The iPad and the Photographer

Now that the iPad has a firm foothold in the market, many of you might be seriously interested in getting one. But like all fancy gadgets, it can take time to decide whether it is worth spending around $499. Of course, it all depends on what you will want it for. As an entertainment device, it packs quite a punch. And if you are a photographer, you might find the iPad useful in various ways.

One of its major uses would be as a portfolio. When you are looking to be hired for photo services, potential clients would want to look at samples of your work. It is quite common to show your sample images using a laptop, albums or prints. By using an iPad, you can display your photos in one gorgeous medium. After all, presentation really does count. It is more striking and sleeker than a regular photo album and more intimate than a netbook or a laptop. At 9.7 inches on its widest side and at 1024 x 768 pixel resolution, the screen is large enough for viewers to fully appreciate the images. Also, it utilizes in-plane switching (IPS) technology which allows people who are obliquely viewing the screen to still get a clear view. This is perfect for when a crowd of eager people want to see the picture you took of them all at the same time.

Another asset of the iPad is that you can upload images to it right after you take your pictures. With the use of the iPad Camera Connection Kit, you have the option to import image files using a USB cable or straight from an SD card. It supports both JPEG files and RAW formats. Right after uploading, you can even send the images by 3G (you have to sign up for this extra service) or Wi-Fi to a client who might be waiting for them. A drawback is that photo editing is limited with the iPad. It will not be the best tool to do heavy post processing since iPad photo apps do not have the extensive editing features of Photoshop and other similar software.

Although the iPad is a fantastic device, it does have its weaknesses. It does not support Flash so if your online portfolio is flash based, you will not be able to access it. It also has little storage space (64GB max) compared to netbooks or laptops, and it does not have the capacity to multi-task so you can’t receive instant messages while you are previewing your photos or fixing your slideshow. Keep in mind that this is version 1.0 and that over time there will surely be improved and more feature packed versions that might address these issues.

The iPad might not replace a netbook or a laptop in terms of productivity or functionality but if your purpose in having one is to pamper yourself with the latest gadget that will give you tons of fun, and at the same time allow you to have a stunning portable portfolio that can show off your pictures in vivid detail, then this might just be the ideal gift you can give yourself.

 

 

 


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Choosing the Perfect Photostock Plus Storefront

It is safe to say that photography is all about visual imagery and presentation is necessary to entice people to go to your site and browse around. Your photographs may be exceptional but if the package in which they are displayed is unsightly, it can be assumed that potential buyers will be put off and look somewhere else.  Photostock Plus offers varieties of website templates called ‘storefronts’ which have been created to showcase members’ photographs for selling purposes. Although each storefront template is special in its own way, finding that perfect storefront that matches your personality as well as your photographs can be a challenge. A fun challenge, nevertheless.

After going to ‘my account’ and clicking ‘customize website’, click the ‘select a store template’ button and it will open a window to several template options. Currently there are 47 designs but more are being created. Twenty six of those templates are available only to gold members, which is another great reason why you should upgrade if you haven’t yet.

You could break your options down first to templates with light colored background or dark background. Would your photographs appear more striking set against a black backdrop? Do they look more pleasing to the eye if a lighter color were used? If you prefer more color, why not try the pink or green template and see if that works best. There are templates with sports motifs, nature themes, and even love designs which is perfect if you are a wedding photographer. There are elegant and classy templates such as the Parchemin, and simple yet stunning ones such as ‘White Harmony’.

You may place a title for your storefront such as your company name or your website address. The header content is a great way to provide information about what your page is all about. A short but informative sentence would be enough to hook buyers into lingering. The content section is where you would want to describe yourself a little bit more, here you can add extra information that you feel the buyers should know. Both the header and the content section have the added feature of allowing you to include HTML or flash code to further personalize your page. You may also add an invoice note which will appear in the customer’s invoice.

Photoshop Plus has thought of everything to make the buyer’s experience a pleasant one. You have the choice of adding slideshow music with a wide selection of melodies to fully enhance your storefront’s appeal. You may also show your pricing group if you like. To further customize your page, you may have event albums open in a new window, enable comments on your photos, and have the site send you an email when you receive a comment.

Take some time to choose and customize your storefront to fully maximize the potential of site traffic and buyer patronage. 


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Counting the Dots and Upsizing

The number of pixels in an image determines how far you can enlarge your digital images in print. Each pixel represents a square in an image. The more squares there are, the greater the clarity of an image when enlarged. Usually, the general accepted standard for professional printing is 300 pixels per inch (ppi). For ordinary printing, it’s 200ppi which is more than enough for ordinary use. The difference is seen when the image is enlarged to its maximum size for which a picture can be printed.

How big a pixel can be depends on how far away the print is when viewed. Working out the maximum printable size for the number of pixels for your image is simple. You can use the tools in any manipulation software such as Photoshop and Elements. The image size window will show you the printable size  for the set number of pixels per inch. You can hen change the pixel concentration to make the image bigger or smaller.

There is a confusing question regarding pixels and dots. The resolution of digital images is measured in pixels which is an image file that has no physical dimension. It is only when pixels are displayed or printed where their size is visible.  Pixels per inch help calculate just exactly how big an image can appear for a particular use. Printers and paper are sold based on how many dots per inch (dpi) is their capacity. Printers can also have the option to allow you to choose dpi settings you require.

Dots per inch vary from pixels per inch in a way that dpi rating is a way of describing how small a dot of ink the printer can create on paper. The more dots of ink in a printed image it has, the finer the detail in the final outcome. This is only apparent when you use paper that has the capacity to show it. If you’re using ordinary paper, it would only be a waste of ink to use higher dpi settings.

Economy Normal and Fine– 360dpi is the minimum resolution setting when using normal paper and basic inkjet stock.

Photo – 720dpi and 1444dpi are reserved for good quality photo paper.

Photo – 2880dpi or higher is best use only for fine, glossy media.

When using basic calculations, an uncropped image shot using a 3 megapixel camera can be printed at just about 10×8 inches at 200ppi. This can have a maximum output of 7×5 ices if you use 300ppi as a standard. You can however still produce larger prints with a 5 megapixel camera by manipulating the image using an editing software. By using the program, you can add more pixels to in image so that it can be further enlarged without showing the tiny squares called pixelation.

This process increase the size of the image file as well so only do this to images that need upsizing and not storing. This process is called Interpolation. By using a software to  make a guess as to how to add new pixels to older ones. Upsizing means that a image produced by a digital camera can be printed out at a far greater range of sizes than the standard norm. There can also be some quality loss, Photoshop has five Interpolation processes you can choose from. Bicubic option is for all around use. Depending on the type of image, each may produce varying results. You can choose the best tool that fits an image for better quality.

The resampling process should be done before the image is sharpened. For large changes in the number of total pixels, it is worth doing the upsizing in stages than all at once.


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Architecture Photography for Editorial Use

Stock agencies will almost always ask you for a release for you images most especially when you are dealing with models and property rights. This, however , doesn’t mean your image cannot be licensed. In most cases, the jeopardy is shouldered by the publisher. But never pretend you have obtained a release when in fact you do not.

It’s always better to be safe by acquiring a release for your images, but when using them for editorial purposes, it will hardly ever have a need for one. There may be numerous stories claiming to have gone through hell and high waters with this type of problem but it is a rare scenario.

Wide angle lenses are quite pricey and a common thought among photography enthusiasts is if it is possible to photograph buildings without it. It’s always fun discovering different angles that would allow you to capture buildings and other types of structures with a telephoto lens. Distant viewpoints can give out of the ordinary perspective of a well known architectural landmark, this allows you to focus on architectural detail and patterns in a selective way.

But because buildings are tall and as well as being surrounded by other buildings, the most extreme wide angle lenses are useful for architecture than other subjects and become even more so when shooting indoors where possible viewpoints are a lot more restricted.

One particular drawback in using a wide angle for large structures is that to get the whole building’s image from top to bottom in the whole shot, you have to tilt the camera. This can cause parallel vertical lines to meet in the actual image. This type of result can be unique when it creates noticeable diagonal lines. 

When shooting from a farther distance with a longer lens can help get the whole architectural structure in your shot and you don’t have to tilt your camera as much. Another technique you can use is to look for a high vantage point such as another building from across the street will give you a better view and allow you to keep the camera at a vertical position. Furthermore, you can utilize a perspective control lens which is an expensive accessory for some DSLR cameras. This allows you to shift the camera’s lens up to be able to include the upper portion of a building without having to tilt the camera.

Converging verticals can easily be corrected by using any standard image manipulation software which is essential for every aspiring photographer. By stretching the building from the top portion will align the vertical lines. This will however make you lose some of the picture area. It’s best to study the image and imaging how you can use the software to your advantage to enhance your image while still I the scene and remember to frame the subject loosely to make sure you capture all the important elements for your final image.

The ideal equipment for architectural photography are:

  • A super wide angle zoom that can cover focal lengths effectively in the 15-30mm range. A wide angle or semi fish eye converter may also be used.

  • A standard zoom with a 35-200mm focal length can be very effective. This enables you to shoot from varying distances as well as effectively crop your images to enhance details.

  • A tripod is very important when shooting indoors but is also important for outdoors. A tripod allows you to make full use of the fixed nature of architectural structures as well as image quality ad depth of field.

 


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Using Facebook to Market your Photo Business, Part 1

Now that the internet is deeply imbedded in the world’s conscience, it has opened the floodgates for business opportunities in the global scale. Gone are the major barriers of geography and distance, of language and cultures. The internet has brought people closer together and has kept us connected in ways we could only imagine not too long ago. Facebook is arguably the current most popular online social networking media in the world. It is not only used to keep in touch with family and friends but also to promote and market various businesses. If you have a photography business, using Facebook’s features can greatly work to your advantage just make sure you always link back to your blog or photo website as part of your promotion.

Have a fan page and keep it updated – self-promotion is a very effective way to get your name and business known to a wide audience and you can do that by having a fan page. You can have your family, friends, clients and people with similar interests as your fans. As others notice your page in their friends’ wall, they will visit and might decide to also be a fan of yours. There are many ways you can make your fan page attractive. A big come-on would be your profile picture. You can have a picture of yourself or your business logo, or even combine the two. The image should represent your skills as a photographer. Keep this page active by posting regularly and updating your fans with what you are up to in terms of your photo business. You can post links to your blog or your website, show your latest photos, invite people to attend certain events, and the like. However, don’t post too often (such as several times a day) because too many messages can irritate your fans who might consider removing themselves off your fan list.

Fill up the info section – Facebook has an information page where you can include pertinent details about your photo business. Your potential and current clients will be sure to stop by this info tab to find out more about you, such as your website address, your blog site, your online portfolio site with www.PhotoStockPlus.com, and if you have other networking or photo sites such as Twitter or Flickr. The info page is what you would normally see when you use search engines so try to keep the details informative and concise. However, also try to keep the tone light and fun to attract prospective clients.

Use photo albums to show your sample work – it is only natural that you show off your photos in the photo album section. This is where everyone can see samples of your work, so upload and maintain a small portfolio bu talways link back to your main online gallery. Albums can be categorized so make use of this feature to keep your photos in order. Some people assume that online images are free to be used without permission and might copy your work for their own needs without your permission and knowledge. To lessen the chances that your images can be used, never upload the full resolution of your photographs. Resize the image to make it smaller but still good when viewed, such as a pixel size of 800 or less on the wider side. Also, use the ‘save for web’ option when saving your photo after post processing.

Having photos in Facebook means that you can receive comments from fans and others who are visiting your account. These comments can greatly boost your popularity and also be a venue for receiving feedback. Having a healthy interaction between you and your fans or other commentators is a fantastic way to personalize your business. They can ask you questions which you can readily answer and it is this immediate connection between people, no matter where they are, that makes Facebook the perfect avenue for promoting your photo business.


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How to Minimize Digital Image Noise

Even though camera technology has advanced tremendously over the past decade, it still has not totally eradicated the presence of image noise. This usually appear as little dots or speckles over an image area that should be clear and smooth. For example, graininess might be evident in dark areas or tiny dots of pink and purple might show up across a clear sky.

Noise can appear in your photo for different reasons. One would be when you use high ISO settings on your camera. Noise signal increases with the light signal when high ISO is used, therefore your camera will capture more light to illuminate the scene, but graininess will also be more apparent. Another cause of image noise is heat. When an image sensor heats up, photons separate from the photosites and taint other photosites. Long exposures also give your image greater risk of showing image noise, since the sensor is left open to gather more image data and this includes electrical noise.

What can we do to combat image noise? One of the most commonly used methods is to use Photoshop or another photo editing program where we can remove noise and other imperfections in post-processing. However, we can lessen the possibility of noise in-camera as well, and as they say ‘an ounce of prevention is worth a pound of cure!’

Try to shoot in the lowest possible ISO without compromising loss of adequate light. This will reduce the possibility of the appearance of image noise. Camera companies have acknowledged the issue and most of the recent camera models can accommodate high ISO settings, as high as 6400, without very obvious image noise. This is a far cry from cameras which captured unsightly image noise at ISO 800, and this was only a few years ago.

Protect your camera sensor from high heat. As mentioned earlier, heat can create havoc with photons and the sensor’s photosites. As the sensor works longer, such as with long exposures, constantly using live view, or during burst mode, it heats up and your shots will most likely include those tiny speckles you so want to avoid. Leaving the camera in the car on a hot day or under the sun will also cause the sensor to heat up and capture image noise.

If you have dark images and want to lighten them in post-processing, you might notice that doing so will increase the appearance of image noise, especially in the shadowy areas. To avoid this, try to shoot to the right side of your exposure meter instead to slightly overexpose the shot. You can darken certain over-exposed areas in the image in post-processing rather than lighten the shadowy areas. Fixing a shot in this manner will give you a clearer, noise-free image.

It may not be long until image noise will turn out a thing of the past. But until then, practice these in-camera tips to prevent, or at least reduce, image noise dotting and speckling your otherwise perfect shot.


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How to Create HDR images

HDR, or High Dynamic Range, is a method that allows you to take a picture of a subject with a brightness range that your camera’s sensor normally cannot capture.  This is done by shooting identical images that have been taken at several different exposures.  These are then blended together with the use of a photo editing program.

Although two separate exposures can be used to produce an HDR image, three exposures are generally recommended to achieve quality results. The objective is to have one exposure that captures highlight detail, another that has shadow detail and a third that covers the midtones. The easy way to take these exposures is to use the auto-bracketing feature of the camera. This will capture what the camera considers as the regular exposure, another that is underexposed to a degree and still another that is overexposed. 

Auto-bracketing can often do the work for you but there are instances when you have to take manual control of the settings. An instance is when the multi-pattern metering systems of some cameras may detect the shadows of backlit subjects and compensate by overexposing the shots.  In this case,  you can make use of the spot metering mode or check the histogram  for more information.

Most current digital cameras allow you to adjust exposure bracket intervals and exposure compensation, but usually up to +/-2 EV (exposure value).  This may sound like a lot but you may need differences of 3EV or more.

If you want a quick way to take an HDR image, auto-bracketing could be sufficient. However,  you might benefit more by using manual exposure since you have control over the adjustments. Needless to say your camera should have the manual mode option.

Spot metering is often used to precisely measure exposure. To do this, take a spot reading from the darkest shadow portion of the scene, then another from the brightest portion. You can then use these readings to measure the average of the two for the midtone exposure value. 

Today’s cameras are equipped with features that can help provide exposure readings and the simplest is the histogram. If you have a compact or DSLR camera with Live View, turn on the histogram display. If your DSLR has no Live View, use the Playback Mode after you have taken your shot. 

First, choose your lens aperture and keep it the same with all your bracketed shots.  Let us say you are using an aperture of f/8. Only change the shutter speed when bracketing. For the ‘shadows’ exposure, adjust the shutter speed setting so that the left end of the histogram meets the left edge of the scale. The speed here could be slow such as 1/30sec. For the second exposure, set the shutter speed so that the right end of the histogram just meets the right edge of the scale. This will take care of the highlights and you might use a much faster shutter speed such as 1/500s. To get the midtones in the third exposure, adjust the shutter speed midway between the previous two you used. You do not have to be exactly in the middle and in this example,  a shutter speed of 1/125sec would adequately capture the midtones. 

Since we have kept the aperture size the same and changed shutter speed settings, these speed variations increase the chances of camera shake. A tripod will take care of this issue and will be most helpful in other ways as well. Good HDR images have merged exposures that are perfectly aligned and although HDR merging tools do a decent job of automatic alignment, it is preferable to get it right in-camera. With a tripod, you can change your shutter speed settings while the camera remains completely immobile. 

Aside from camera movement, another thing to worry about is subject movement. There is a possibility that something in your scene might move or be moving, however slightly, and this can cause portions of your HDR image to come out looking blurry. People walking in and out of the scene or trees and bushes swaying in the wind can be problematic but there is not much you can do except to wait for the right moment or shoot duplicates of the three exposures. You can then choose which ones would be the best matches. If you are adept in using a photo editing program such as Photoshop, you could edit the bracketed shots to make them blend better into one quality HDR image.


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Quick and Easy Methods to Maximize Your Camera Battery Power

Have you ever experienced running low on battery life, or worse, the battery dying on you while you’re in the midst of capturing that elusive picture perfect moment? How about going on an outing and having the battery drain out and the day is not even half gone?  Having your camera battery die on you at the most inconvenient time can be very frustrating, to say the least. One solution for this not to happen to you is to bring spare batteries. Yet, you can also make your current batteries last longer by following some conserving habits:

Use the viewfinder when composing, not the Live View – yes, Live View can be very convenient since it shows you what the lens sees, and allows you to compose the shot right before you click the shutter button. However, it eats up a whole lot of battery power and whenever possible, use the viewfinder instead. To avoid parallax error when using the viewfinder (where what you see in the viewfinder is not exactly what the lens sees) allow more of the area to be included so there is little chance of anything essential being inadvertently cut out of the frame.

Don’t review every single shot using the camera – wait until you get home and have uploaded your shots to the hard drive before you review and admire or delete your shots. A lot of battery life is eaten up whenever you access the memory card and the LCD, and unless you absolutely need to look at the shot you took or you need to delete some shots to add more space, be a little more patient and review your shots in your computer instead.

Avoid using the zoom feature – zooming in and out while composing the scene is another power guzzling factor. Make your camera mechanisms work as little as possible by refraining from constantly zooming.

In between shots, keep camera on standby – turning it off completely then on again every few minutes is one sure way your battery will quickly drain. It takes more power to shut down then restart the camera compared to simply leaving it on standby mode, especially if your next shot will just be within the next minute.

Avoid built-in flash – in low-light situations, instead of using the camera’s built-in flash, look for ambient or available light sources and use those instead. The flash takes a lot of battery power when used and the resulting image might not look that attractive with the flash anyway, since it has the tendency to make one appear like deer caught in the headlights of a car.

Avoid half-pressing the shutter button if you won’t be taking a picture – like the zoom, this is another habit that will reduce battery life quicker than usual. Try to make early preparations by composing the shot in your mind and deciding on the camera angle, distance from the subject and so on before half-pressing the shutter button.


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Using Tonal Contrast to Boost Your Image

 

An image can be greatly enhanced by knowing how to implement tonal contrasts. A washed out photo can be made more vibrant or more striking. Used often in black and white photography, tonal contrast is the arrangement of black, white, and all the various shades of gray in between. 

High tonal contrast is when the blacks and whites are very pronounced, with hardly any shades of gray visible in the image. Low tonal contrast is when the image is mostly shades of gray with no pure blacks or whites. Medium tonal contrast would be a mixture of whites, blacks and grays. Bear in mind that in our mind’s eye, the light shades in an image will appear to move forward while dark shades retreat in the background. 

Tonal contrast can be adjusted in post processing. I am currently using Adobe Photoshop CS2 as my photo editing software but whatever you’ve got, there should be tools similar to curves, channels or the gradient map to adjust image contrast. 

The photo on the left is the original image in color. It was taken during an overcast afternoon. The towel is white but in the shot, it is almost as gray as the concrete wall behind it. There are no blacks or whites that are obvious so we can say this is a low contrast image. Since there isn’t much contrast, the image looks very flat and two dimensional. To get a high tonal contrast, I used a simple curves adjustment. The grays dramatically lessened and the towel became whiter while the background wall darkened. Going a step further, I used the gradient map to change the image from colored to black and white. Now the towel appears to have moved to the foreground with lots of dark empty space in the back.

Tonal contrast can also be applied to colored photos with fantastic results. The original image on the left looks dull and bland. After applying tonal contrast, the darker and lighter areas are more exaggerated and the result (right photo) is a more vibrant looking rooster. 

It is easy to overdo tonal contrast and there is the danger that the dark and light areas might become too amplified that the fine details found in medium tones will no longer be visible. A light hand is often enough to show your image at its best.  


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5 More Things to Remember When Shooting Car Light Trails

Images of car light trails are often captured by photographers because they can make for stunning shots. Since this subject matter often entails going out at night or twilight, plus using long exposures, there are quite a few things to consider. We previously listed four important things to remember when shooting car light trails, and here are five more to keep in mind:

Perspective – light trails by themselves are already interesting but add a creative perspective and your image can go even further. Aside from taking the shot at the often used eye-level angle, play around a bit by shooting low or taking a shot from top view instead. See if you can take the shot from an elevated viewpoint such as from the second or third storey of a building by the side of a road, or from an overpass. If you are situated on the side of a straight road and face the road straight on, the light trails will appear as moving from side to side. It might look flat and two dimensional, although it does not mean the image will turn out bad. By angling the camera so that the road has a vanishing point, the light trails created will also appear to have more perspective.

Framing – the basic composition rules still apply when shooting light trails. The Rule of Thirds, balance, leading lines, and the light can all help make the shot more visually appealing. Take note of your foreground and background and see to it that they add, rather than take away attention from the point of interest. The horizontal or landscape format is often used but if you were to rotate your camera and shoot using the vertical or portrait format instead, your image might achieve a more dynamic impression.

Exposure settings – knowing the right exposure settings will be a result of trial and error. Luckily, we don’t have to worry much about taking a whole lot of test shots with a digital camera as compared to film. By reviewing your shots in the LCD, you can already gauge how to adjust a particular setting. Let’s discuss the three settings in more detail:

Shutter speed – a slow shutter speed will allow you to capture the movement of light. Try starting with shutter speeds between 10-20 seconds to give the cars enough time to travel through the frame. 

Aperture – remember that aperture affects depth of field so if you want most of the scene to be in focus, choose an f/number that corresponds with a smaller lens opening such as f/8. Keep in mind that the smaller the opening, the less light enters the sensor and you might need to leave your shutter open a little longer.

ISO – grain or noise is usually most visible in low light scenarios and if you can, try to keep the ISO to a low value such as 100. At ISO 400 or more, there is a bigger chance of obvious grain. 

Use Bulb mode – some cameras have a Bulb mode that allows the shutter to stay open for as long as you want. This is especially handy when shooting light trails. It is ideal to use a remote shutter release when using this mode to avoid camera shake while the shutter is open.

Manual focus – during low light situations, it could be a challenge to get your focus locked in on the point of interest if you are using autofocus.  Switch to manual focus instead to make sure you get the clarity you intend. 


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