Brand X camera is going to cost you $49.95! You also have to add in the cost for at least some accessories, such as memory, batteries, bag, and lens protector.

Tip #6: When are Small Digital Cameras the Perfect Choice?

Despite impressions to the contrary, small digital cameras (also referred to as compact digital cameras) are quite popular. They’re easy to carry, usually loaded with features, and take respectable photographs.

We need to remember that SMALL DOESN’T MEAN UNDERPOWERED. Some advantages of going tiny are: less bulky, easier to transport, less conspicuous (less likely to “walk off”), and they often compare favorably with larger cameras in the feature and price categories.

Some of the pitfalls of going small include: possible trouble physically operating some of the camera’s controls, less likely to support an external flash, and the physical size can limit some of the available features, such as image manipulation.

Tip #7: Megapixels – What’s Fact; What’s Fiction?

Megapixels is one of the most talked about (and misunderstood) terms in the world of digital cameras. Let’s sort through some facts and misperceptions, so you can make a more informed buying decision.

Taking better digital photography involves more than just having a camera with a bunch of megapixels, although you wouldn’t know that listening to digital camera salespeople.

Megapixels is just one factor in creating better digital photography. And, you can’t look at it alone. You should consider other digital camera features.

How fast or slow the camera’s shutter speed can be set is key. Using a tripod, being able to manually set the white-balance control, and having pre-programmed modes to aid in tricky lighting situations are all important factors in achieving better digital photography.

Don’t get the idea that megapixels are bad, or irrelevant. This is NOT TRUE. There is one specific area where more megapixels will create better digital photography results. If everything else is the same, more megapixels will provide GREATER FLEXIBILITY TO CROP A PHOTOGRAPH and still wind up with a sharp clear photo. And, cropping photographs can make a world of difference. Cropping is the eraser on your digital pencil.

Conclusion

People can make buying a digital camera a snap decision or a life-long project. Because there are so many models, brands, and features; it can get pretty confusing. You will never know ALL THE FACTS to make the “best decision.” But, by using these 7 tips, you will know what really matters to YOU.

For the unabridged tips, go to http://www.best-family-photography-tips.com/digital-cameras.html.

Robert Bezman is a professional photographer and owner of Custom Photographic Expressions. Robert has created http://www.best-family-photography-tips.com to help beginning and intermediate photographers create better photographs. Robert is offering a free newsletter and eBook that can be obtained by visiting http://www.best-family-photography-tips.com/photography-newsletter.html

Gestalt: Law of Common Fate

Writen by Debbie Jensen

The law of common fate is one of four visual perception laws as theorized by gestalt psychologists. Paul Martin Lester, the author of Visual Communication, an expert in the field wrote: “The fourth law of Gestalt psychology is the law of common fate. A viewer mentally groups five arrows or five raised hands pointing to the sky because they all point in the same direction. An arrow or a hand pointed in opposite direction will create tension, because the viewer will not see it as part of the upwardly directed whole.”

Gestalt’s law of common fate is a pretty simple concept. It is basically referring to visual directional lines within a design or layout. In a photograph, if two or more people are moving in the same direction, they have created a directional line known as the law of common fate. Together, they have a common fate or destiny. Another example of the law of common fate could include similar shapes aimed in the same direction. You might wonder why the law of common fate is of importance to artists. First of all, when two objects (whether it be shapes or organic forms) are pointed in the same direction in a layout, the directional lines become dominant in a design. So, if two or more powerful shapes are aimed at or moving in a certain direction, an artist knows to put the message at the point of destination.

Directional lines push our eyes around a page. This can be a problem every bit as much as bonus. For instance, visual collisions frustrate the viewing audience. It can cause too much tension and cause anxiety for the reader which in turn, makes the layout uninviting and too intense.

If a candid photograph of a moving car is heading to the right, the law of common fate dictates that the directional line is pointing to the right. Then again, if a candid photograph of a car is aimed towards the left and the image is part of a design, the directional line is now aimed towards the left. Therefore, if a car is headed towards the right (on an image), the image of the car should be placed towards the left-hand side of a layout, because our eyes read from left to right. This is why the law of common fate is so important. The law of common fate should not be ignored in graphic designs and advertisements. Understanding the law of common fate and how directional lines work on layouts can make all the difference in how information is read and understood.

Debbie Jensen, Graphic Designer and Photographer http://www.debjensendesigns.com

How a Prime Lens Can Improve Your Photography

Writen by Chris Roberts

Let’s begin with a primer on prime lenses (sorry, that was just too good to pass up).

A prime lens is a lens for a Single Lens Reflex (SLR) camera with a fixed focal length. This is a good start, but let’s simplify further.

A prime lens cannot zoom.

With a zoom lens, you can switch back and forth from a wide angle to telephoto view depending on the situation. Even if you’re far away from your subject, you can still get a close-up shot.

Zoom lenses offer a great deal of flexibility and are good lenses to travel with since you can take one lens that covers a range of focal lengths. If you only had prime lenses and weren’t sure if you’d need a wide angle or telephoto, you’d have to carry 2 or 3 lenses at all times.

So why would anyone bother with a prime lens?

There are three pretty good reasons:

1. Prime lenses are clearer – since they don’t have a lot of moving parts like zoom lenses, prime lenses can be very precise. Many professional photographers only use prime lenses because of the superior image quality.
2. Prime lenses are cheaper – zoom lenses are fairly complicated, while prime lenses have been around since the introduction of the 35mm SLR film camera. Manufacturers have had plenty of time to get these lenses perfect, and their simplicity means that you won’t pay an arm and a leg for one.
3. Prime lenses are lighter - if you really like to take your SLR camera on hikes, then you don’t want a 3 pound lens attached to your camera. While you won’t get the flexibility that a zoom lens offers, you also won’t get neck strain with a light-weight 50mm prime lens.

Now you know more about prime lenses and why a photographer would want to use one instead of a zoom.

But how can a prime lens improve your photography?

Remember how I said that zoom lenses were flexible? Well, there’s one drawback to using a zoom lens all the time: it makes you a lazy photographer.

You can stand or sit in one location and zoom in and out to your heart’s content. Not happy with the wide-angle view? Zoom in. Want wide-angle? Zoom out.

With a prime lens you have to physically move your body if you want to change your angle of view.

Now don’t get me wrong – when I say that a zoom lens makes you a lazy photographer I’m not talking about the amount of exercise you get when you take photos.

I am referring to the fact that when you have a prime lens attached to your SLR camera you really have to think about your composition. Not being able to zoom in and out on a whim really makes you focus on the elements in your photo.

If you don’t like what you see, the act of physically moving your body connects you more with your environment and the image you are trying to capture.

While this may sound like a lot of spiritual nonsense, it’s really true. Try it out for yourself. Stick a prime lens on your SLR camera (borrow one from a friend if you have to) and leave it there for an entire week. Even if you’re tempted to switch back to your zoom, don’t.

Use the prime lens for an entire week, and see if it doesn’t make you think a lot more about how you are composing your photos.

When you think carefully about your composition before you just start snapping away, your photography is bound to improve.

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Chris Roberts purchased his first digital SLR camera 3 years ago, and hasn’t looked back. He continues to learn and write about digital SLRs to this day on his web sites, the Digital SLR Guide and The Best Digital SLR For You

Digital Noise Reduction Made Easy

Writen by Aliaksandr Murauski

Almost every one of us, who have digital photo camera, saw “grainy” photos at least once. That’s thanking to colored pixels (so-called grains, speckles) that are present on photos, but do not exist in the reality.

There are several causes why the noise happens to digital photos: long exposure times, heating of the camera sensor, high ISO settings, matrix defects, small pixel size etc. The effect is very frequent to the consumer digital cameras that are built on CCD or CMOS sensors.

Digital noise is very unpleasant artefact that spoils really good shots sometimes. Every shot corresponds to a unique moment which will never happen again, and the only thing we have to do with a cool, but noisy photo is to retouch it slightly to make it perfect.

Does such a post-processing software exist? Yes it does. There are several noise reduction photoshop plugins (for both windows and macOS) specially designed to remove noise grains from digital photographs:

http://www.digital-photography-software.com/archives/27

The utilities allow reduction of (together and separately): luminance noise and color (chroma) noise. Additional options include fading, blurring and sharpening edges.

So, removing of the most unpleasant picture imperfection – the digital noise – is possible and much more easier than one can imagine. Due to modern image processing algorithms, the plugins can work almost automatically, so noise reduction does not require any advanced computer skills from a photographer.

Noise reduction is made easy nowadays.

Aliaksandr Murauski is an owner of Digital Photography Software blog (http://www.digital-photography-software.com) where he publishes real life, problem-based, digital photography related articles and software reviews.