For those new to stock photography, or even the experienced, selling your photography on stock agencies may be a daunting exercise: several sites to choose from: Shutterstock, Fotolia, Veer and iStockphoto to name the largest, files that take hours to upload, and keeping track of your sales is just a recipe for headaches.

Click to visit site

iSyndica, an online digital distribution platform for microstock portfolio, is the remedy. With over 30 agencies supported, the site provides you with a robust list of the top sites on which you can sell your best digital images. Follow the links from their channel list, sign up for an account with Fotolia or Shutterstock and you’re set. Their tagline states: Upload Once, Sell Everywhere. iSyndica, lets you manage your photo portfolio online making it available 24/7 wherever you have internet. You can decide which sites to submit your images to and it will do the distribution. The better part comes when you start making money and can centrally track all your sales and downloads, either on the site or through an easy to use Firefox plug-in.

Click on the image above to learn more about iSyndica

There are many software products out there touting to handle keywords and raw files among other things. A quick review will make it apparent that what you pay for is essentially a trimmed down iPhoto or Adobe Lightroom. When it comes down to it, iSyndica truly improves on the most time consuming task: uploading your portfolio. Turning something that takes anywhere from 4 to 12 hours in just a couple minutes.

We’ve found it easy to use and the fact that it’s online is a big PLUS: no software to install or update, and you can work on your files from home, at work or vacation.

Finally, doubling as a backup solution for those scared to see their shots lost in a laptop crash, makes iSyndica the ultimate stock photography software. We’ve compared their storage pricing to others like SmugMug and Photoshelter. Verdict: don’t think twice. It’s better. Go sign up for iSyndica now.

By Dphotojournal com

“night bus” captured by David Hobcote (Click Image to See More From David Hobcote)

In this article I will try to explain how perspective works in a 2D photograph with some tips, myths and example photos.

When we see a photograph on computer screen or on prints, we are looking at a 2-dimensional representation of a real 3-dimensional scene. And that is what photography is all about – capturing a 3D scene onto a 2D image. I used to wonder how do photographers demonstrate “depth” or sense of “scale” in a (good) photograph. They use the concept of Perspective.

This is one of the tricky areas of photography which if a photographer is not consciously aware of, can produce unwanted “distortions” or “flat” uninteresting images.

3D is real. A 2D depiction of a 3D scene is just an illusion exploiting how our brain synthesizes information to determine the “depth” in real-time. Powerful compositions can be created by applying the concepts of perspective in effectively converting a 3D scene into a 2D translation.

Let’s start by formally defining “Perspective”

Perspective in photography can be defined as the sense of depth or spatial relationships between objects in the photo, along with their dimensions with respect to the viewpoint (camera lens or the viewer).

Now let’s come down to the techniques -

I. Blocking, overlap or obstruction

This is probably the dumbest thing to tell. But let me tell you anyways. When we see an object blocking the view of another object, the first object is nearer to the viewer than the latter.

This clue to our brain regarding distance can be utilized in a photograph to depict the “depth” or distance between the objects also called overlap perspective. If this overlap is repeated in a same picture the viewer gets a sense of depth among various objects lying in a 3D reality through the perception of the relative distance of objects made by partial blocking and hiding.

“Hitting the Wall” captured by Mark Feliciano (Click Image to See More From Mark Feliciano)

II. Relative Size

Our brain is very complex but gets fooled easily. We have a notion that when an object becomes more distant, it appears smaller than the one which is closer to the viewer.

In reality our brain has encodings of “natural” size of different objects like trees, cars, people and animals. So when we see a person twice as big as building, we cannot rationally conclude that the person is actually twice as big in reality. Our brain tells us that the building is farther away for a person. Alternatively when we carefully place different objects at different distances but giving an illusion that they are in the same plane produces funny images.

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So in a nutshell, our brain makes an evaluation of the sizes based on “known” objects in relationship with other objects in the photo. Thus a distance is “imagined” in the brain and creates the “depth” in the photo that the photographer is looking for. This is also called “scaling” which helps the viewer to determine the actual size or relative size of the objects in the picture.

III. Linear, Rectilinear and Vanishing Point

As already mentioned earlier that a 2D image is nothing but an illusion of a 3D scene, but nevertheless artists and photographers utilize this illusion effect as an important compositional factor in their works.

The human eye judges distance by the way lines and planes converge at an angle. This is known as linear perspective.

“downtown” captured by rjnic (Click Image to See More From rjnic)

This when expanded to the rectangular objects, you find that some of the lens (fish-eye and panoramic) produces objects at the sides much smaller than it actually is and the objects at the center much larger that it’s actual size. Geometrically all straight horizontal lines at the lens axis level are represented as straight lines, and all other straight horizontal lines either above or below the lens axis level are reproduced as curved lines. But with “rectilinear perspective” the straight lines in the subject are reproduced straight in the picture (normal lenses are rectilinear lenses) which is way we see things normally.

It is noteworthy to mention that any photo is subject to “perspective projection distortion” which can be controlled and corrected with various methods that I will describe in Part II of this series.

The fish-eye and panoramic lenses produces “false” perspectives and are used only to produce “special” effects on purpose (more on this in Part II: Playing with perspective).

So back to linear perspective. Lines that are parallel to each other when seen at a great distance gives us the sensation of meeting (at vanishing points) for example in rail tracks. This “converging parallel lines” illusion can be used to show “distance” or depth in the photo.

IV. Lack of Sharpness, Color Quality or Contrast

“dwntn blue” captured by Mike Regan (Click Image to See More From Mike Regan)

We are accustomed to our eyes not able to figure out objects in the distant far off (due to lowering of contrast or scattering of light or both). We can use this information to “create” the effect of lack of sharpness/contrast by controlling the depth of field. Now controlling depth of field is totally different subject area in Photography and I do not want to mix it with the current discussion of perspective control. But just for the sake of completeness, I can give you a quick hint: just focus your lens slightly shorter than infinity so that the farthest object looks blurred thus giving the viewers a sense of distance.

Also atmospheric conditions like haze/fog/dust can cause loss of image sharpness at a distant. Since the effect of this “haze” (scattering of light due to particles in the air) is proportional to the distance of the objects from the lens, we can use this information as well in composing the shot.

Of course, there are various different factors that contribute to varying atmospheric conditions but the result effect of reduction of contrast, brightness and saturation can make our eyes believe that we are looking at something really distant compared to the objects that are clear, sharp and vibrant color.

So next time when you are trying to compose a photo, before pressing the shutter, think again. Are you able to successfully illustrate the “3D-factor” through any (or all) of the above mentioned “illusion” methods. In Part II of this article, I will explain the myth on perspective, zooming/framing and distortion corrections.

About the Author
Sudipta Shaw is a software professional and a self-made photographer. He also likes to teach and mentor.

By Richard Schneider

Panasonic has announced the successor of G1 – the worlds first Micro Four Thirds camera. The G2 is now loaded with a touch-screen operation with 3.0-inch free-angle LCD featuring Full-time Live View and high-speed Contrast AF System allowing you to set auto focus at the desired part of the frame in both photo and movie recording. The DMC-G2 can record HD movie of 720P in AVCHD Lite with high sound quality of Dolby Digital Creator.

Panasonic DMC-G2 Press Release

February 7, 2010: Panasonic is pleased to announce the new DMC-G2 from Lumix G Micro System as the world’s first interchangeable lens system camera with touch-control shooting*1. The LUMIX G Micro System has been sparking revolutions in the market as its name “New-Generation System Camera” suggests.

Ever since the release of DMC-G1, the first interchangeable lens system camera based on the Micro Four Thirds System standard with dramatic downsizing of the body adopting the mirrorless structure. The GH1 realized 1920×1080 full HD (High Definition) movie recording and the GF1 brought an innovation even in the viewpoint of design with a flat, slim profile.

To develop the new DMC-G2, Panasonic focused on the operability and elevated it even higher by adoption of touch-screen that connects the sight and action most intuitively. Just a touch on the subject in the LCD lets you set AF even to release the shutter. Various advanced AF functions taking advantage of high-speed, accurate contrast AF are now as easy and comfortable as it never was with a combination of touch-screen operation. Yet the camera body is compact enough to be the world’s smallest and lightest*2.

The double Live-View function offered by the large and bright 3.0-inch 460,000-dot free-angle Intelligent LCD and 1,440,000-dot 1.4x (0.7x*2) Live View Finder makes it possible to see how settings results in the picture in advance to the shooting. The 12.1-megapixel Live MOS sensor and the new Venus Engine HD II integrating Intelligent Resolution technology assure high image quality in both photo and movie recording.

The DMC-G2 records high quality movie in AVCHD Lite in addition to the motion JPEG even with advanced flexibility of cutting out a high quality still image thanks to the Intelligent Resolution technology. The camera has an HDMI output capability so that the dynamic movies and photos can be played back on the large HDTV via the optional HDMI mini cable.

For stimulating the creativity of photo/videography, the popular My Color mode is succeeded from the predecessors to offer 7 color settings and 1 custom setting for both photo and movie recording. In addition, the Movie P mode lets you change the aperture to expand the expressiveness in movie recording. The DMC-G2 is also compatible with the optional external stereo microphone DMW-MS1 for high quality audio recording.

On the other hand, the iA(Intelligent Auto)mode which is popular in both Lumix system cameras and compact cameras supports easy shooting with automatic optimization according to the scenes in both photo and movie recording. It can be directly activated with the newly added iA button without trouble of setting using dial or menu.

The DMC-G2 with HD movie recording capability offers an abundance of advanced functions with an unprecedented ease of use realized by a touch control. It brings users from entry level to high amateur and even to professionals, a different surprise and joy of shooting commensurate with their photographic stage. Choose the body color that sound most right to you from three colors – black, red and blue.

The intuitive touch-control shooting- world’s first in an interchangeable lens system camera*1

To elevate its operability even higher, the DMC-G2 adopts touch-control shooting for the first time in the world as an interchangeable lens system camera. AF is immediately set to the subject by just touching it on the large, 460,000-dot LCD and you can even release the shutter.

Once you lock on the subject by a touch, the camera tracks the subject even it moves with the AF tracking function. Just a touch on the screen lets you select the part and the size of AF area with the 1-area AF and the 1-area AF in Face Detection even allows you to set finer focus on the eye while capturing human face bright and clear. The Multi-area AF allows to set a group of AF point according to the composition.

With the Intelligent Scene Selector in the iA mode, the camera automatically switches to the appropriate mode according to the subject touched, for example, a touch on a human face switches to the portrait mode and the a touch on the background or a scenery to the scenery mode while a touch on the subject close to the camera to the close-up mode. In the manual focusing, you can enlarge the part by just a touch to select 1x, 5x or 10x and smoothly move the part by dragging it on the screen. The touch operation dramatically shortcuts the action of setting in the menu, too.

The touch-screen operation excels not only for shooting but also for playing back images with outstanding visibility. You can play back the image you want out of hundreds of stocks by touching on the one in the thumbnail. To play back images one by one in order, you can drag the image across the screen with a finger to browse the collection of photos as you flip over the pages of the book. Max.16x of enlargement is also easy with touches.

The large, high resolution LCD with wide viewing angle rotates 180° from side to and tilts 270° up and down offers approx.100% of field of view. The free-angle LCD with a touch-screen operation makes both monitoring and touching at any physical position.

Despite the incorporation of high-performance LCD, the DMC-G2 is the world’s smallest and lightest to offer excellent portability*2.

The LUMIX G Micro System identity

With the LUMIX DMC-G1, Panasonic has developed an entirely new concept in digital cameras that comply with the Micro Four Thirds System standard by taking even greater advantage of the compactness and light weight that are made possible by eliminating the mirror box and optical viewfinder unit. By increasing the number of electrical contacts between the camera body and the lens, the camera’s expandability is also dramatically increased to maximize future potential.

The LUMIX G Micro System’s large, bright 1,440,000-dot equivalent Live View Finder retains the outstanding viewability of an optical viewfinder and can also display information about camera settings that the user can see without taking his or her eye from the subject.

A clever built-in eye sensor automatically switches on the viewfinder when the user looks into it, then switches it off and turns on the free-angle 3.0-inch large 460,000-dot high-resolution LCD (which boasts a wide viewing angle) when the user looks away from the viewfinder.

The 60-frames-per-second Live View is made possible by the Live MOS sensor, which takes signals directly from the image sensor and sends them continuously to the LCD, in real time. Both the Live View Finder and LCD provide approx. 100% field of view. This allows the user, when composing a shot, to check the framing accurately from corner to corner.

The contrast AF system*4 adopted by the LUMIX DMC-G2 is not only accurate and easy to use, but also very fast. Users can choose from a wide range of AF modes, including AF Tracking, 1-area AF, Face Detection AF/AE and 23-area area.

High image quality as an interchangeable lens system camera

While achieving breakthroughs in advanced functions and compactness of design, Panasonic also refined its comprehensive digital imaging technologies for every cameras of LUMIX G Micro System to raise the level of image quality that rivals or even surpasses D-SLR cameras. The 4/3-type 12.1-megapixel Live MOS sensor featured in the DMC-G2 offers the best of both worlds — the superior image quality of a CCD sensor, and the lower power consumption of a CMOS sensor. Advanced technology that makes it possible to read 4 channels of data simultaneously also helps the G2 deliver 60 frames-per-second Full-time Live View images, while faithfully reproducing high-resolution images with fine detail and rich gradation.

The new Venus Engine HD II features exceptionally advanced signal processing capabilities. This sophisticated LSI separates chromatic noise from luminance noise and applies the optimal noise reduction to each, so you capture clear and beautiful images even when shooting at high ISO sensitivity levels. The Venus Engine HD II also provides independent gradation control for each of the R, G and B colors, so even delicate color nuances are reproduced faithfully. Linking smoothly with the Live MOS sensor, the Venus Engine HD II records stunning high-resolution 12.1-megapixel images with exceptional accuracy. Signals containing a large amount of image data are sent from the Live MOS sensor to the Live View Finder at 60 fps, resulting in clear, smooth live view.

The high-speed, high-performance Venus Engine HD has been re-engineered to compile the new image processing technology “Intelligent Resolution”. It enables the recording of beautiful photo and high-definition movie with higher quality signal processing. With the Intelligent Resolution technology, 3 areas — outlines, detailed texture areas and soft gradation areas are automatically detected. The outline parts are enhanced effectively to give edges more clearness while giving a moderate accentuation to the texture areas to look more finely detailed.

To the soft gradation part, superior noise reduction system of the Venus Engine HD II is applied to make it smoother. Apart from the uniform enhancement of sharpness, the innovative technology Intelligent Resolution precisely performs signal processing pixel by pixel in the most effective way for it. As a result, images are naturally clear and crisp in both photo and movie recording.

Cameras of LUMIX G Micro System are equipped with highly efficient Dust
Reduction System. If dust or other foreign matter gets inside the camera when you’re changing lenses, it could cling to the image sensor and show up as a spot in your photos. The Dust Reduction System in the G2 helps eliminate this possibility by placing a supersonic wave filter in front of the Live MOS sensor. Vibrating vertically around 50,000 times per second, the filter repels dust and other particles effectively.

Take motion picture recording to the next-level with new generation AVCHD Lite

The DMC-G2 can record 1280 x 720 high-definition motion picture in AVCHD Lite that features long recording time and high compatibility with audio-visual equipments. Users can enjoy recording HD motion images taking maximum advantage of lens’ descriptiveness and interchangeability or the large sensor size.

The action starts at a single press of a dedicated button on the top while most of the settings for photo recording are succeeded, which is convenient when you record the same subject at the same situation in both photo and movie. HD Motion JPEG in 1280 x 720 can also be selected as an alternative movie recording format in addition to QVGA, VGA and WVGA, which is more compatible with PCs. High quality sound can be recorded with Dolby Digital Creator and optional accessory Stereo Microphone (DMW-MS1) can be attached to the G2. A Wind Cut function is also available to block out most of the noise from background wind.

Even video beginner can record excellent movies with DMC-G2 because the popular iA (Intelligent Auto) is also available in motion image recording. Optical Image Stabilizer (O.I.S.) helps prevent handshake when using high-powered zoom. Face Detection automatically detects a face in the frame and adjusts focus, exposure, contrast, and skin complexion on it so it always turns out beautifully. Intelligent Exposure continually checks the ambient light level and adjusts the exposure setting as conditions change to prevent blown highlights and blocked shadows. And Intelligent Scene Selector automatically switches between Portrait, Scenery, Close-up and Low Light modes according to the situation to optimize visual quality.

The G2 also provides a My Color mode, Film mode and carries over a variety of scene modes from photo scene modes in movie recording. Motion picture P mode that lets you change the aperture for more creative HD movie recording. You can try professional-like movie recording with these variety of options like you do with photo recording.

Now the DMC-G2 can take photo while recording movie by just pressing a shutter button. Plus you can save a frame of movie as photo during playback. Newly added Video Divide function lets you split a video into two at the point you desire. This makes it possible to delete the unwanted part by cutting it off.

A pallet of options to stimulate photographers’ creativity

The DMC-G2 is artistic not only in form, but also in function. It provides an array of features that let users either capture precisely true-to-life images or create their own beautifully expressive images. The G2 features My Color mode with a total of seven preset effects — Expressive, Retro, Pure, Elegant, Monochrome, Dynamic Art, and Silhouette while inheriting the previous Custom mode, which lets users manually set the color, brightness and saturation levels.

With the Full-time Live View function, users can see how these settings will affect the images before they shoot, making it easier to capture the exact mood or atmosphere desired. For even more elaborate effects, users can choose from a total of nine Film modes, and set the contrast, sharpness and saturation levels for each. A custom function lets users store their favorite settings in memory. The G2 also provides a total of 26 Scene modes including the Peripheral Defocus mode. Most of these modes can be used when shooting motion images too, letting users create movies with dramatic, theatrical effects without having to edit after they shoot.

The exposure meter can be displayed in the P/A/S/M shooting modes. The correlation between shutter speed and aperture is shown, with a color-coded warning that alerts users when the settings are not in the proper range. For newcomers to system camera photography, this makes it easy to learn proper settings both visually and logically, enhancing their photography skills.

Great photography is not only from a professional photographer — iA (Intelligent Auto) mode

The DMC-G2 has advanced functions that will satisfy experienced photographers, yet is easy enough for beginners to use comfortably. It’s ideal for compact camera owners who want to step up to higher-quality photos — but without having to worry about the need of technique. Panasonic achieved this superb ease of use by continuing to improve iA mode — with its shooting assist functions that have proven extremely popular in LUMIX compact cameras — and adding it to the LUMIX G Micro System’s advanced imaging technologies. iA mode is available not only in photo but also movie recording.

With AF Tracking, the G2 can lock onto any subject and keep it in focus even if it moves — making it easy to get beautiful, clear shots when a great photo opportunity suddenly arises. Simply aim, lock, and shoot. The Face Recognition*5 function remembers registered faces to give an appropriate AF/AE on the people. In playback, you can choose to display only photos that contain a specific registered face using Category Playback.

In addition to the advanced functions mentioned above, the iA mode inherits fundamental functions users need in a good digital still camera. These include MEGA O.I.S., which helps prevent blurring from hand-shake, and Intelligent ISO Control, which reduces motion blur by adjusting the ISO sensitivity if the subject moves as the shot is taken. Intelligent Exposure optimizes the exposure for each part of an image, preventing blocked shadows and blown highlights and helping ensure that gradation and details are reproduced beautifully. It also features an automatic backlight compensation function that activates whenever the camera detects the subject is in backlight. Intelligent Scene Selector automatically detects the most common shooting situations — Portrait, Night Portrait, Scenery, Night Scenery, Close-up and Sunset — and switches to the appropriate Scene mode. The user can activate all of these useful, convenient shooting-assist functions by simply selecting iA mode.

Enjoy watching high quality photos and movies on large HDTV – VIERA Link networking

Both still images and motion images in AVCHD Lite recorded on SD Memory Cards are easy to view on a Panasonic VIERA TV with dynamic HD resolution. The user simply inserts the card into the VIERA Image Viewer (SD Memory Card slot) on a VIERA TV or DIGA Blu-ray Disc Player*6 to play the content. Alternatively, an optional mini HDMI cable can be used to output still and motion images recorded with the DMC-G2 directly to the TV for easy VIERA Link operation. This makes it possible to take maximum advantage of the camera’s playback functions, including slideshows in which both still and motion images are played sequentially, or calendar displays and so on. All control is possible using only the TV’s remote control.
In addition, with the included software PHOTOfunSTUDIO 5.0 HD Edition, it is easy to view and edit your recorded contents. You may also choose to upload your videos to YouTube or burn them to a DVD disc for archiving.

Rich options for expandability

The Micro Four Thirds System products are joining today’s Four Thirds System products to provide customers with even higher levels of performance in a digital interchangeable lens camera. In addition to LUMIX G lenses, the LUMIX DMC-G2 and LUMIX G Micro System can use any interchangeable lens that complies with the Four Thirds standard via an optional mount adaptor DMW-MA1 and with the prestigious Leica M/R Lenses via DMW-MA2M or MA3R. This gives the user access to the unlimited number of lens properties.

With the LUMIX G Micro System and the growing assortment of lenses becoming available, the expressive possibilities are unlimited. The LUMIX DMC-G2 system camera offers a wide variety of options to choose from to match every shooting situation and shooting style. Some accessories are not available in some countries.

* Mount Adaptor: DMW-MA1, DMW-MA2M, DMW-MA3R
* External Flash: DMW-FL220 (GN22) / DMW-FL360 (GN36) / DMW-FL500 (GN50)
* PL Filter: DMW-LPL52
* ND Filter: DMW-LND52
* MC Protector: DMW-LMC52
* Stereo Microphone: DMW-MS1
* Battery Pack: DMW-BLB13
* DC Cable: DMW-DCC3
* Remote Shutter: DMW-RSL1
* Soft Case: DMW-CG1
* Soft Case: DMW-CG2
* Soft Bag: DMW-BAG1, DMW-CZ18
* Leather Bag: DMW-BAL1
* Shoulder Strap (Stylish): DMW-SSTG1-A/C/R/K
* Shoulder Strap (Woven): DMW-SSTG2-W
* Shoulder Strap (Leather): DMW-SSTG3-T
* Shoulder Strap (Leather): DMW-SSTL1
* HDMI mini Cable:RP-CDHM15/RP-CDHM30

Included software

With the DMC-G2, PHOTOfunSTUDIO 5.0 HD Edition for easy organization of photos and movies and the SILKYPIX® Developer Studio 3.1 SE for RAW file development come bundled.

The PHOTOfunSTUDIO 5.0 HD Edition makes it possible to sort and organize photos not only of those newly taken but also of those stored in your PC with quick start-up and fast read-in of images. The Face Recognition function that recognizes the faces in the picture to automatically sort the photos by the registered faces without picking out each photo one by one when you only want pictures of a specific person.

You can also enjoy slideshows with a variety of effects and use your iTunes music library as background music and burn it onto a DVD disc in MPEG2. Motion pictures can be uploaded directly to YouTube using the built-in YouTube uploader even in HD quality. It also lets you create a 360-degree rotation panorama file in MOV, which is especially easy if Panorama Assist mode in the camera is used. The software is of course compatible with the Windows 7.

The original image data in RAW file format recorded with the G2 allows images to be developed according to your intention using highly advanced functions of the SILKYPIX® Developer Studio 3.1 SE software utility. It features unique combination of high resolution and extraordinary color separation performance.

*1 For an interchangeable lens system camera with movable LCD as of March 7, 2010
*2 For an interchangeable lens system camera with movable LCD as of March 7, 2010. There are some limitations to other functions depending on the lens to attach.
*3 35mm camera equivalent.
*4 Lenses that are not compatible with the contrast AF function can be used with manual focusing.There are some limitations to other functions depending on the lens to attach.
*5 Turn Face Recognition item ON and register the person with full-face portrait on the shooting menu in advance. Some functions in iA mode may not be available depending on the lens that is mounted.
*6 AVCHD Lite motion images recorded onto an SD Memory Card or a DVD cannot be played on a device that does not support the AVCHD standard.

By Dphotojournal com

Family reunions, little league teams, birthday parties, and class field trips are just a few scenarios when many of us have tried and failed to get the perfect group shot that reflects the mood of the occasion. Where did we go wrong and how can we get the photographs we want with our own digital camera?

Photo captured by Robert Nemeti (Click Image to See More From Robert Nemeti)

One option, although a bit pricey for “everyday” purposes, is to hire a professional photographer. I am assuming however that most people reading on this topic are hoping to learn the tips they need for getting better group shots with their own camera. Thus, here are some hints that can help:

Get set up

People get impatient, tired, children begin to wander and fidget, and everyone’s smile begins to wither if they have to wait around while you select the perfect location, get your camera set up, rearrange your subjects, and so forth.

Be sure to find a spot that is large enough to accommodate the number of people you will be photographing.

Be sure there is adequate lighting. Open blinds, turn on lamps, and use additional light sources indoors. Outdoors, be sure that the sun is not directly in front of your subjects to eliminate squinting. Also be sure that the sun t is not directly behind subjects shining into the camera. The sun should be at a 45 to 90 degree angle to your subjects.

“Galin and Nadejda Wedding” captured by Tatiana Garanina (Click Image to See More From Tatiana Garanina)

Know how you want to pose the group. More about this in a moment, but for now suffice it to say; figure out how you want to do it before the people arrive to be photographed.

Get your camera ready

The camera should be on, set up on a tripod, and any settings selected.

Take charge

Tell the subjects how you want them to pose. Arrange them and coach them through the process. Tell them where to face. Should they be looking at the guest of honor, the coach, the bride and groom, or the camera? Should they smile or be more relaxed? It depends on the type of look you want the photograph to have.

Get everyone arranged

This will vary by the group size and the type of event. To assure the faces of both tall and short people alike can be seen, you will need to arrange carefully. Generally you want taller people in back and in the center. For large groups you may need to vary heights more: have some seated in front, some kneeling, and then those further back from the camera should be standing.

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Pulling the group together will allow you to step closer and assure that faces can be seen. Having the group stand shoulder to shoulder, all facing the camera can look very stiff and also makes it difficult to get close enough to see any detail. It is better to curve the rows and use various heights to bring the group in to a narrower range and allow faces to be seen in the photograph as you get closer to the group.

Arranging groups on stairs and shooting from above the group looking down are two ways of fitting the group into a tighter pattern. Another technique is to angle everyone 45 degrees facing slightly in toward the center of the group to get very large groups organized in a smaller pattern.

Know how and when to shoot

With groups you will definitely want to take multiple shots to be sure you get at least one or two pictures that are “good” of each individual. Take these rapidly; pros use burst mode. One way to improve your chances of eliminating shots with closed eyes is to instruct subjects to close their eyes and then on the count of 3 to open their eyes and smile.

“Alice in Wonderland” captured by Anya Kozyreva (Click Image to See More From Anya Kozyreva)

Another important consideration is to take the group shot before the very end of any event (excluding, of course, group shots such as a game victory, etc.) This will assure that everyone is present and not exhausted.

One camera, one photographer technique

One final consideration involves an issue I frequently encounter when family reunions occur or multiple parents are involved with an event. A group shot is orchestrated but it takes a half an hour for everyone to get the shot they want with their camera. There is time involved in both setting up each camera in the preferred location and, in some instances, time for the person taking the photograph to run to and from the group as the photographer/subject role changes.

The best method is to allow one person to take all photographs with a single camera and then, thank goodness for digital cameras, e-mail all photographs to everyone present.

About the Author
The author invites readers to discover more information about getting better photographs with your digital camera by browsing the information available at homemedias.info, her online home electronics store.

By Richard Schneider

Common Peacock by lem estiva

By Dphotojournal com

Canon EOS-1D Mark IV is a professional DSLR features 45-point AF system including 39 cross-type points, a new AI Servo II AF focus tracking system with improved algorithm combined with 10 fps continuous shooting, APS-H sized 16.1 Megapixel CMOS Sensor, Dual DIGIC 4 Image Processors, a spectacular ISO range of 100 – 12800 (up to 102400 in H3 mode), Full HD movie recording, Magnesium alloy body with shutter durability up to 300,000 cycles, exclusive dust-weather-resistance, and a 3.0-inch ClearView II LCD monitor.

Overall Rating: 4.5 out of 5 stars | Latest Price Info

By Dphotojournal com

The rise of consumer priced digital SLR cameras has generated a great new following in photography. Amateur photographers find they now have more control over their photographs and ample opportunity to experiment outside the ‘point and shoot’ mentality. No longer do they have to wait until the whole roll of film has been exposed and then processed, often finding that the exposure wasn’t right on that one, or it was out of focus on another. Now the shots can be viewed immediately and appropriate corrective steps taken at relatively little cost. No longer ‘a moment lost’.

“Chicago Dusk” captured by Mark Feliciano (Click Image to See More From Mark Feliciano)

This rise in popularity of photography has also spawned many post-processing computer applications. Admittedly some were around before the digital age, but many more have been born into the age, and one particular post processing methodology – HDR, or High Dynamic Range, is rapidly gaining in popularity.

High Dynamic Range (HDR), as the name suggests attempts to extend the light and tonal range of images taken under normal conditions, and once a balanced HDR image is compared with the original shot the results are often outstanding. Ever hear the expression, “You just had to be there’, when someone is showing off photographs? What they are really saying is that their camera just cannot compete with the human eye when capturing the total range of light and dark areas in an image. OK. So it is about light – right? So why don’t we take more than one shot of the same scene at different shutter speeds and then combine them in a way to get the best of all of them? That is exactly what we do to prepare for HDR processing. Here are the requirements and steps to generate an HDR image.

You will need:

1. A good quality SLR camera capable of taking shots at different shutter settings. If you have a camera with a bracketed function and multiple shot capability, with a quick scan through the manual you will find out how to take say three shots of the same scene – one at normal exposure, one say two stops below normal, and another two stops above.
2. A sturdy tripod. If you are going to be taking multiple shots it will help if there is as little camera movement as possible between shots.
3. A high contrast scene. HDR works best here. An HDR photograph of a grey card will always be just a grey card, but one of a threatening thundercloud formation over a sunlit landscape can make one drool!

“Magical Streams” captured by Jim K. (Click Image to See More From Jim K.)

4. You will need some HDR processing software. I use Photomatix. It has good reviews and I get good results out of it. It is also very flexible in generating images from the surreal to the sublime.
5. You will need some time to learn and experiment. It doesn’t all happen by magic – you do actually have to work at it.

How to produce and HDR image:

1. Find your high contrast scene.
2. Place your camera on a tripod and if possible use a remote control to operate the shutter. Also if you are shooting with a remote, cover the eyepiece.
3. Preferably set your camera to shoot RAW images. These images will contain so much more exposure detail than JPG.
4. Set the camera to aperture priority. This will maintain the aperture setting to your chosen value and vary the shutter speed to obtain different exposures without upsetting depth of field.

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5. Set the camera to manual focus and focus on your scene.
6. If possible select Auto Exposure Bracketing from your camera menu options, and select multiple shot mode.
7. Take your three shots.
8. Back home download your photographs and import them into an HDR processing application. Generate the HDR (which will look awful on the limited capabilities of your monitor), and then tone map the HDR to your liking. There it is!

Note: if you don’t have bracketing or multiple shot then you will have to manually change the shutter speed between shots – but don’t move the camera!

The good and bad about HDR:

1. Good side. Spectacular images can be produced with the right scene and the right tone mapping.
2. Good side. The process is simple and flexible – you are the maestro!
3. Good side. It lends a ‘fresh string to your bow’.

“Rail Car” captured by Michael Price (Click Image to See More From Michael Price)

4. Bad side. It takes time to get it right. It’s a bit like riding a bike. You get the basics weighed off and then you start on the tricks.
5. Bad side – well, a consideration. Not all images lend themselves to HDR imaging. High contrast images work best.
6. Bad side. HDR will always introduce a degree of noise into your images. This looks like grainy film.
7. Good side. This has been recognised. Some noise can add a special effect, but, there are now software applications to remove or limit the noise. Noiseware is one of them.
8. Bad side. You can go completely overboard with HDR and produce some of the most hideous images imaginable. Take it easy and focus on creating an image that you feel truly represents what you – or your eye, was seeing.
9. As stated previously, not every one will turn out a success so be patient and learn.

About the Author
Hi, I’m Terence Starkey. I am a long time camper and a keen photographer especially when out camping. I have made several modifications to my camper to make life easier and I have included some photographs and drawings there. On the site I have a photograph gallery of special shots and a selection of my favourite HDR images. If you would like to know more use the Contact Us page on the site.

By Richard Schneider

Only by Excalibur38

By Dphotojournal com

“Till The Morning Sun” captured by Mark Broughton (Click Image to See More From Mark Broughton)

In this article I am going to discuss the special focus condition called Hyperfocal Distance (HFD) and how you can employ it with today’s DSLR cameras to achieve the absolute greatest possible depth of field for any given situation. Hyperfocal focus will allow you to produce a DOF that extends from the nearest possible point to the camera through to infinity.

Maximum depth of focus allows you to use relative subject scale as a creative aspect in your compositions while still keeping everything tack sharp. Since the relative size of objects projected on a flat plane, i.e. “the film” or “the sensor” is dependent on their position relative to the camera, objects close to the camera will appear larger than those distant. If you can focus on both you are able to produce a virtually tactile appearance of the near objects while making them ’scale’ noticeably larger than the distant objects. A good way to prove this to yourself is to place your camera next to a long fence while keeping everything in focus. Not only do you get a geometric convergence of parallel lines, but the close objects appear with maximum texture and detail.

Hyperfocal distance is that special focus condition in which clear focus is obtained from ½ the hyperfocal focus point to infinity. Put another way, if you know what the HFD is for the given lens focal length and f-stop and focus on it, then everything from ½ of that distance to infinity is in focus.

Now here is the key point: HFD is calculated using only three numbers, the lens focal length, the f-stop used and the circle of confusion. The circle of confusion is a number you can get from a reference table and does not vary. As a practical matter if you want the DOF to extend from the closest possible point to infinity you’re going to be shooting at a small f-stop anyway so you don’t care about wider lens apertures. I’ve run the HFD table for a 50mm lens which I often use and have burned into my brain that at f-22 the HFD is 20 feet and that half of the HFD is 10′.

This then is my rule of thumb for this lens: at 50mm if I set the prime focus on 20′ I know that everything from 10′ to infinity is dead sharp. By the rules of optics, I know that a 50mm lens when focused on the HFD at f-22 will produce a sharp image from 10′ to infinity. I also know that I can’t get any closer than 10′ and still have my focus extend to infinity, it will be something less- but not infinity. I don’t need any other tables or calculations for this lens when I’m at f-22 which I will be for landscape work. I have similar figures for all my other prime focal lengths and the whole thing fits on a laminated card that fits in my pocket!

“Rome” captured by Lilia Tkachenko (Click Image to See More From Lilia Tkachenko)

To understand the implications of the above I recommend that if you have not already done so, go to dofmaster.com and print out a depth of field table for a Canon 30D, 50mm lens. If you read the distance scale at the far left to 20 feet and then move right on the page to the f-22 column you will see that the close focus point is 9′-9.7″ and the far focus point touches infinity. You can also tell from looking at an extract of the table below that if I focus on 18′ my near focus point is 9′-3.6″ but my far focus point is 276′, far but not infinity! If I move to 20′ which is the calculated HFD, I touch infinity. If I focus beyond 20′, my near focus point moves away from the camera and to infinity.

50mm lens @ f22

Focus Distance………………Near Focus Point……………Far Focus Point

18………………………………………….9′-3.6″……………………………276′

20………………………………………….9′-9.7″…………………………..Infinity

30………………………………………….11′-8″…………………………….Infinity

To round out your understanding of HFD, proceed to dofmaster.com and download their free HFD calculator. Input of all values required on the data screen is pretty straightforward except the circle of confusion which you should initially set at.019mm for most handheld digital cameras. If you want to more know about circle of confusion, you can read further on their website. In any event, program the screen and output your HFD chart.

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For my 50mm lens, setting the circle of confusion at.019mm: my chart reads the following and I calculate the near focus as ½” the HFD as:

f-stop………………HFD…………………….½ HFD

2.8…………………..150′……………………75′

4……………………….110′………………….55′

5.6……………………..80′…………………..40′

8…………………………55′……………………28′

11……………………….38′………………….19′

16………………………27′………………….14′

22……………………….20′………………….10′

I hope the foregoing has been helpful in understanding the useful arcana of focus in applied optics. Now go out there and shoot some (well focused) scenes.

“Times Square” captured by Jason Lavengood (Click Image to See More From Jason Lavengood)

Again, many thanks to Don Fleming for putting up and maintaining dofmaster.com a wonderful site that has all sorts of free and info and goodies related to DOF and related subjects.

About the Author
Jeremy Myers is a wedding officiant and is the owner of Lyssabeth’s Wedding Officiants. Visit his websites at: Marin Wedding Officiants and Monterey Wedding Officiants.

By Richard Schneider

Last update (04 March’10):
- Review & Sample Photos @ PhotographyBlog

Olympus E-PL1 is a 12.3MP Live MOS Micro Four Thirds Interchangeable Lens Digital Camera with 14-42mm f/3.5-5.6 Zuiko Digital Zoom Lens. The camera features built-in flash, In-body Image Stabilization, TruePic V Image Processor, ISO 100-3200, a direct button for HD movies, built-in photo effects, and a 2.7 inches HyperCrystal LCD AR(Anti-Reflective) coating. The camera measures 4.51 in (W) x 2.84 in (H) x 1.63 in (D) / 114.6 mm (W) x 72.2mm (H) x 41.5mm (D) and weighs 10.44 oz / 296g (body only).

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By Dphotojournal com