TECH TIPS
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The importance of titling images
Irena Miles came across two helpful discussions of the rationale behind titling images and what to consider when choosing a title.
TITLING YOUR IMAGES FOR COMPETITION
Abstracted from “Entering Images Into Competition – Definitions and Titling”
By Ellie Webster and Claudia Bodmer
The title is an important aspect in understanding the image, or the story the image is telling. And since image titles are read during judging, in every division you are required to give a title to each image that you submit. Therefore:
Be informative, and if possible include scientific Latin names. An image of a bird flying into a tree needs more information than that in its title. You should try to supply the species Latin name (recommended but not required), the location, and describe briefly what the bird is doing. Something like “Male American Robin (Turdus migratorius) Flies Back and Forth, Gathering Material for Nest-building in Spring” would tell the story. Include only what you have observed, not what you imagine might be happening.
Never anthropomorphize (attribute human characteristics to animals). For example: “Mourning Dove Sits Forlornly on the Nest as She Waits for her Mate to Return” is inappropriate. “Mourning Dove Sitting on Eggs in Her Nest below the Eaves” would be much better, even if the eggs cannot be seen. You presumably know from your observations that they are there.
Keep titles informative rather than humorous or cute. Avoid titles like “Bottoms Up!” for an image of ducks with tails in the air, or “The Happy Couple” for polar bears side-by-side.
It may be helpful to think of the Nature title as a caption in biology textbook: brief, informative, and accurate.
When you are typing in the title, be careful to avoid typos and spelling errors, and always use “Title Case”, with a capital letter at the beginning of each word longer than four letters. Some judges will be at least subconsciously influenced by sloppy titling. If it’s a travel destination, look up the spelling if you’re not certain of it. And verify the spelling of at least the common names of nature subjects.
In General: Be BRIEF, INFORMATIVE, and ACCURATE with your titles, to have a successful and winning image. Some cleverness is required, but your cleverness is not the point you want to make to the viewer, and “cutesy” titles rarely help in competition.
(From the Northern California Council of Camera Clubs)
Abstracted from “Entering Images Into Competition – Definitions and Titling”
By Ellie Webster and Claudia Bodmer
The title is an important aspect in understanding the image, or the story the image is telling. And since image titles are read during judging, in every division you are required to give a title to each image that you submit. Therefore:
- In Pictorial and Creative, the title can be anything you like. In Creative, try to make your title as creative as your image – be imaginative. Although, if the title is too obscure, especially for a Creative image, the judge may spend more time deciphering the title than commenting on the image itself.
- In Journalism, you should include enough information to make it clear to the reviewer WHAT the picture is about, WHERE it was shot, and WHEN it was shot. For example, a photo of a house fire should not simply be titled “House Fire,” but something like “Home on First St., Benicia, Burns to the Ground, October 5, 2009”.
- In Travel, your title must clearly state what the subject is and its location. For example, “Greek Woman” is not enough information, but “Old Woman in Local Dress on Cobbled Street in Heraklion, Crete” tells the story.
- In Nature, titles should be as informative as possible, but try to be concise. In fact, many judges like to see the scientific name, in parentheses, after the common name of the plant or animal. For Nature images, the title is especially important, and the following guidelines should be considered:
Be informative, and if possible include scientific Latin names. An image of a bird flying into a tree needs more information than that in its title. You should try to supply the species Latin name (recommended but not required), the location, and describe briefly what the bird is doing. Something like “Male American Robin (Turdus migratorius) Flies Back and Forth, Gathering Material for Nest-building in Spring” would tell the story. Include only what you have observed, not what you imagine might be happening.
Never anthropomorphize (attribute human characteristics to animals). For example: “Mourning Dove Sits Forlornly on the Nest as She Waits for her Mate to Return” is inappropriate. “Mourning Dove Sitting on Eggs in Her Nest below the Eaves” would be much better, even if the eggs cannot be seen. You presumably know from your observations that they are there.
Keep titles informative rather than humorous or cute. Avoid titles like “Bottoms Up!” for an image of ducks with tails in the air, or “The Happy Couple” for polar bears side-by-side.
It may be helpful to think of the Nature title as a caption in biology textbook: brief, informative, and accurate.
When you are typing in the title, be careful to avoid typos and spelling errors, and always use “Title Case”, with a capital letter at the beginning of each word longer than four letters. Some judges will be at least subconsciously influenced by sloppy titling. If it’s a travel destination, look up the spelling if you’re not certain of it. And verify the spelling of at least the common names of nature subjects.
In General: Be BRIEF, INFORMATIVE, and ACCURATE with your titles, to have a successful and winning image. Some cleverness is required, but your cleverness is not the point you want to make to the viewer, and “cutesy” titles rarely help in competition.
(From the Northern California Council of Camera Clubs)
* * * * * * *
TITLES ARE WORTH THINKING ABOUT
By Jeff Dunn
Spending a lot of time coming up with a title for your image may seem like wasted effort. Aren’t titles just a way we can uniquely catalog our images, file them away, and get on to making the next? Hardly! Thinking hard about titling, at least once in your photographic evolution, can be a life changing experience. “How so?” you may ask.
Titles are “Docents”
If you’re ever involved in club competitions, exhibitions, or other public showings where titles are made available to viewers, your titles are far, far
more than catalog designations. They are docents, as we shall see. Thinking about titles delves into the heart of the photographer’s purposes in the art:
What do I hope for from my images?
An image is not finished when it is done. It continues to have a life of its own until it is destroyed, and even then it may continue to live in memories. PSA photographers mean to have their images viewed by others, which will
therefore generate in others an experience in art. Photographers, at some point, should take a short vacation from their own preoccupations and consider their images through the eyes of others, the viewers: What will that experience be like? The Australian photographer Maris Rusis hit on the importance of taking viewers into account:
“For folks actually intent on the photograph, the partial explanation offered in the title hints to them what mental machinery to invoke to make sense of
what they see.” If you care what your viewers see—at least initially—consider if you want to provide some directional guidance with your title, like a docent
in an arboretum would convey a lesser-known fact about a flower.
How to Think About Titles
Of course you can enjoy an arboretum very well without docents at all. They are not required.
Nevertheless, they can be highly enriching. When you feel in the mood, just as an experiment, you might consider going through the following process in choosing a title. On occasion, this process might be as significant as choosing what scene to capture in your lens.
1. What feeling do you want to generate in your viewers? Will your title help do that?
2. What is the first thing (impact) that your viewers will notice? Is that what you want them to notice? If so, it doesn’t need to be in the title; they’ll notice it anyway. If the first thing they’ll probably notice isn’t as important as something
else you want them to notice, suggest what you do want them to notice in your title.
3. After the first thing you want your viewers to notice, what else do you want them to notice (interest)? Will they need guidance from your title? For example, do they need to know where the image was taken? Is it an abstract or an
extreme close-up of something you’d like to identify for your viewers?
4. Is there something not strictly contained in the image that you want your viewers to be aware of? Consider alluding to such in your title.
Examples include:
a. Similarity to another, more famous image
b. Symbolic or cultural significance of something in or suggested by the image
c. Something you want viewers to know about the circumstances of the creation of the image
d. Humorous aspects of an image that may not be readily apparent
5. Is there some other more esoteric aspect of your image that most viewers would be unaware of? Shouldn’t you inform them of it somehow?
6. Once you’ve determined the content of your title, rework it as necessary:
a. Does it suggest the main purposes of your image?
b. Is it expressed succinctly?
c. In the case of an emotive image, should it be expressed poetically?
7. Finally, test it out: Show your image to some friends and strangers. Tell the title to some and not others, and see if it makes a difference.
I must emphasize that titles should have nothing to do with judging the quality of the image itself, when it comes to pictorial or creative images (by contrast, informative titles are a necessity in travel, nature and journalistic categories). Nevertheless, an evocative title can help viewers better appreciate inherent but not readily apparent attributes of a quality image. Why risk depriving full appreciation in others with a weak title?
EXAMPLES
If Image A is titled Window, it states what is obvious and adds nothing to the viewer experience. But if you imagine what viewers might feel looking at the image, you could guess they might (a) feel repelled by the apparent lack of maintenance and messiness of the building and its content, (b) be interested in the old tools shown and fantasize examining them at a yard sale, or (c) admire the way the diagonal shade goes against the rectilinearly of the window boundaries. These are all reasonable responses, but I realized I wanted viewers to go a bit beyond pure observation, and perhaps think about what sort of person might own the properties shown in the image. So I titled it Window Into a Soul.
Image B depicts what viewers could not help but concur is a nice day of tree, clouds and grass. But I wanted to emphasize the glory of light and shade, and to concentrate viewer attention on the positioning of the tree right at and below the intersection of cloud and horizon, and what that might represent. So I titled it One Oak Under God, invoking the solemnity of the Pledge as well.
Abstract images can be left open to free interpretation. No problem. But it’s also okay to suggest directions of interpretation as envisioned by their makers.
Image C is a Creative photo of part of a rural, shot-up road sign that read LOOSE GRAVEL. I rotated one of its letters, cloned in two more bullet holes, and stroked in a gunsight at the letter’s “eye.”
Rather than directly title the image, Dead Letter, I hoped that viewers might recall a cartoon showing X’d eyes for dead characters without prompting. Instead, I wanted to emphasize that using weapons is a primal urge, like learning the alphabet—and that that urge can be destructive, whether or not one is an advocate for gun control. So I titled it R was for Rifle, with an emphasis on the “was.”
Image D viewers can be led in several directions by titles: Literal, Halloween Skeleton on the Bonneville Salt Flats. Humorous, He Didn’t Believe in Sunblock. Philosophical, End of the Line. But what I wanted viewers to think about was margins, and hope they might discover that the contours of the skeleton match the horizon lines of the hills. So I titled it Edges of Desiccation. Perhaps a bit too subtle, but worth a try.
Readers who concentrate on competitive photography know that titles may be ignored or not even read to or by judges. My interest in titles does not apply in such situations: I am most interested in helping to convey the pleasure of viewing to attendees at club events and gallery exhibitions. If you think about what you’re trying to say with your images, and help viewers along with appropriate titles, you’re helping to create a better world in photography.
(PSA Journal • June 2017 • www.psa-photo.org)
By Jeff Dunn
Spending a lot of time coming up with a title for your image may seem like wasted effort. Aren’t titles just a way we can uniquely catalog our images, file them away, and get on to making the next? Hardly! Thinking hard about titling, at least once in your photographic evolution, can be a life changing experience. “How so?” you may ask.
Titles are “Docents”
If you’re ever involved in club competitions, exhibitions, or other public showings where titles are made available to viewers, your titles are far, far
more than catalog designations. They are docents, as we shall see. Thinking about titles delves into the heart of the photographer’s purposes in the art:
What do I hope for from my images?
An image is not finished when it is done. It continues to have a life of its own until it is destroyed, and even then it may continue to live in memories. PSA photographers mean to have their images viewed by others, which will
therefore generate in others an experience in art. Photographers, at some point, should take a short vacation from their own preoccupations and consider their images through the eyes of others, the viewers: What will that experience be like? The Australian photographer Maris Rusis hit on the importance of taking viewers into account:
“For folks actually intent on the photograph, the partial explanation offered in the title hints to them what mental machinery to invoke to make sense of
what they see.” If you care what your viewers see—at least initially—consider if you want to provide some directional guidance with your title, like a docent
in an arboretum would convey a lesser-known fact about a flower.
How to Think About Titles
Of course you can enjoy an arboretum very well without docents at all. They are not required.
Nevertheless, they can be highly enriching. When you feel in the mood, just as an experiment, you might consider going through the following process in choosing a title. On occasion, this process might be as significant as choosing what scene to capture in your lens.
1. What feeling do you want to generate in your viewers? Will your title help do that?
2. What is the first thing (impact) that your viewers will notice? Is that what you want them to notice? If so, it doesn’t need to be in the title; they’ll notice it anyway. If the first thing they’ll probably notice isn’t as important as something
else you want them to notice, suggest what you do want them to notice in your title.
3. After the first thing you want your viewers to notice, what else do you want them to notice (interest)? Will they need guidance from your title? For example, do they need to know where the image was taken? Is it an abstract or an
extreme close-up of something you’d like to identify for your viewers?
4. Is there something not strictly contained in the image that you want your viewers to be aware of? Consider alluding to such in your title.
Examples include:
a. Similarity to another, more famous image
b. Symbolic or cultural significance of something in or suggested by the image
c. Something you want viewers to know about the circumstances of the creation of the image
d. Humorous aspects of an image that may not be readily apparent
5. Is there some other more esoteric aspect of your image that most viewers would be unaware of? Shouldn’t you inform them of it somehow?
6. Once you’ve determined the content of your title, rework it as necessary:
a. Does it suggest the main purposes of your image?
b. Is it expressed succinctly?
c. In the case of an emotive image, should it be expressed poetically?
7. Finally, test it out: Show your image to some friends and strangers. Tell the title to some and not others, and see if it makes a difference.
I must emphasize that titles should have nothing to do with judging the quality of the image itself, when it comes to pictorial or creative images (by contrast, informative titles are a necessity in travel, nature and journalistic categories). Nevertheless, an evocative title can help viewers better appreciate inherent but not readily apparent attributes of a quality image. Why risk depriving full appreciation in others with a weak title?
EXAMPLES
If Image A is titled Window, it states what is obvious and adds nothing to the viewer experience. But if you imagine what viewers might feel looking at the image, you could guess they might (a) feel repelled by the apparent lack of maintenance and messiness of the building and its content, (b) be interested in the old tools shown and fantasize examining them at a yard sale, or (c) admire the way the diagonal shade goes against the rectilinearly of the window boundaries. These are all reasonable responses, but I realized I wanted viewers to go a bit beyond pure observation, and perhaps think about what sort of person might own the properties shown in the image. So I titled it Window Into a Soul.
Image B depicts what viewers could not help but concur is a nice day of tree, clouds and grass. But I wanted to emphasize the glory of light and shade, and to concentrate viewer attention on the positioning of the tree right at and below the intersection of cloud and horizon, and what that might represent. So I titled it One Oak Under God, invoking the solemnity of the Pledge as well.
Abstract images can be left open to free interpretation. No problem. But it’s also okay to suggest directions of interpretation as envisioned by their makers.
Image C is a Creative photo of part of a rural, shot-up road sign that read LOOSE GRAVEL. I rotated one of its letters, cloned in two more bullet holes, and stroked in a gunsight at the letter’s “eye.”
Rather than directly title the image, Dead Letter, I hoped that viewers might recall a cartoon showing X’d eyes for dead characters without prompting. Instead, I wanted to emphasize that using weapons is a primal urge, like learning the alphabet—and that that urge can be destructive, whether or not one is an advocate for gun control. So I titled it R was for Rifle, with an emphasis on the “was.”
Image D viewers can be led in several directions by titles: Literal, Halloween Skeleton on the Bonneville Salt Flats. Humorous, He Didn’t Believe in Sunblock. Philosophical, End of the Line. But what I wanted viewers to think about was margins, and hope they might discover that the contours of the skeleton match the horizon lines of the hills. So I titled it Edges of Desiccation. Perhaps a bit too subtle, but worth a try.
Readers who concentrate on competitive photography know that titles may be ignored or not even read to or by judges. My interest in titles does not apply in such situations: I am most interested in helping to convey the pleasure of viewing to attendees at club events and gallery exhibitions. If you think about what you’re trying to say with your images, and help viewers along with appropriate titles, you’re helping to create a better world in photography.
(PSA Journal • June 2017 • www.psa-photo.org)
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want to be a better photographer?
Lanny Johnson, ever on the lookout for ways NVPS members can improve our skills, discovered this article written by Joe L Shipman of Texas-based Luminous Productions Photography.
1. Passion is vital for success. Are you really passionate about photography? No, I don’t mean have you taken some pictures on your cell phone, posted to Instagram and found it exciting. What I mean is, do you find it addictive? Are you continuously looking for opportunities to shoot, experiment, and tweak to make that perfect picture? Do you desire to intimately know your camera, understand lighting, aperture, lenses, posing techniques, and so forth? If you find yourself saying, “Meh, maybe,” then you might want to choose a different path. Clients can sense lack of passion like dogs sense fear.
2. Equipment is essential, but significant debt is debilitating. The easiest way to kill a passion is to water it down in debt.
3. Don’t be afraid to buy used equipment and work your way into better equipment. For years, I have bought and sold equipment used from Craigslist, Facebook photography groups, friends, and even pawn shops. It may be intimidating at first, and I recommend finding a photography friend to help you make sound decisions. I have found a number of people that did not follow rule number 2 and now need to sell their equipment. (Hint: When buying from Craigslist, never use PayPal and never ship. Always meet in a comfortable, public location like Starbucks for the transaction and review of equipment. Don’t be afraid to offer less, but discuss that before meeting. Also, for better deals, shop areas where the known income levels are notably higher.)
4. It’s typically better to spend more money on a lens than on a camera body. This may seem odd, but I have bought a number of lenses over the past 12 years. Amazingly enough, the lens I bought for $1,350 over 10 years ago is worth about $1,300. The Canon 5D body I bought for $1,800 would be hard to sell for $500. Putting current values behind, I know how tempting it is to buy the best camera body you can and then find a second rate lens to save money. The problem with that methodology is that you just reduced your camera’s quality tremendously by adding poor glass. Make sure you buy the highest quality lens you can afford, as you will likely have it longer than your camera body.
5. Knowing your market is essential to thriving as a photographer. You may enjoy taking pictures of families with a fake mountain in the background. It may be an incredibly crisp picture with great lighting, but if nobody likes the ’70s theme, it’s time to move on. Don’t force your style where the market is not going if you hope to make a living.
6. Get out of your bubble and shadow other professionals when possible. My clients have greatly benefited from the knowledge I have gained when working with other photographers. Sometimes, you have to put pride aside and look for opportunities to learn. Early on in my career, I worked with several photographers in a media design lab that I managed. Two photographers really stood out to me. It was interesting to learn their approaches to photography and dramatic differences in what they shot and how. Both were great, but had completely different styles. One focused on the technical aspects, while the other took an artistic approach. Later in my career, I shadowed a photographer on a bridal shoot that transformed how I use the sun and natural light. I’ve learned advanced lighting techniques from other photographers by simply asking questions. I’ve learned Lightroom techniques that simplified my post-production process while also contributing techniques that I use with other photographers.
7. This may sound like a contradiction to my previous recommendations, but be yourself as a photographer. By this, I mean don’t try to mimic other photography styles based on a client’s whim. Do what you do best and don’t be afraid to say you’re not a great fit in those cases. (This is certainly easier once you are more established.) Having said that, study other photographers and attempt to replicate photography styles that you find fascinating for the advantage of learning. Hint: It’s not always best to do that during a live shoot unless you’ve got the time and rapport with the client.
8. Educate your clients. Although it’s tempting to accommodate clients’ every wish, you must gently educate them on what it takes to have a successful shoot. For instance, noon outside in the summer of Texas presents a number of challenges that will likely lead to a poor photo and a frustrating experience. When scheduling natural light shoots, I learn more about the couple, family, or individual to determine style. Then I recommend a place and time (usually during the golden hour). Then we build from there. If we’re doing newborn photography, I will inform the client that we will move at the baby’s pace, which sometimes takes much longer than expected. Sometimes the baby needs to nurse or extra time is required to soothe the baby. You can’t rush a newborn! Telling this to the parents before they show up for the shoot helps prepare them for what may be a longer shoot and reduces the stress of an unexpectedly long shoot.
9. Guns and cameras shoot. A photography instructor told me once that a good photographer directs a shoot like he or she is holding a gun. I laughed at first, but I found this to be some of the greatest advice I ever received as a photographer. Clients don’t want unconfident direction.
Examples:
Note: Confidence is not rudeness; it is direct and clear instructions.
10. Compliments create confidence. While working with another photographer, I noticed that he would provide excellent feedback and compliment the model or group when their pose was good or the picture looked good. He would say it with such confidence that the models in the picture could not help but stand taller and appear more confident in the picture. He would throw out things like:
For more information about Luminous Productions Photography, visit getyourpix.com. Luminous Productions Photography is based in Commerce, Texas.
1. Passion is vital for success. Are you really passionate about photography? No, I don’t mean have you taken some pictures on your cell phone, posted to Instagram and found it exciting. What I mean is, do you find it addictive? Are you continuously looking for opportunities to shoot, experiment, and tweak to make that perfect picture? Do you desire to intimately know your camera, understand lighting, aperture, lenses, posing techniques, and so forth? If you find yourself saying, “Meh, maybe,” then you might want to choose a different path. Clients can sense lack of passion like dogs sense fear.
2. Equipment is essential, but significant debt is debilitating. The easiest way to kill a passion is to water it down in debt.
3. Don’t be afraid to buy used equipment and work your way into better equipment. For years, I have bought and sold equipment used from Craigslist, Facebook photography groups, friends, and even pawn shops. It may be intimidating at first, and I recommend finding a photography friend to help you make sound decisions. I have found a number of people that did not follow rule number 2 and now need to sell their equipment. (Hint: When buying from Craigslist, never use PayPal and never ship. Always meet in a comfortable, public location like Starbucks for the transaction and review of equipment. Don’t be afraid to offer less, but discuss that before meeting. Also, for better deals, shop areas where the known income levels are notably higher.)
4. It’s typically better to spend more money on a lens than on a camera body. This may seem odd, but I have bought a number of lenses over the past 12 years. Amazingly enough, the lens I bought for $1,350 over 10 years ago is worth about $1,300. The Canon 5D body I bought for $1,800 would be hard to sell for $500. Putting current values behind, I know how tempting it is to buy the best camera body you can and then find a second rate lens to save money. The problem with that methodology is that you just reduced your camera’s quality tremendously by adding poor glass. Make sure you buy the highest quality lens you can afford, as you will likely have it longer than your camera body.
5. Knowing your market is essential to thriving as a photographer. You may enjoy taking pictures of families with a fake mountain in the background. It may be an incredibly crisp picture with great lighting, but if nobody likes the ’70s theme, it’s time to move on. Don’t force your style where the market is not going if you hope to make a living.
6. Get out of your bubble and shadow other professionals when possible. My clients have greatly benefited from the knowledge I have gained when working with other photographers. Sometimes, you have to put pride aside and look for opportunities to learn. Early on in my career, I worked with several photographers in a media design lab that I managed. Two photographers really stood out to me. It was interesting to learn their approaches to photography and dramatic differences in what they shot and how. Both were great, but had completely different styles. One focused on the technical aspects, while the other took an artistic approach. Later in my career, I shadowed a photographer on a bridal shoot that transformed how I use the sun and natural light. I’ve learned advanced lighting techniques from other photographers by simply asking questions. I’ve learned Lightroom techniques that simplified my post-production process while also contributing techniques that I use with other photographers.
7. This may sound like a contradiction to my previous recommendations, but be yourself as a photographer. By this, I mean don’t try to mimic other photography styles based on a client’s whim. Do what you do best and don’t be afraid to say you’re not a great fit in those cases. (This is certainly easier once you are more established.) Having said that, study other photographers and attempt to replicate photography styles that you find fascinating for the advantage of learning. Hint: It’s not always best to do that during a live shoot unless you’ve got the time and rapport with the client.
8. Educate your clients. Although it’s tempting to accommodate clients’ every wish, you must gently educate them on what it takes to have a successful shoot. For instance, noon outside in the summer of Texas presents a number of challenges that will likely lead to a poor photo and a frustrating experience. When scheduling natural light shoots, I learn more about the couple, family, or individual to determine style. Then I recommend a place and time (usually during the golden hour). Then we build from there. If we’re doing newborn photography, I will inform the client that we will move at the baby’s pace, which sometimes takes much longer than expected. Sometimes the baby needs to nurse or extra time is required to soothe the baby. You can’t rush a newborn! Telling this to the parents before they show up for the shoot helps prepare them for what may be a longer shoot and reduces the stress of an unexpectedly long shoot.
9. Guns and cameras shoot. A photography instructor told me once that a good photographer directs a shoot like he or she is holding a gun. I laughed at first, but I found this to be some of the greatest advice I ever received as a photographer. Clients don’t want unconfident direction.
Examples:
- Unconfident Request: “Would you like to try posing like this, maybe?”
- Confident Request: “Let’s try this pose next.”
- Unconfident Request: “Do you think you may like a picture with your left hand on your hip and arm across your body toward the shoulder?”
- Confident Request: “Put your right arm on your hip and bring your left arm to your shoulder… I love it.” (Compliments inspire confidence—see next tip.)
Note: Confidence is not rudeness; it is direct and clear instructions.
10. Compliments create confidence. While working with another photographer, I noticed that he would provide excellent feedback and compliment the model or group when their pose was good or the picture looked good. He would say it with such confidence that the models in the picture could not help but stand taller and appear more confident in the picture. He would throw out things like:
- “Wow, that’s a beautiful image.”
- “I love what I’m seeing here. Let’s continue with this look.”
- “What a glorious photograph.”
- “Oh, I really like this one.”
- “The lighting is just remarkable.”
For more information about Luminous Productions Photography, visit getyourpix.com. Luminous Productions Photography is based in Commerce, Texas.
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consider the 'rule of thirds'
The composition of our photographs is one of the keys to producing great images instead of so-so ones. In competitive exhibits, composition is 35 percent to 40 percent of the photograph's total rating of 100 percent. It doesn’t make a difference whether the photographer is using a point-and-shoot or the best camera available, all those wanting to take better pictures need to know -- and follow -- the first rule of photo composition: "The rule of thirds.”
Why does using the rule of thirds help to create interesting images? Creating a 'thirds' composition often creates asymmetry in an image which in turn helps add drama otherwise lacking in perfectly symmetrical photographs.
The fastest way to train yourself to 'see' in thirds is to spend some time experimenting with crops of existing images and comparing the different versions.
For additional information and examples visit the sites listed below. There are many more, just google “rule of thirds.”
Websites:
digital-photography-school.com/rule-of-thirds/
www.digital-photo-secrets.com/tip/.../why-does-the-rule-of-thirds-work/
-- Lanny Johnson
Why does using the rule of thirds help to create interesting images? Creating a 'thirds' composition often creates asymmetry in an image which in turn helps add drama otherwise lacking in perfectly symmetrical photographs.
The fastest way to train yourself to 'see' in thirds is to spend some time experimenting with crops of existing images and comparing the different versions.
For additional information and examples visit the sites listed below. There are many more, just google “rule of thirds.”
Websites:
digital-photography-school.com/rule-of-thirds/
www.digital-photo-secrets.com/tip/.../why-does-the-rule-of-thirds-work/
-- Lanny Johnson
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a Member recommendation
NVPS member Wayne Lipps recently signed up for a “one-on-one” session sponsored by Canon to discuss in detail movie making and some specifics about his camera and how to get the best out of it.
"I spent an hour and a half with Jim Rose," he writes. "The session, held at Canon Live Learning in San Francisco, cost $99 and I was the only student. I was surprised to learn that the day before we met he had been on an all-day shoot in Oregon. He's an easy-going guy and a longtime professional photographer who answered all my questions and volunteered considerable information above and beyond what I had asked. He also showed me many examples of his work.
"I highly recommend that those who shoot with Canon visit the website and sign up for one of the classes. It will be money well spent."
To learn more about the photo education classes visit:
http://www.learn.usa.canon.com/live_learning/cll_sanfran/canon_live_learning_san_francisco.shtml
"I spent an hour and a half with Jim Rose," he writes. "The session, held at Canon Live Learning in San Francisco, cost $99 and I was the only student. I was surprised to learn that the day before we met he had been on an all-day shoot in Oregon. He's an easy-going guy and a longtime professional photographer who answered all my questions and volunteered considerable information above and beyond what I had asked. He also showed me many examples of his work.
"I highly recommend that those who shoot with Canon visit the website and sign up for one of the classes. It will be money well spent."
To learn more about the photo education classes visit:
http://www.learn.usa.canon.com/live_learning/cll_sanfran/canon_live_learning_san_francisco.shtml
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equipment and services, continued
photo processing program
Lanny Johnson offers this heads-up to NVPS members to brighten their day: "Costco has Adobe Elements 14 on sale for $39.99 right now ! Also, I understand that Costco will be offering metal prints sometime in the next month or so, so keep your eyes open."
'Gadget' for downloading photos
This discovery was made by NVPS exhibits chair Terry Smith while she was in Los Angeles and needed to collect images from various sources and download them to a specific computer. The 'gadget" is the Sandisk IXPAND flash drive. Although Terry purchased hers at Best Buy in L.A. she found it is also available on Amazon: 64GB for $98.85; 32GB for $74.95, and 128GB for $173.88. Amazon offers free shipping. There is a SanDisk Ultra USB 3.0 OTG with a micro USB connector for Android mobile fevices as well. "I love this product," she said."The beauty of it is it not only has a USB connector but also has the lightening connector. It can be connected to some cameras,computers, phones and iPads." Terry recently used it to clean all the photos off an iPad she is going to retire. "It was also useful to copy photos from my iPhone to my computer that people had texted me for a video."
Custom printing, matting and framing
Carolyn Younger recently had two images printed and mats cut at Emanuel Volakis' North Bay Silver Lab on Walnut Street in Napa and came away impressed by the quality of the work and the variety of services offered at the lab. Volakis, a past NVPS guest presenter, specializes in silver gelatin printing. Digital prints are produced on an HP Z3100 12 ink archival printer and standard and premium papers are offered. He can also provide 'virtual drum' film scanning of 35mm to 4X5 sheet film. In addition to digital and film printing and custom framing, North Bay Silver Lab has a 400square-foot state of the art darkroom that can be rented by appointment, and Volakis offers workshops for groups and individuals at all skill levels. In addition, the photography studio can also be rented for table-top product photography, fashion and portraiture. If this weren't enough, there is a gallery displaying a sampling of Volakis' award-winning black and white photographs. The address is 421 Walnut St., Suite 180. Call first, 320-8796, or visit [email protected] for details and a price list.
custom framing and matting
For matting and framing of your photographs, Lanny Johnson recommends a longtime Napa custom framing business now in a new location.
When he needed some photo mats made in a hurry which were also an odd size he went to Ben Franklin Framing, 1409 Second St., between School and Franklin streets in Napa. "Angel Ramirez had them done and ready in no time and at a reasonable cost," he notes.
Call (707) 224-4458
When he needed some photo mats made in a hurry which were also an odd size he went to Ben Franklin Framing, 1409 Second St., between School and Franklin streets in Napa. "Angel Ramirez had them done and ready in no time and at a reasonable cost," he notes.
Call (707) 224-4458
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a few things to THINK ABOUT
Meanwhile, NVPS field trip organizer Wayne Lipps, has switched hats to share this workshop list of considerations for photographers out on a photo jaunt.
The process
1. BREATHE!
2. What are you photographing?
3. Why are you photographing it?
4. What do you feel?
5. What piece of the image represents this?
6. What angle, shutter speed, F stop enhance it?
7. What does not emphasize the subject? Remove it.
8. Hold your breath. Then, photograph!
9. Step back, think outside of the box. Reshoot.
Analyze
1. Leading Lines/shapes/positive or negative space.
2. Lighting: side, front, back.
3. Camera position: low, high, etc.
4. Framing: Vertical or horizontal.
5. Position: Rule of thirds, center
6. Image emphasis: Eliminate distractions,check background or edges of frame.
7. Depth of field: Aperture, focusing point.
8. Expression of speed - Shutter: show, slow, or stop motion.
The process
1. BREATHE!
2. What are you photographing?
3. Why are you photographing it?
4. What do you feel?
5. What piece of the image represents this?
6. What angle, shutter speed, F stop enhance it?
7. What does not emphasize the subject? Remove it.
8. Hold your breath. Then, photograph!
9. Step back, think outside of the box. Reshoot.
Analyze
1. Leading Lines/shapes/positive or negative space.
2. Lighting: side, front, back.
3. Camera position: low, high, etc.
4. Framing: Vertical or horizontal.
5. Position: Rule of thirds, center
6. Image emphasis: Eliminate distractions,check background or edges of frame.
7. Depth of field: Aperture, focusing point.
8. Expression of speed - Shutter: show, slow, or stop motion.
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informative Websites to explore
Brian Kearney suggests http://digital-photography-school.com/ for those wanting to learn more about "everything photographic. "
Wayne Lipps' go-to site for photo-taking tips is http://oneslidephotography.com/
Wayne Lipps' go-to site for photo-taking tips is http://oneslidephotography.com/
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in praise of metal prints
(Editor's Note: NVPS member Joseph Sinclair visited the Concord-based MagnaChrome facility to investigate how metal prints are made. Below he describes some of what he learned. )
Joseph Sinclair became interested in metal prints after seeing the work of NVPS member and past president Elizabeth Bush. He then had some of his photographs printed on metal by AdoramaPix and also looked into Bay Photo print options before his tour of MagnaChrome.
During the tour, Sinclair learned that MagnaChrome invented the process seven years ago and has supplied the technology and designed and built the heat-presses for both AdoramaPix and Bay Photo. It has also set up several other such photo services to print on metal.
The process begins with printing the photo’s reverse image using a 4-foot wide Epson printer and special paper with special ink. The print is then taken to a heat-press and an aluminum plate is placed over it. The print and the plate are then compressed under 1 ton of pressure and 400 degrees of heat. The metal plate has a translucent coating which gives the print its back-lit effect. The special ink under pressure and heat goes from a solid to a gas, bypassing the liquid state. The gas penetrates the coating on the metal and fuses directly with the metal leaving the translucent coating on top. The metal image is then cooled and trimmed, and its edges smoothed. Once a hanging mechanism is attached to the back with adhesive, the print is ready to be shipped.
"Besides being beautiful the prints have an archival life of 330 years so long as they are kept out of direct sunlight," Sinclair notes. "In addition, you can clean the surface using alcohol. For that reason, hospitals are using a lot of metal prints because they can clean them regularly for hygienic purposes. I like them because their cost is lower than having a photo printed on paper and then custom framed. Even with in expensive ready-made frames, the metal prints are comparable in cost but less trouble. However, none of this would make any difference if they didn't look so good.
"In my opinion framed prints and metal prints don't mix well on the same wall, but in a room with just metal prints, the metal prints look natural and a natural part of the room. They stand out from the wall about a half-inch or so, and this 3D effect plus the shadow creates a subtle border effect around the edges. In addition, all three photo services (MagnaChrome, AdoramaPix and Bay Photo) can provide physical frames for these prints, too, but I don’t recommend them.
"All things considered, this is a dramatic new way to display photos. MagnaChrome manager Najman Osman expects these metal prints to become ubiquitous within the next three years. And I think he's probably right.
"Finally, as a business model, these prints make a lot of sense. The shipping charges, at least at AdoramaPix, are modest and you can have the prints drop shipped. I can’t think of a more effortless way to do business. Of course, you can have a photo printed and framed any way your customer wants it at Bay Photo, but then you get into the process of having the customer choose matting and framing which puts photographers into the framing business. "
To learn more about ordering, visit http://www.magnachrome.com
Joseph Sinclair became interested in metal prints after seeing the work of NVPS member and past president Elizabeth Bush. He then had some of his photographs printed on metal by AdoramaPix and also looked into Bay Photo print options before his tour of MagnaChrome.
During the tour, Sinclair learned that MagnaChrome invented the process seven years ago and has supplied the technology and designed and built the heat-presses for both AdoramaPix and Bay Photo. It has also set up several other such photo services to print on metal.
The process begins with printing the photo’s reverse image using a 4-foot wide Epson printer and special paper with special ink. The print is then taken to a heat-press and an aluminum plate is placed over it. The print and the plate are then compressed under 1 ton of pressure and 400 degrees of heat. The metal plate has a translucent coating which gives the print its back-lit effect. The special ink under pressure and heat goes from a solid to a gas, bypassing the liquid state. The gas penetrates the coating on the metal and fuses directly with the metal leaving the translucent coating on top. The metal image is then cooled and trimmed, and its edges smoothed. Once a hanging mechanism is attached to the back with adhesive, the print is ready to be shipped.
"Besides being beautiful the prints have an archival life of 330 years so long as they are kept out of direct sunlight," Sinclair notes. "In addition, you can clean the surface using alcohol. For that reason, hospitals are using a lot of metal prints because they can clean them regularly for hygienic purposes. I like them because their cost is lower than having a photo printed on paper and then custom framed. Even with in expensive ready-made frames, the metal prints are comparable in cost but less trouble. However, none of this would make any difference if they didn't look so good.
"In my opinion framed prints and metal prints don't mix well on the same wall, but in a room with just metal prints, the metal prints look natural and a natural part of the room. They stand out from the wall about a half-inch or so, and this 3D effect plus the shadow creates a subtle border effect around the edges. In addition, all three photo services (MagnaChrome, AdoramaPix and Bay Photo) can provide physical frames for these prints, too, but I don’t recommend them.
"All things considered, this is a dramatic new way to display photos. MagnaChrome manager Najman Osman expects these metal prints to become ubiquitous within the next three years. And I think he's probably right.
"Finally, as a business model, these prints make a lot of sense. The shipping charges, at least at AdoramaPix, are modest and you can have the prints drop shipped. I can’t think of a more effortless way to do business. Of course, you can have a photo printed and framed any way your customer wants it at Bay Photo, but then you get into the process of having the customer choose matting and framing which puts photographers into the framing business. "
To learn more about ordering, visit http://www.magnachrome.com
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Traveling With Photography Equipment
(Editor's Note: Lanny Johnson came across these safe travel tips by professional photographer William Johnston which appeared in Picturecorrect Publications. To learn more visit http://www.picturecorrect.com)
Travelling with photographic equipment can difficult, but travelling without photographic equipment could be considered a waste of a journey by any photographer who truly loves taking pictures, so here are some handy tips that should take some of the stress out of travelling with your camera equipment.
It may seem like the most obvious piece of advice in the world, but if you are flying carry your camera onboard as hand luggage to avoid damage or loss. If you still use film them remember when you go through metal detectors, ask the attendant to hand-screen your rolls of film. It will help if you carry your film in clear canisters or remove it from its packaging and place it in clear plastic bags. However, if you can buy film at your destination, consider waiting until you arrive to buy it. It will at least make part of your trip easier for going through airport security screening devices.
Do not pack unprocessed film in luggage that will be stored in the cargo hold. The scanning equipment is stronger than the ones used for hand luggage and your film may well be damaged. Check your airline’s website to find out about hand luggage policies when travelling overseas, as some small airline operators do not allow you to carry luggage onto the plane with you.
Digital memory cards are not affected by x-rays, but magnetic devices could damage them. Conveyor belts may cause problems due to powerful magnets in the motors; although the risk is slight it is advisable to place your camera as far away from the beginning of the belt as possible.
If you’re travelling by car in a hot climate, keep your camera inside when you’re driving so it will stay cool and always remember to carry it with you when you leave your car; it can easily be stolen out of the boot (or trunk).
It takes only a couple of seconds for anyone to take an unattended camera bag so always, keep your eye on your equipment. If you need to put your bag down, at a hotel reception or by your side at a coffee shop, it is a good idea it place your foot through the straps as a ‘distraction thief’ may get your attention focused on something but cannot so easily get you to walk away and forget your bag without the strap tripping you up and reminding you it is there. Dangling a camera from your neck is not such a good idea either; it’s very easy to cut a strap with a quick cut of a sharp knife and snatch the camera. When walking with my camera I wrap the strap three or four times around my wrist and clasp the last section of the strap in my fist, then I am ready to take a photograph but the strap cannot be cut and the camera snatched.
Think about what you’re going to do about storing digital images before you go on your trip. Personally, I prefer memory cards and in my two Canon 5 d Mk ii I use 32 gb cards, each capable of storing over 1000 large Raw files. Lugging around a computer or portable storage devices is a hassle I can do without. If I need to be particularly protective about my images, I will either go to a ‘one-hour lab,’ and have them download the images to a CD, (though I keep the original images on the car too) or I go to an internet cafe and download the images direct to my website or to an online photo storage website. If I need more memory cards, I just buy them as they’re not hard to find and not too expensive. If I think it may be hard to find new memory cards then I simply take extra ones with me. You can never have too many memory cards.
Make sure you insure your equipment; even if you have an insurance policy in place already it is still worth checking with your insurance company just what will be covered and in what circumstances you can make a claim. Insurance companies are notorious for finding a way out of compensating clients for the loss of equipment in case of theft or damage. It has been known for an insurance company to ask for every item to be listed that was stolen, i.e. Camera, lens, lens cap, flash, diffuser, two memory cards, USB cable, and bag, then charge 200 excess for each listed item that was stolen as each item listed is a separate claim. As you can see from my short list the excess to be paid in the event of your camera bag being stolen is 1800, which for some cameras is more than the cost of the equipment lost. Check your policy, especially if the insurance is cheap, but even if you have paid a lot, still check the policy carefully.
Unless you know your camera inside and out, take your manual with you. Just pack it in your luggage. Make sure you take all your cords, etc. with you, but remember to check the insurance Terms and Conditions. If may need to bring an electric plug adapter if you are travelling overseas, remember to check this before you go. Bring one for your car too; if you’ll be doing a lot of shooting in the field it can be very useful.
Protect your camera from inclement weather and avoid leaving your gear in extreme heat or cold. If it rains unexpectedly, the very least you should do is get your camera under an item of clothing to shield it from the worst of the rain.
If it’s cold, keep your camera warm with your body heat to avoid condensation. If condensation does occur, remove the battery and memory card and keep the compartments open until they are full dry. If you take your camera back outside with condensation inside, it may freeze or even short when the power is turned on. Protect your lens by using a UV filter.
Take equipment you’re familiar with using. Travelling isn’t the time to try out new equipment; if you want get good results do your practicing before you leave. Travel light with a good bag and don’t bring every lens or body you have “just in case.” I never travel with more than three lens 50mm f1.4 24, a 70mm f2.8 and 70-200mm f2.8 which I find adequate for all eventualities. Obviously your range of lenses will depend on the type of photography you intend to do as well as your budget.
Finally if you’re going overseas, declare all your photo equipment to customs officials at the airport before you leave so you will not have to prove ownership when you return home thus avoiding little problems such as being presented with a bill for import duty that you then will need to contest.
But ultimately, have fun and fill your cards with wonderful travel photos."
PictureCorrect note:
"We recently lost an important piece of luggage traveling with Turkish Airlines from LAX to Dubai. It was a rugged waterproof pelican case filled with camera equipment and we found ourselves powerless to recover it. Turkish Airlines would not give us any information and we didn’t hear anything until our case showed up a whole week later delivered by a third party delivery person who had no idea where the case had been held up. Next time, we plan on using app-based or GPS tracking devices with important pieces of luggage to give us at least some information about where lost equipment might be if we ever lose something again."
Travelling with photographic equipment can difficult, but travelling without photographic equipment could be considered a waste of a journey by any photographer who truly loves taking pictures, so here are some handy tips that should take some of the stress out of travelling with your camera equipment.
It may seem like the most obvious piece of advice in the world, but if you are flying carry your camera onboard as hand luggage to avoid damage or loss. If you still use film them remember when you go through metal detectors, ask the attendant to hand-screen your rolls of film. It will help if you carry your film in clear canisters or remove it from its packaging and place it in clear plastic bags. However, if you can buy film at your destination, consider waiting until you arrive to buy it. It will at least make part of your trip easier for going through airport security screening devices.
Do not pack unprocessed film in luggage that will be stored in the cargo hold. The scanning equipment is stronger than the ones used for hand luggage and your film may well be damaged. Check your airline’s website to find out about hand luggage policies when travelling overseas, as some small airline operators do not allow you to carry luggage onto the plane with you.
Digital memory cards are not affected by x-rays, but magnetic devices could damage them. Conveyor belts may cause problems due to powerful magnets in the motors; although the risk is slight it is advisable to place your camera as far away from the beginning of the belt as possible.
If you’re travelling by car in a hot climate, keep your camera inside when you’re driving so it will stay cool and always remember to carry it with you when you leave your car; it can easily be stolen out of the boot (or trunk).
It takes only a couple of seconds for anyone to take an unattended camera bag so always, keep your eye on your equipment. If you need to put your bag down, at a hotel reception or by your side at a coffee shop, it is a good idea it place your foot through the straps as a ‘distraction thief’ may get your attention focused on something but cannot so easily get you to walk away and forget your bag without the strap tripping you up and reminding you it is there. Dangling a camera from your neck is not such a good idea either; it’s very easy to cut a strap with a quick cut of a sharp knife and snatch the camera. When walking with my camera I wrap the strap three or four times around my wrist and clasp the last section of the strap in my fist, then I am ready to take a photograph but the strap cannot be cut and the camera snatched.
Think about what you’re going to do about storing digital images before you go on your trip. Personally, I prefer memory cards and in my two Canon 5 d Mk ii I use 32 gb cards, each capable of storing over 1000 large Raw files. Lugging around a computer or portable storage devices is a hassle I can do without. If I need to be particularly protective about my images, I will either go to a ‘one-hour lab,’ and have them download the images to a CD, (though I keep the original images on the car too) or I go to an internet cafe and download the images direct to my website or to an online photo storage website. If I need more memory cards, I just buy them as they’re not hard to find and not too expensive. If I think it may be hard to find new memory cards then I simply take extra ones with me. You can never have too many memory cards.
Make sure you insure your equipment; even if you have an insurance policy in place already it is still worth checking with your insurance company just what will be covered and in what circumstances you can make a claim. Insurance companies are notorious for finding a way out of compensating clients for the loss of equipment in case of theft or damage. It has been known for an insurance company to ask for every item to be listed that was stolen, i.e. Camera, lens, lens cap, flash, diffuser, two memory cards, USB cable, and bag, then charge 200 excess for each listed item that was stolen as each item listed is a separate claim. As you can see from my short list the excess to be paid in the event of your camera bag being stolen is 1800, which for some cameras is more than the cost of the equipment lost. Check your policy, especially if the insurance is cheap, but even if you have paid a lot, still check the policy carefully.
Unless you know your camera inside and out, take your manual with you. Just pack it in your luggage. Make sure you take all your cords, etc. with you, but remember to check the insurance Terms and Conditions. If may need to bring an electric plug adapter if you are travelling overseas, remember to check this before you go. Bring one for your car too; if you’ll be doing a lot of shooting in the field it can be very useful.
Protect your camera from inclement weather and avoid leaving your gear in extreme heat or cold. If it rains unexpectedly, the very least you should do is get your camera under an item of clothing to shield it from the worst of the rain.
If it’s cold, keep your camera warm with your body heat to avoid condensation. If condensation does occur, remove the battery and memory card and keep the compartments open until they are full dry. If you take your camera back outside with condensation inside, it may freeze or even short when the power is turned on. Protect your lens by using a UV filter.
Take equipment you’re familiar with using. Travelling isn’t the time to try out new equipment; if you want get good results do your practicing before you leave. Travel light with a good bag and don’t bring every lens or body you have “just in case.” I never travel with more than three lens 50mm f1.4 24, a 70mm f2.8 and 70-200mm f2.8 which I find adequate for all eventualities. Obviously your range of lenses will depend on the type of photography you intend to do as well as your budget.
Finally if you’re going overseas, declare all your photo equipment to customs officials at the airport before you leave so you will not have to prove ownership when you return home thus avoiding little problems such as being presented with a bill for import duty that you then will need to contest.
But ultimately, have fun and fill your cards with wonderful travel photos."
PictureCorrect note:
"We recently lost an important piece of luggage traveling with Turkish Airlines from LAX to Dubai. It was a rugged waterproof pelican case filled with camera equipment and we found ourselves powerless to recover it. Turkish Airlines would not give us any information and we didn’t hear anything until our case showed up a whole week later delivered by a third party delivery person who had no idea where the case had been held up. Next time, we plan on using app-based or GPS tracking devices with important pieces of luggage to give us at least some information about where lost equipment might be if we ever lose something again."
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RESEARCHING CAMERAS AND EQUIPMENT
NVPS Members who are researching new cameras or ancillary equipment have a wide selection of websites from which to glean information. Camera manufacturers publish full specifications for their products, but for unbiased reviews there are many independent sites.
One of the best and most comprehensive sites is www.dpreview.com. Their reviews are extremely thorough and detailed. If you don't want all the details you can still learn a lot by reading the introduction and the final conclusions.
An alternative approach comes from www.dxomark.com. They do not provide comprehensive reviews but they aim to measure absolute performance of each camera sensor in terms of its capture of RAW images. Each camera finishes up with a score between 1 and 100 based on three factors, color depth, dynamic range and low light performance. These factors are independent of lenses, accessories, software and some intangibles such as how the camera feels in your hand. Not surprisingly, the best performers tend to be the most expensive, but it is interesting to note that the highest pixel count does not always correlate with best performance.
Other informative sites include:
www.betterphoto.com
www.picturejungle.com
www.lonelyplanetimages.com
www.thecandidframe.com
www.luminous-landscape.com
www.advancedphotography.net
www.apetureacadamy.com
Professional Photographer of America
The Ugly Hedgehog, a daily Photography Forum: www.UglyHedgehog.com
Photographic supply companies such as B&H Photo and Adorama also have informative websites.
For tutorials on several different programs: Click here
To add a site to this list, please send the information to the Webmaster.
One of the best and most comprehensive sites is www.dpreview.com. Their reviews are extremely thorough and detailed. If you don't want all the details you can still learn a lot by reading the introduction and the final conclusions.
An alternative approach comes from www.dxomark.com. They do not provide comprehensive reviews but they aim to measure absolute performance of each camera sensor in terms of its capture of RAW images. Each camera finishes up with a score between 1 and 100 based on three factors, color depth, dynamic range and low light performance. These factors are independent of lenses, accessories, software and some intangibles such as how the camera feels in your hand. Not surprisingly, the best performers tend to be the most expensive, but it is interesting to note that the highest pixel count does not always correlate with best performance.
Other informative sites include:
www.betterphoto.com
www.picturejungle.com
www.lonelyplanetimages.com
www.thecandidframe.com
www.luminous-landscape.com
www.advancedphotography.net
www.apetureacadamy.com
Professional Photographer of America
The Ugly Hedgehog, a daily Photography Forum: www.UglyHedgehog.com
Photographic supply companies such as B&H Photo and Adorama also have informative websites.
For tutorials on several different programs: Click here
To add a site to this list, please send the information to the Webmaster.
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SHUTTER ACTUATIONS
Wondering how much life your shutter will give you before it fails? Or maybe you are selling your camera and the buyer asks how many times the shutter has been used. Now you can find out. Click on the link below for a program that will tell you how long your shutter has left before it's time to replace it. http://www.camerashuttercount.com/
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