Kachoozie Stock Images

Dual Camera Shoot
by
Terry Runion

Here is something I have been toying with, it is a shoot with a dual camera setup. I have tried this several times, and the outcome took a little experimentation to get the shots just right. Once you master the dual camera setup the possibilities are endless.

On the shots below, I was working on a dual camera setup with my son. The dual cameras setup was as follows: I was shooting with my Nikon D300 and a Pocket Wizard, along with my 12 year son who was shooting a Nikon D200 also with a Pocket Wizard attached. My camera was the primary and the other camera was the slave, so when I shot an image the other camera would fire creating something totally unique and original. The concept was simple, what sort of interesting outcomes could I come up with shooting through the other camera’s perspective? The results at first were less than stellar, but as I directed my son a little the results were stunning, it was quite interesting visually to see the shots from my son’s camera.

Give it a shot and see what you can come up with, I would be very interested in your outcomes. If you come up with some great shots please send them to me and I will add them to this blog posting.

No Comments »

I just added the blog to Podcast Alley!

My Podcast Alley feed! {pca-23988b6472735693a05233742dca2a2e}

No Comments »

CANON EOS 1D MARK III DIGITAL CAMERA REVIEW
by
Heather Shimmin

The big story with the Canon EOS 1D Mark III is that it’s a better, more universally appealing professional camera for more types of professional photographers. I think a lot of intermediate photographers may want to make the jump as well, given its more friendly interface and astonishing high ISO performance. The additional 1.5 frames per second isn’t the most important improvement with the Canon EOS 1D Mark III, it’s just a nice enhancement. The same goes for the jump from 8 megapixels to 10.




Canon EOS 1D Mark III Body

The Canon EOS 1D Mark III isn’t just for sports anymore. It’s a more universal camera for the vast majority of pro photographers. With the multiple improvements in the new camera, photographers will no longer need to trade off resolution, image quality, and speed against each other. The 1D Mark III now has enough of all three to satisfy a huge slice of the market in a single camera body.

The EOS 1D Mark III has several improvements that illustrate its greater versatility:

Fast performance, high resolution, and improved image quality across the board
Resolution sufficient for double-truck spreads and general commercial photography
Even faster capture, processing, and write speeds, and faster AF tracking for sports shooters
Super low-light capability for photojournalists (High ISO)

In addition, the EOS 1D Mark III has a few new features that will expand the camera’s versatility and convenience:

Live View mode for image composition on the camera’s LCD or via a remote computer
Compatibility with a faster optional WiFi transmission system
Canon’s new dust reduction technology which first appeared in the Canon EOS Digital Rebel XTi

At a glance, you really can’t tell the difference between the Canon EOS 1D Mark II N and the Canon EOS 1D Mark III. They’re both large, cut an imposing profile, and look like high quality instruments. Even the name looks similar. But look more closely and there are different design accents and, new buttons, new button arrangements, and a nice big three-inch LCD.

Canon EOS 1D Mark III Body

The Mark III was redesigned from the ground up. There are so many changes in the Mark III that it’s a little tough to know where to start. It’s a camera designed to extend Canon’s superiority in areas like autofocus and high-ISO image quality, to shore up areas of competitive weakness such as the battery system and camera configuration and to incorporate emerging features like Live View and remote camera access, but do these things better than they’ve been done before in the digital SLR arena. And while they were at it, Canon opted to increase the EOS-1D Mark III’s resolution and frame rate too, relative to the EOS-1D Mark II N it replaces.

PHYSICAL DIMENSIONS
Weight: 2.6 lbs
Width: 6.1 in
Depth: 3.1 in
Height: 6.1 in
Body Material:magnesium alloy

MAIN FEATURES
Resolution: 10 megapixels
Sensor resolution: 10 megapixels
Optical Sensor Type: CMOS
Effective Sensor Resolution: 10,000,000 pixels
Total Pixels: 10,700,000 pixels
Light Sensitivity: ISO 50, ISO 6400, ISO 100-3200
Shooting Programs: Landscape, Portrait mode
Special effects: Neutral, Faithful, Monochrome
Field of View Crop Factor: 1.3
Max Shutter Speed: 1/8000 sec
Sensor Dust Reduction: Yes
Min Shutter Speed: 30 sec
Sensor Features EOS Integrated Cleaning System
X-sync Speed: 1/300 sec
Exposure Metering: Spot, Evaluative, Multi-spot, Spot AF area, Partial (13.5%)
Exposure Modes: Bulb, Manual, Program, Automatic, Shutter-priority, Aperture-priority, E-TTL II program flash
Exposure Compensation: +/- 3 EV range, in 1/2 or 1/3 EV steps
Auto Exposure Bracketing: 7 steps in 1/2 or 1/3 EV steps
White Balance: Custom, Presets, Automatic
White Balance Presets: Flash, Shade, Cloudy, Daylight, Fluorescent, Tungsten light, 2500K – 10000K (100K steps)
Status LCD Display Information: Program, Aperture, Drive mode, Film speed, Flash mode, Focus area, Frame counter, Metering mode, Photo quality, Shutter speed, Autofocus mode, Self-timer mode, Battery condition, Picture resolution, Bracketing indicator, Exposure compensation, Remote control indicator, White balance indicators
Still Image Format: RAW, JPEG, RAW + JPEG
Continuous Shooting Speed: 3 frames per second , 10 frames per second
Color support: Color
Exposure Range: EV -1-18 ( ISO 100 )
Exposure Metering Zones: 63
White Balance Bracketing: Yes
Status LCD Display Illumination: Yes
Remote Control: Optional
TV Tuner: None

MEMORY / STORAGE

Flash Memory: None
Floppy Drive: None
Image Storage: RAW 3888 x 2592 – 13 MB, JPEG 3888 x 2592 – 3.5 MB, JPEG 3456 x 2304 – 2.8 MB, JPEG 2832 x 1880 – 2.1 MB, RAW 1936 x 1288 – 7.6 MB, JPEG 1936 x 1288 – 1.2 MB
Supported Flash Memory: Microdrive, CompactFlash, MultiMediaCard, SD Memory Card

LENS SYSTEM

Lens System Mounting: Canon EF

ADDITIONAL FEATURES

Self Timer: Yes
Self Timer Delay: 2 sec,10 sec
Flash Terminal: Hot shoe, PC terminal
Additional Features: AE lock, AF lock, FE lock, Mirror lock, Wi-Fi ready, DPOF support, Direct print, Dust resistant, Audio recording, Auto power save, Remote live view, Histogram display, LCD live view mode, PictBridge support, USB 2.0 compatibility, Digital noise reduction, Highlight point display, RGB primar
y color filter, Built-in eyepiece shutter, Display brightness control, Depth-of-field preview button, Interchangeable focusing screens (11 types)

CAMERA FLASH

Type: None

VIEWFINDER

Viewfinder Type: Optical – Fixed eye-level pentaprism
Field Coverage: 100%
Magnification: 0.76x
Dioptric Correction Range: -3 to +1
Frames: Autofocus frame
LCD Display Information: AE lock, AF lock, Aperture, Shutter speed, White balance, Battery status, Metering system, Exposure compensation, Frames-remaining counter

DISPLAY

Type: LCD display – TFT active matrix – 3 in – Color
Mounting: Built-in
Resolution: 230,000 pixels

DIGITAL PLAYER (RECORDER)

Type: None

MICROPHONE

Type: Microphone – Built-in

CONNECTIONS

Connector Type: 1 x USB, 1 x Composite video output, 1 x Remote control, 1 x System accessory terminal
Expansion Slot(s): 1 x CompactFlash Card – Type I/II, 1 x SD Memory Card

LENS SYSTEMS

Auto Focus: TTL phase detection
Auto Focus Points (Zones): 45

MISCELLANEOUS

Carrying Case: None
Cables Included: USB cable, Video cable
Included Accessories: Body cap, Neck strap
Min Operating Temperature: 32 F
Max Operating Temperature: 113 F

POWER

Power Device: Power adapter + battery charger – External

SYSTEM REQUIREMENTS FOR PC CONNECTION

Operating system: MS Windows ME, MS Windows XP, MS Windows 2000, MS Windows 98 SE, MS Windows Vista, Apple Mac OS X 10.1, Apple Mac OS X 10.2, Apple Mac OS X 10.3, Apple Mac OS 9.0 – 9.2
Peripherals: USB port, CD-ROM drive

BATTERY

Supported Battery: Canon LP-E4
Supported Battery: 1 x Li-ion rechargeable battery – 2300 mAh ( Included )

Canon EOS 1D Mark III Body To learn more click the play button… Canon’s flagship EOS-1D Mark III is the most advanced EOS Digital SLR ever produced. It has a new 10.1 megapixel CMOS sensor (APS-H size) with Canon’s EOS Integrated Cleaning System and a 3″ LCD monitor with Canon’s Live View technology. The 1D Mark III has a redesigned 100% viewfinder, a new 45-point AF system, and can shoot up to 10 fps continuously with a maximum burst of 110 shots. Dual DIGIC III Image Processors work in tandem to speed up every process while refining image quality; a new, lighter body has improved weather sealing and shutter durability. Every facet of the EOS experience has been enhanced with the 1D Mark III.At 10 frames per second, the 10.1 megapixel EOS-1D Mark III digital SLR can fire huge motor-driven bursts of 110 Large JPEGs or 30 RAW files because it employs the new Dual DIGIC III image processor engine, providing enough computational horsepower to do parallel processing at an impressive rate. The all-new 10.1 megapixel, APS-H size CMOS sensor which is designed and manufactured by Canon, is the most light-sensitive and innovative sensor that Canon has developed to date. It features a new microlens array and a more efficient pixel structure for ultra-low noise, resulting in exceptional image quality and an amazing ISO range of 100 to 3200 with extensions to ISO 50 and a highly usable ISO 6400.10.1 Megapixel 3rd generation CMOS APS-H sensor – 1.3X Crop 10 Frames per second upto 110 Large/Fine JPEGs Dual "Digic III" processors Wide ISO range from 50 to new 6400 EOS Integrated Cleaning System 3.0" LCD with 230,000 pixels with 140 degree viewing angle 19 High precision cross type AF points 300,000 Shutter cycles Picture Styles "Live View Mode" – Live image from sensor can be used via back LCD, Video output, USB or Wifi (via WFT-E2) AF Micro adjustment to correct front or back focusing issues in the field Fast menu navigation – With "My Menu" for easy access to favourite features Small RAW format Multiple drive recording on CF, SD and/or external hard drive (via WFT-E2) 5 Custom white balance with custom naming "High ISO noise reduction" and "highlight tone priority" mode Improved Li-ion battery – Up to 2200 images, 40% smaller, 46% lighter and six stage/% battery indicator GPS Compatible (via WFT-E2) Include new DPP software for RAW processingMark III Camera BodyAC Adapter Kit ACK-E4Battery Charger LC-E4Battery Pack LP-E4USB Cable ProtectorVideo Cable VC-100USB Interface Cable IFC-200UWide Strap L6Software Instruction Manual DiscEOS Digital Solution Disc

No Comments »

SONY A900 DIGITAL CAMERA REVIEW
by
Heather Shimmin

With the A900 featuring a full 35mm frame-sized image sensor, Sony has joined a rather exclusive club. To date, only four companies have offered full-frame digital SLRs, two of which- Contax and Kodak – have since left the digital SLR market altogether.

That leaves Sony in a head-to-head battle with the two giants of the photographic industry – Canon and Nikon. Each rival offers two full-frame digital SLRs – a mid-range model at around $3000 MSRP, and a pro model for double to triple as much. Sony looks to have rather stirred up the status quo by pricing its flagship at around the same as its competitors’ mid-range models, but offering a specification that seems to lie somewhere in between the competing mid-range and pro models — and in some cases such as sensor resolution, actually leads the field. The Sony Alpha A900 has a whopping 24.6-megapixel resolution from its full-frame image sensor — the highest sensor resolution of any 35mm digital SLR yet announced. To handle all the data produced by the high-resolution imager, the Sony A900 uses dual Bionz image processors, and this allows for 5fps for up to 11 JPEG or 13 RAW frames.

Sony A900 DSLR Camera Body

The sensor is mounted on a moving platter that allows for in-camera image stabilization, branded as SteadyShot Inside. This is another first for a full-frame digital SLR – nothing to baulk at when you consider that the sensor shift mechanism has to deal with the extra weight of a full-frame sensor.

The Sony Alpha A900 offers ISO sensitivity from 200 to 3,200 equivalent, but is expandable to ISO 100 to 6,400 equivalent. Shutter speeds range from 30 to 1/8000 second, plus a bulb setting, and x-sync is 1/250 second (or 1/200 second when SteadyShot is enabled). Metering is achieved by a 40-segment honeycomb sensor, and you can also choose from center-weighted or spot metering modes.

Sony A900 DSLR Camera Body

This camera also has dual flash card slots, and can therefore store images on either a CompactFlash Type-I or Type-II cards (including Microdrives), or on Memory Stick Duo cards. The Sony A900 uses a NP-FM500H InfoLithium rechargeable battery that’s good for about 880 shots per charge.

The Mode dial on the left has only full Auto, Program, Aperture, Shutter, and Manual modes, plus three user-programmable Custom modes; there are no Scene modes. To the right there’s a new top status display, one that’s very simple compared to most high-end digital SLR cameras. It displays only numbers, usually the shutter speed and aperture values, along with remaining frames available.

Pricing for the Sony Alpha A900 is set at about $3,000, with availability slated for November 2008. Pre-orders will be accepted online from September 10th. The product bundle includes the camera body, battery and charger, wireless remote commander, and eyepiece cup. There’s also a range of software in the bundle: Image Data Converter SR, Image Data Lightbox SR, Remote Camera Control, and Picture Motion Browser. This last application is Windows-only, while the remainder are included in both Windows and MacOS versions.

Shop the Calumet Focus Sales Flyer

PROS
Extraordinary resolution, nothing touches it at its price point
Built-in SteadyShot image stabilization
Surprisingly fast, given the amount of data the camera is pushing around
Good color rendering: Natural without seeming flat
A lot of nice user interface touches, well thought out controls
Intelligent Preview feature is a real time-saver for determining best camera settings
+/- 2 EV steps on auto bracketing is nice for HDR (High Dynamic Range) shooters
Sony finally made their RAW files be truly RAW! (Able to turn off high-ISO noise reduction in the RAW files)
True 100% pentaprism viewfinder Huge viewfinder image, really hearkens back to the days of film SLRs (in a good way)
User interchangeable focusing screens
Lighter than the only other full-frame in its resolution class (Canon EOS-1Ds Mark III)
Rugged magnesium alloy body
3.0-inch, high-resolution LCD
Top panel LCD (albeit a small one)
Dramatically low price for a full-frame camera with this much resolution
HDMI output
Good battery life
Dual memory card formats

CONS

Some image noise even at ISO 200
At anything above ISO 200, noise limits maximum print size before resolution becomes an issue.
High-ISO performance doesn’t match that of Canon EOS-1Ds Mark III (Which is also 2.6x as expensive though)
Dynamic range of JPEGs less than that of many current models, though excellent dynamic range from RAW files
Noticeable delay when switching from record to playback mode is annoying
Despite being much lighter than its’s only competitor, still a big, heavy hunk of metal and glass (not the camera’s fault, just a fact of life with full-frame.)
No built-in flash (not unusual for a pro model though)
APS-C mode does not improve burst speed
Exposure accuracy may suffer with DT lenses in APS-C mode
No Live View mode

Sony A900 DSLR Camera Body The standard in digital photography has arrived with the Sony α (alpha) DSLR-A900. Packed with features, this flagship DSLR is the first α (alpha) to incorporate a 35mm full frame image sensor and 24.6-megapixel resolution. It also incorporates the world’s first body-integrated, full-size SteadyShot INSIDE image stabilization technology.You’ll also experience a larger capture area, improved wide-angle performance and tighter depth of field control with the full frame Exmor CMOS image sensor. Equipped with Dual BIONZ imaging processors, the alpha A900 delivers continuous shooting up to 5 fps with superb image quality and ultra-low noise. The A900 also offers a large, ultra-bright glass pentaprism viewfinder with 100 percent coverage, a 3.0-inch Xtra Fine LCD display and HDMI output with PhotoTV HD compatibility.Features:35mm full frame 24.6MP Exmor CMOS image sensorThe A900 features a 35mm full frame Exmor CMOS image sensor that is approximately 2.35x larger than the APS-C sized sensors found in many DSLR cameras. The result is a larger capture area, improved wide angle performance, and tighter depth of field control. In addition, its 24.6MP resolution maximizes the resolving power of your existing lenses and delivers sharper, higher contrast photos.SteadyShot INSIDE in-camera image stabilization:Building on years of expertise, Sony has developed the world’s first body-integrated image stabilization solution for a full frame DSLR. The SteadyShot INSIDE in-camera image stabilizer actually shifts the image sensor to compensate for camera shake without sacrificing image quality. The compensation effect is equal to as many as four shutter speed steps, giving you more creative freedom when shooting in low light. And, because it is integrated into the camera body, SteadyShot INSIDE technology works with all compatible (alpha)system lenses.Dual BIONZ processors for up to fast 5fps performance:The A900 harnesses the power of Dual BIONZ image processing engines to deliver true-to-life images with ultra-low noise and continuous shooting at up to 5 fps.Ultra bright, 100% coverage glass pentaprism viewfinderA large, ultra bright glass pentaprism viewfinder provides you with amazing clarity and high optical performance for tighter focus control. In addition, it offers viewfinder magnification of 0.74x, allowing you to see an image nearer to its actual size, as well as 100% field coverage for detailed framing work.Intelligent Preview FunctionThe Intelligent Preview function allows you to see the effects of manual adjustments to exposure value, shutter speed, aperture, Dynamic Range Optimizer and White Balance before you take the shot, so you can determine the optimum settings before you take the shot, instead of losing time to trial-and-error.3.0” Xtra Fine LCD (921K pixels)Review your images in stunning detail on the 3.0” Xtra Fine LCD display (921k pixels). With photo-quality resolution of 270ppi(pixels per inch), you can identif

No Comments »

SAMSUNG GX-20 DIGITAL CAMERA REVIEW
by
Heather Shimmin

The Samsung GX-20 made it to the list of top ten digital cameras of 2008, giving the big boys a run for their money. Announced in March 2008, this mid-range,14.6-megapixel DSLR is the update to the 10.2-megapixel GX-10. As it’s aimed at the more experienced digital SLR owner, the GX-20 is a complex camera in terms of functionality and the number of external controls that it offers, with around 22 in total and some of them having more than one function. Despite the presence of so many buttons and switches, the Samsung GX-20 doesn’t feel overly cluttered or intimidating and it quickly becomes second-nature to use.

Samsung’s CMOS sensor captures up to 14-bit RAW images. Samsung claims the new double dust-removal system featured on the GX-20 prevents specs of dust from ruining an image. The camera can be set to automatically vibrate the sensor when it is powered on or engaged independently by the user. Samsung also manufactured the sensor with a dust resistant coating, and every button, gap and other potentially vulnerable area on the camera’s body has been fortified with seals and silicone to protect against damage from water, sand and other elements.

The GX-20 has a “Pentaprism viewfinder” which has a wider field of view. The GX-20 has followed the newest trend in DSLRs by adding Live View to its 2.7-inch LCD viewfinder, which is slightly smaller than other DSLRs in this price range. This brand new addition to the GX-20, unfortunately, has not been particularly well implemented. You can use it to hold the GX-20 at arm’s length or mount the camera on a tripod, with the current scene displayed on the LCD screen. Focusing is achieved by pressing the AF button on the rear of the camera, rather than half-pressing the shutter-button, and you have to press the AF button every time you recompose the picture. At that point the mirror moves and the LCD screen blanks out momentarily, before the newly refocused scene is shown, making it impossible to use Live View for tracking a moving subject.

Its sensor-based image stabilization works independently of the lens, and is compatible with both Schneider D-XENON lenses as well as Pentax KAF2, KAF and KA mount lenses, which is good news since the kit lens leaves much to be desired. The RAW shooting button enables one-touch capture of 14-bit RAW images, which can also be converted to JPEG format directly on the camera. This is convenient feature for something which wouldn’t be used very often. The GX-20 can shoot up to 1/4000 of a second, and the continuous shooting mode is capable of shooting up to 3fps. Limited only by available memory, shooters can capture an unlimited number of JPEG images in continuous shooting mode and up to nine images in RAW format.

KEY FEATURES

14.6 megapixel CMOS sensor
14-bit RAW images
3 FPS
2.7 inch LCD monitor
Live View mode
ISO 100-6400
Dust Alert System
X-sync socket for studio flash systems
Built-in sensor-based Shake Reduction system
Spot metering
11-point AF
Enhanced Digital Filter offering a greater dynamic range
5 new Schneider D-XENON lenses

Shop the Calumet Focus Sales Flyer

1 Comment »

NIKON D3X DIGITAL CAMERA REVIEW
by
Heather Shimmin

Nikon has officially announced the Nikon D3X, a 24.5 megapixel DSLR. Nikon is now upped the ante for Canon, which just launched its 21.1 megapixel 5D Mark II. Canon’s flagship DSLR also sports a “mere” 21.1 megapixels and is now playing third fiddle to the Nikon D3X and the Sony A900. Oh yeah, the D3X will run you about $8,000.

Physically, Nikon has not changed anything from the D3. All of the changes are internal. Nikon has introduced a sensor exclusive to the D3X, claiming that it won’t have the same problems with noise as the Sony Alpha A900. A wider range of light is received by each pixel, which means more information, and more detail in the highlights and shadows.


FREE Trial – Trust your most precious memories to SmugMug, upload your photos today.

The biggest difference between the D3X and its predecessors is the camera’s pixel count. It may not be the world’s biggest megapixel count on a DSLR – that still goes to the Sony Alpha A900′s 24.6MP – but it is massive, clocking in at 24.5MP. Because of its massive megapixel count – the D3X more than doubles the pixel count of the D3, from 12MP to 24.5MP – the camera is a tad sluggish in taking continuous images, topping off at 5fps in its highest mode, compared to the D3 at 9fps.

The D3X is aimed squarely at professionals looking for a medium-format alternative; a camera with extreme resolution but portable enough to easily take outside for shoots. If you are a photographer who is looking for these requirements, the Nikon D3X is a great choice.

Buy ACDSee Pro 2.5 Photo Manager today! View, process, edit, organize, catalog, publish and archive with full RAW processing.

As a high end professional DSLR, it does not have preset modes such as portrait or landscape modes installed. However, picture controls are available and are now interchangeable between models if you have a D3 or D700 as a back up. The usual settings are present such as standard, neutral, vivid and mono. Sharpening, contrast, brightness, saturation and hue can be altered in these sections. Additionally, portrait, landscape and three D2x modes can be downloaded from the Nikon website along with any picture controls you may have stored from the D60, D90, D300, D700 and D3.

100% field of view is now possible thanks to the dust removal system being taken away. This news will upset some, but Nikon is so confident in the dust removal software on Capture NX that they were happy to take it off and give you maximum viewing possibilities. Capture NX can also batch process dust off a series of images which means you only have to correct one.

Of course this doesn’t solve the problem of dust getting onto the sensor in the first place and takes us back to the heady days of blowers and wet strips.

Transform Product Shots and Boost Sales!

Live-view is firmly part of our lives and the same two modes found in the D3 are in the D3x. Handheld mode allows for the frame being recomposed, uses the standard phase-difference focusing and all 51 AF points are activated. Tripod mode is designed for precise focusing in still-life studio scenarios. Focal plane contrast AF works anywhere in the frame and remote triggering can be used with the optional wireless transmitter WT-4. If you want to use it in a studio with tethered remote triggering from a computer, this is possible in both live-view modes using the optional Control Pro 2 software.

A magnesium alloy skeleton is covered in the tough plastic that you need with the type of photographs this camera will be taking. It’s designed as a studio camera but they’ve added features such as the same weather sealing as the D3 so it’ll be okay outside. The mirror box is also made of magnesium alloy and this is to ensure that mirror placement is precise.

Nikon AF-S Nikkor 400mm f/2.8G ED VR Lens

The D3X has an impressive focusing speed and image quality. At full magnification, there’s an amazing amount of detail in the image from the eyelashes to strands of hair and even seeing the detail of the softbox in the model’s eyes. Skin tones are smooth and color reproduction is amazing.

Nikon D3x: Specification

Resolution: 24.5Mp
Sensor size: 35.9×24.0mm
Sensor type: CMOS FX type
Image size: 6048×4032
Focus system: Multi-CAM 3500FX
Focus points: 51 (inc. 15 cross type sensors)
Lens mount: Nikkor type G or D
File type: JPEG, RAW (NEF), TIFF (RGB)
Sensitivity: ISO100-1600 (ISO50-6400 equivalent)
Storage: Dual slot UDMA enabled Compactflash
Focus types: Single point AF, Continuous AF, Focus tracking, Manual with electronic rangefinder
Metering system: TTL full aperture metering using 1,005px RGB sensor
Metering types: 3D color matrix, centre-weighted, spot
Exposure compensation: /-5EV in 1/2, 1/3 or 1 step increments
Shutter speed: 30sec-1/8000sec,
bulb
Frames per second: 5fps FX, 7fps DX
Flash: External only
Flash metering: TTL flash control
Flash sync speed: 1/250sec
Image stabilization: Lens based
Integrated cleaning: Image Dust Off reference data
Live view: Handheld, tripod mode
Viewfinder: Optical, 100% field of view in FX mode, 97% in DX mode
Monitor: 3in TFT LCD polysilicon monitor, 920,000dot with brightness adjustment
Interface: USB2.0
Power: Li-Ion battery
Size: 159.5mmx157mmx87.5mm
Weight: 1220g body only

Shop the Calumet Focus Sales Flyer

No Comments »

CANON EOS 40D DIGITAL SLR REVIEW
by
Heather Shimmin

The Canon EOS 40D, launched in September 2007, has received high reviews and was named best semi-pro digital SLR by consumers. While this 10-megapixel Canon digital SLR camera costs more than some of the others, you do get a lot for your money. Some of the things you are getting is a heavier, sturdier, magnesium camera body with better water resistance and 6.5 frames-per-second shooting for tracking action (twice as fast as the less expensive Canon Rebel XSi). You also get Live View, a great improvement since it’s first appearance on the 1D Mark III, and a built-in sensor cleaner.

Canon EOS 40D Digital SLR Body

The Canon EOS 40D appears very similar to its predecessors, especially the EOS 30D and 5D. From the back, however, there is one very large difference: the 3-inch LCD. This has resulted in the relocation of four buttons, usually found on the left of the screen, to the bottom, under the LCD. When using live view or reviewing your images afterwards, the large LCD is great to have.

Also on the back of the Canon 40D is a new button, previously seen only on the Mark III: the AF-ON button. Its purpose is to activate autofocus.

Canon EOS 40D Dental Kit

Images are stored on Type I or Type II CompactFlash cards or Microdrives. This isn’t new, but what is new is it’s handling capacity, allowing you to shoot up to 75 JPEGs or 17 RAW images before slowing down. Canon recommends you do not use Microdrives when shooting in Live View mode, as the drive’s additional heat can combine with the heat generated by the sensor and start to degrade images.

Images from the Canon 40D are excellent. High ISO images printed at 13×19 inches are usable from ISO 100 to 800, with little noticeable noise.

Canon EOS 40D DSLR with 28-135 IS Lens


The final product is a mostly improved high-end digital SLR that, while not a compelling upgrade for most 20D and 30D owners, is still a great camera. This series of digital SLR has always been more practical and purposeful than flashy or showy. The Live View and 3-inch LCD are great, as well its sealed body and larger viewfinder. The menu is easier to use and the grip is more comfortable. But the best features are the faster write speeds and the quality of the images. The Canon 40D doesn’t blow your mind when you first see it or run through its specs, but wait until you see the photos – you’ll be impressed.

Canon 40D Basic Features

10.1 megapixel CMOS sensor
Kit lens EF 28-135mm f/3.5-5.6 IS USM
Optical Viewfinder plus Live View via LCD
3.0-inch LCD
ISO range of 100 to 3,200
Shutter speeds: 30 second to 1/8000
Uses Compact Flash Type I and Type II, Microdrive
Lithium-ion battery
5.7 x 4.3 x 2.9 inches (146 x 108 x 74mm)
29.7 ounces (844 grams)
MSRP: $1,299 body-only, $1,499 kit

Canon 40D Special Features

6.5 fps continuous-mode speed (30D was 5 fps)
75 large/fine JPEG, 17 RAW buffer size (30D was 28 large/fine frames)
sRAW mode, 1/4 resolution RAW format
New Live View mode (similar to 1D Mark III, but enhanced)
Live View mode allows AF by pressing AF-ON button (drops mirror to focus)
Live View mode offers 5x/10x magnification to aid manual focusing
Live View mode has electronic 1st-curtain shutter option for fast, quiet shutter release
14-bit digitization (up from 12-bit)
Highlight Tone Priority mode
All 9 AF points are cross-type
Center AF point offers enhanced accuracy along both axes with lenses f/2.8 or faster
Expanded metering range, down to EV 0 (30D went to EV 1)
AE system adds 3 “Custom” modes
LCD is brighter than 30D’s, but viewing angle is reduced to 140 degrees from 170.
7-step LCD brightness adjust (30D was 5 steps)
Expanded custom function menu (24 vs 17 for 30D)
Menu format follows tabbed design of 1D Mark III
Ultrasonic sensor cleaning system (Similar to Rebel XTi)
DIGIC III processor (up from DIGIC II)
Manual color temperature range extends down to 2,500K (30D was 2,800K)
Viewfinder magnification 0.95x (up from 0.90x on 30D)
Viewfinder eye-point raised from 20 to 22mm
Interchangeable focusing screen (30D’s screen is fixed)
More information in viewfinder readouts
Compatible with Picture Style Editor (PSE) software to adjust style, color, and tone curve

Canon EOS 40D Digital SLR Body with Battery Grip, Extra Battery and Two 2GB CF Cards To learn more click the demo button… The EOS 40D takes mid-range Digital SLRs to exciting heights with enhanced resolution and image quality, faster shooting and processing speeds and better overall functionality than ever before. It combines features like Canon’s EOS Integrated Cleaning System, Live Vie w Function, a more powerful DIGIC III Image Processor, plus a 10.1-megapixel CMOS sensor, a 3.0-inch LCD monitor and more.Superb image quality: 10.1 Megapixel CMOS Sensor, extensive noise reduction technology, and 14-bit conversion for outstanding color tones and gradations.Outstanding performance: 6.5 fps, burst rate up to 75 consecutive JPEGs or 17 RAW images and DIGIC III Image Processor.Strong, rugged build quality: magnesium-alloy exterior, shutter durability-tested to 100,000 cycles, top speed 1/8000, top x-sync speed 1/250.New AF system with 9 cross-type sensors, and world’s first diagonal high-precision cross-type AF at center point with f/2.8 and faster lenses.EOS Integrated Cleaning System, Picture Style settings, Spot metering, and Highlight Tone Priority for advanced in-camera image control.Large 3.0-inch LCD monitor and advanced Live View Function with new options for reduced shutter time lag and quiet operation.EOS 40D BodyBG-E2N Battery GripBP-511A Replacement Li-Ion Rechargeable Battery Pack(2) Dane-Elec 2GB CompactFlash CardsEyecup EbWide Neck Strap EW-100DGRVideo Cable VC-100USB Interface Cable IFC-200UBattery Pack BP-511ABattery Charger CG-580"Great Photography is Easy" Booklet and "Do More with Macro" BookletEOS Digital Solution DiscSoftware Instruction Manual

Please be sure to check out the site, and get in on the ground floor of this huge opportunity! All you have to do is visit www.kachoozie.com and sign up !

Shop the Calumet Focus Sales Flyer

No Comments »

NIKON D300 DIGITAL photographic camera critical review

NIKON D300

The D300 is a lensman’s ideal photographic camera. There are no setting modalities, not even a Green Auto mode for the photographic camera to do the exercise for you. The D300 is a master grade digital SLR bundled with fresh, radically new characteristics. Nikon has inaugurated the full-frame sensing element, called FX. It shoots six-frames-per-second with the power to promote to eight-frames-per-second with the purchase of an electric battery handgrip. It has the fresh aspect identification scheme which blends information from the 51-point AF system of rules with information from the 1,005-point metering system of rules for more zealous accuracy and better tracking. It also has Live perspective, in-camera Lateral Chromatic optical aberration Correction, a self-cleaning sensing element, and optic-by-optic autofocus tweaking.

The D300 has a broader colouration range than former Nikon models, the finest results coming from fine-tuning the picture command menu, and not allowing it to remain with the default on. Colorations appear more brilliant and supersaturated.

Nikon AN-D300 Replacement Shoulder Strap for D300 The AN-D300 is a replacement shoulder strap for the Nikon D300 digital SLR

The white equaliser predetermined settings are a great deal more diverse, offering an immense range of illuminating scenarios. The predetermined manual settings adapt a coloration range far more distinguished than the 2,500 – 10,000K Kelvin scenes.

Applying the ADR (Active D-Lighting) settings grants you the ability to naturalise extreme highlighting and shadow scenarios. It has the power to lesson or eradicate these overexposed areas, for example. on peoples’ faces or bleached out walls, whilst conserving the physical objects true hue. Previously, these bleached areas became unusual colorations prior to washing out into white. Nikon D300 technology has curbed this problem, getting digital one step closer to the caliber of celluloid.

The D300 has an astounding power to automatically adjust coloration fringing, making your lenses preform finer than they in reality are, therby resulting in sharper, crisper images.

The battery lifespan is a great deal longer than its predecessor, the D200, shooting a thousand images per charge vs. 333 with the equivalent battery.

Nikon D300 with 18-200mm VR Lens

NIKON D300 KEY characteristics

12.3 megapixel DX format CMOS sensor
Self-cleaning sensor unit (low-pass filter vibration)
ISO 200 – 3200 (6400 with boost)
14-bit A/D conversion
Nikon EXPEED image processor (Capture NX processing and NR algorithms, lower power)
Super fast operation (power-up 13 ms, shutter lag 45 ms, black-out 100 ms)
Shutter life 150,000 exposures
New Multi-CAM3500DX Auto Focus sensor (51-point, 15 cross-type, more vertical coverage)
Auto-focus tracking by coloration (using information from 1005-pixel AE sensing element)
Auto-focus calibration (fine-tuning) now available (fixed body or up to 20 separate lens settings)
Scene identification System (uses AE sensor, AF sensor)
Picture Control image parameter presets (replace Color Modes I, II and III)
Custom image parameters now support brightness as well as contrast
Six frames per second continuous shooting (eight frames per second with battery pack)
Compact Flash UDMA support
3.0″ 922,000 pixel LCD monitor
Live View with either phase detect (mirror up/down) or contrast detect Auto Focus
HDMI HD video output
‘Active D-Lighting’ (adjusts metering as well as applying D-Lighting curve)
Detailed ‘Control Panel’ type display on LCD monitor, changes color in darkness
New MB-D10 vertical grip fully integrates into body, multi battery type compatible
Buttons sealed off against moisture

http://www.calumetphoto.com/resources//images/products/07770c8dd8c64a41b779040a692ea962.jpg

Nikon D300 Digital SLR Body The Nikon D300 D-SLR offers 12.3 MP DX format CMOS sensor combined with a fast 6 fps (up to 8 fps with the optional Multi Power Battery Pack). The camera’s fast power-up, quick response and outstanding flexibility will meet the needs of a wide variety of photographic assignments.The D300 also features a self-cleaning sensor unit, which vibrates at high frequencies to remove any loose dust on the surface of the sensor’s optical low pass filter. The camera has a broad ISO range from 200-3200 plus Lo 1 (the equivalent of ISO 100) and Hi (ISO 6400 equivalent). Image accuracy is also enhanced by the Nikon Scene Recognition System, which uses the Nikon 1005-pixel RGB color sensor modified to recognize subjects’ shape and position before the image is captured. This also aids the new 51-Point Autofocus system in tracking subjects, while enhancing the accuracy of exposure and white balance metering.The EXPEED image processing system is at the heart of the D30 0 to capture and process high definition image data quickly. The system features 14-bit analog-to-digital (A/D) conversion with 16-bit image processing, both contribute to delivering rich accurate colors, smooth skin gradations and exceptional detail.From the 3″ VGA LCD screen with 170? viewing angle, to the HDMI interface for HD ready displays, the D300 is ready for tomorrow’s imaging environment. The controls of the D300 were designed for ease of use, with an easy-to-view top LCD panel and an information display on the rear LCD screen that can change color according to the ambient lighting conditions. The intuitive 8-directional multi-area selector makes selecting any of the 51-Point autofocus settings simple.12.3 effective megapixel Nikon DX-format CMOS image sensor with integrated A/D converter and increased bit precision of selectable 14-bit NEF(RAW) outputEXPEED digital image processingNikon’s Scene Recoginition System greatly improves autofocus, auto exposure and auto white balance performance.51-Point autofocus system features 15 cross-type sensorsViewfinder with 100% frame coverage and large 0.94 magnificationRapid 6fps continuous shooting for up to 100 shots (8fps with optional Multi-Power Battery Pack or AC Adapter)Picture Control System for image finishing optimized to match individual preferencesLiveview: Tripod shooting mode with Contrast AF and Hand-held shooting modeSelf-cleaning Sensor Unit for dust-reductionQuick response of 0.13 sec. power-up and 45ms shutter release time lagMagnesium alloy body for lightweight and rugged durability3" LCD with 920,000-dot resolution and 170° ultra-wide viewing angleActive D-Lighting optimizes tone reproduction in both shadows and highlightsD300 BodyRechargeable Li-ion Battery EN-EL3eQuick Charger MH-18aUSB Cable & Video CableStrapLCD Monitor CoverBody Cap & Eyepiece CapRubber EyecupSoftware Suite CD-ROM

No Comments »

PENTAX K20D DIGITAL SLR REVIEW

When Pentax announced the K10D back in 2006, serious amateurs and professionals quickly started paying attention. In 2008, the company decided to update their line with the Pentax K20D, the most feature-rich DSLR currently available and more custom features than any photographer would need. This digital SLR camera boasts built-in stabilization, dust-reduction, weather-sealing, ISO up to 6400, 3 FPS continuous shooting, the largest viewfinder among cropped-sensor cameras, live-view and a wealth of unique photographic controls.


If you’re in the market for a Canon EOS 40D or a Nikon D300, pay close attention. The Pentax K20D might just be the best choice you can make.

As a semi-pro body, the K20D is larger and heavier than entry level DSLRs, and the K20D is one of the heaviest cameras in its class.

The K20D uses the same polycarbonate body shell seen in the K10D over a metal alloy frame with stainless steel lens mount and heavy duty dust/weather seals should stand up to anything short of armed conflict.

The built-in handgrip and its rubber-like covering provide a very secure hold and a stable balance point (for right handed shooters).

Like all Pentax K digitals, controls are logical, well placed, and quickly become intuitive.

The K20D was designed to be the closest thing in Pentax’s current lineup to a “pro body” and its fast startup and short shutter lag times reinforce that position. It takes a mere 2.1 seconds for the camera to turn on, shake dust off the sensor, find focus, and take a photo. That level of speed rivals camera bodies that cost considerably more than the K20D. Measured shutter lag with the camera pre-focused clocked in at .04 seconds – more than respectable, if not as fast as the top pro bodies. With the updated 18-55mm kit lens, the K20D averaged .28 seconds to lock and fire without pre-focus.

Key feature changes from the K10D to the K20D

The feature changes between the K10D and K20D are subtle but this is mainly because there was little that the K10D needed adding to its pretty formidable features list. The changes that have been made are:

14.6 megapixel CMOS sensor
Live view mode
2.7 inch 230,000 dot LCD (up from 2.5 in. 210,000)
Burst mode, allows 21fps shooting at 1.6MP resolution (up to 115 frames)
Dynamic range expansion mode
X-sync flash socket
Image parameter settings (Custom image), enhanced
Color adjustable LCD monitor
Compare mode in playback
32x zoom in playback
Adjustable levels of High ISO noise reduction
Sensitivities up to ISO 3200 (extendable to 6400), rather than ISO 1600
Dust alert for locating particles on the sensor
Pixel mapping to identify and correct for dead pixels
AF fine-tuning (for all lenses or up to 20 chosen lenses)

No Comments »

EOS-1Ds Mark III DIGITAL CAMERA REVIEW
by
Heather Shimmin

While most serious photographers don’t need more than 8 to 12 megapixels, there is a set of pro photographers who need every last bit of detail a camera can give them. There is no question that the Canon EOS -1Ds produces the best high quality images on the market. The question is, do you want to pay $8000 and lug this beast around with you?

Long hailed by many as a rival to medium-format digital cameras for less money, the 1Ds is extremely popular in the professional portrait and fashion photography world. With the addition of nearly all the advancements and interfaces improvements of its higher-speed brother, the 1D Mark III, the 1Ds Mark III is likely to be even more popular with high-end pro photographers. The Mark III has down come in weight from a 3.5 lb anvil to a 3 lb dumbbell and has a resolution of 21 megapixels, producing superb 20×30 enlargements and acceptable 30×40 prints.

Significantly slower than the 10 fps (frames per second) of its sports photography cousin, the 1D Mark III, it can shoot 5 frames per second, but it can’t write them to the memory cards that fast. This is challenging when shooting sports and fast-paced action.

At first glance, the 1Ds Mark III appears easy to operate. There are the familiar Canon control wheels, one just behind the shutter release and a thumb-wheel on the back of the camera. The first hint that the camera might not be so simple is the presence of three external LCD displays: top deck, rear monitor, rear icon panel. Where should you look to find a particular piece of information or verify a particular camera setting? It isn’t obvious. In most ways the interface is much more complicated. The menus are deeper. There are more buttons. There are choices about which of the two memory cards you would like the camera to write to. Or maybe you want it to write to both simultaneously?

Would a “help” or “more info” option on the menu choices and custom functions be too much to ask for?

In some ways the interface is simpler than on Canon’s lower-end bodies. There are no idiot modes so you don’t have to wonder what the camera will do when set it to the flower icon, the running guy icon, or the green box icon. You can choose Metered Manual, Aperture-priority, Shutter-priority, or Program autoexposure. You also have the option of One Shot (subject not moving) and AI Servo (subject moving) autofocus modes.

The Canon 1Ds Mark III does not have a built-in flash, but it can control the full range of Canon’s external flashes.

Despite what must be a power appetite on par with a gamer’s PC, Canon claims that the enormous Lith-ion battery is adequate for capturing 1800 photos at room temperature; 1400 when freezing. To recharge the battery, you must travel with a charger that is larger than a Digital Rebel XTi. In field tests, the battery held a nearly full charge for three calendar weeks with light usage.

The 1Ds Mark III is Canon’s most durable body, designed to withstand heavy rain, hard knocks, desert sand and dust. The camera can be set to write images to two memory cards simultaneously, thus preserving the images even when half of the camera has been shot away by hostile fire.

An automatic sensor cleaning function activates when the camera is turned off.

If a photographer had infinite money, would he or she buy the 1Ds Mark III? Maybe not. The pain of spending $8000 might soon be forgotten by some folks, but the 3 lb. weight will be a constant reminder that an adequate job could have been done with the full-frame 5D (2 lbs.).

The viewfinder is exceptionally large and impressive. I have never seen a digital SLR, or even a 35mm film camera for that matter, with a viewfinder this large and bright. A lovely surprise and very welcomed upgrade to the 1Ds Mark II.

Canon for the most part got rid of the “two press” logic when it comes to navigating the camera’s menus. Also, something that is extremely useful is the new placement of the ISO button. It’s now on the right hand side near the shutter release. That combined with the ISO status displaying in the viewfinder allows the photographer to change his ISO settings without taking his eyes off the subject. This speeds shooting up greatly and will help you avoid missing those split second shots. A great addition especially for event, sport, and wedding photographers.

No Comments »

CANON EOS 5D MARK II DIGITAL CAMERA REVIEW
by
Heather Shimmin

Canon EOS 5D Mark II (announced 17 September’08) is a full-frame DSLR camera with a newly designed 21MP Canon CMOS sensor, DIGIC 4, ISO 50-25,600, Live view mode, HD Video Capability allowing users to shoot video at full 1080 resolution at 30fps, 3.9 fps continuous shooting, 9 AF points + 6 Assist AF points, GPS Compatibility, and a 3.0″ VGA (920k dots) clear view LCD.

17 September 2008: Canon announces the full frame, 21.1 Megapixel EOS 5D Mark II: the first EOS with full High Definition video capability.

Compact, lightweight and with environmental protection, EOS 5D successor boasts a newly designed Canon CMOS sensor, with ISO sensitivity up to 25,600 for shooting in near dark conditions. The new DIGIC 4 processor combines with the improved CMOS sensor to deliver medium format territory image quality at 3.9 frames per second, for up to 310 frames.

Triggered from Live View Mode, HD video capture allows users to shoot uninterrupted at full 1080 resolution at 30fps – for amazing quality footage with outstanding levels of detail and realism.

The integration of HD movie capability into a high-end 21.1 Megapixel camera opens a multitude of new possibilities for photojournalists and news photographers. With its full frame CMOS sensor and outstanding ISO performance, the EOS 5D Mark II will appeal to any photographer in search of the finest camera equipment available – from studio and wedding to nature and travel photographers.

Other improvements to the EOS 5D include:

* Addition of Canon’s EOS Integrated Cleaning System, with a new Fluorine coating on the low-pass filter
* Larger 3.0” Clear View LCD with VGA resolution, a 170° angle of view and anti-reflective coatings
* Improved menu system including Quick Control Screen for more direct access to common settings
* Automatic peripheral illumination correction, utilising detailed EF lens information to optimise JPEG images straight out of the camera
* Magnesium alloy construction with additional environmental protection
UDMA memory card compatibility.
Key Specifications
* New 21.1 Megapixel CMOS sensor with improved EOS Integrated Cleaning System (E.I.C.S.)
* New Full HD 1080 resolution movie recording
* 3.9 frames per second continuous shooting
* High performance DIGIC 4 providing superb image quality
* Maximum 310 large JPEG images in a single burst with a UDMA card
* 3.0” VGA (920k dots) Clear View LCD
* ISO 100-6400 (expansion from 50 up to 25,600)
* 9 AF points + 6 Assist AF points

No Comments »

Lenses for Photography

The first thing to recall when buying lenses is: purchase the biggest and fastest piece of glass you are able to afford! Bargain lenses are generally not deserving the investment, whereas a high caliber lens will serve you well for a years. Case in point: I purchased a lens with my first digital photographic camera which comprised of a famous-name 28mm to 200mm, f/3.5. I believed that it would be adequate for the times I demanded a long telephoto lens (particularly for my travels), but I just could not get a crisp image with it. I then purchased a similar lens, 17mm to 55mm zoom, but this time it was an f/2.8. What a departure. The f/2.8 has forever been tack sharp, even for a telephoto lens. Equivalent maker, but since it’s a faster lens, the caliber of the glass is far superior. Another thing to think of is that fixed-focus lenses are commonly crisper than zooms. There are more nonmoving components in the lens and it was planned for one job. Photographers often purchase zooms because they eradicate the need to carry a lot of lenses, but you need to be deliberate about which zooms you purchase. So, I resolved to get a fixed focal point 60mm macro for close-ups and portraitures. The lens I purchased was a Nikon 60mm, f/2.8 macro and it is also tack sharp. It is actually the lens I use most for portraitures. Since I’m fundamentally a Nikon user, I have limited experience with other lenses, but I have spoken with several Canon users and the f/1.8s and f/1.4s are really sharp lenses. The Nikon 85mm f/1.4 lens is one of the crispest on the market. It’s a great portrait lens particularly for full-frame CCD’s.

Whilst you’re shooting portraits, use a lens a little bit longer than convention, say an 80mm lens for a 35mm format or a 150mm for a medium format photographic camera. These longer-than-normal lenses incline to cut down any aberration in a person’s face and they constrict lengths somewhat. This make for a more natural-looking portrait.

Whilst shooting interior spaces with a fisheye lens on a 35mm photographic camera, employ a tripod and be sure that the photographic camera is level to minimise any converging vertical lines in the frame. I used to shoot all my interior shots with a view photographic camera, but nowadays, I cannot rationalize the cost of the digital backs for view photographic cameras. Since I do quite a few interiors, I always make a point that the photographic camera is lower than convention and that it’s as level as I can get it.

Zoom lenses are bang-up for bringing sports action close, but they’re actually not much use to the intermediate lensman. I recently bought a 180mm telephoto, and I have used it from the sidelines for both baseball games and hockey games with great outcomes. On my digital photographic camera, this lens functions more like a 270mm with the 1.5x factor (given the size of the CCD). It is really adequate to get close to any action. Whilst using zoom lenses, it is always essential to foresee any action because these lenses are often difficult to hand-hold. I tripod or monopod is just about always essential.

One final word about lenses: you should not purchase a lens just to hold it in your bag. Be sure you really have a purpose for it. That is one detail that I’ve always maintained in mind. So, with my old film photographic cameras, I had 6 lenses (24mm, 35mm, 50mm, 85mm, 135mm and 200mm). These days, I commonly carry 4 lenses (fixed focus 28mm, 17-55mm zoom, 60mm macro and the 180mm telephoto). These have addressed just about all my needs. With the calibre of telephoto lenses improving day-after-day, recently they’re a beneficial overall pick.

No Comments »

Fashion Imagery

Fashion photography requires a merger of comprising a strong portrait lensman and the power to produce images for the advertising market. You must be cutting-edge on the newest design and fashion movements and be able to distribute your images to the fashion editor in chief of published works. Fashion photography is publicising and marketing high end apparel.

The fashion photography industry is a competitive one. You must have a substantial portfolio – both physical and on the Internet. A portfolio speaks louder than education or experience. Masses would like to ascertain what you have done and see your viewpoint as a lensman. A substantial portfolio is the only method to get past the front entrance.

Whenever your portfolio isn’t up to snuff, you need to start shooting. I advise you to post an advertisement at the local university and in craigslist, expressing that you’re searching fashion models that have the high fashion look, you will be surprised how many queries you get. You will be able to also advertise barter work to wishful models who demand more looks for their portfolios. It is a win-win position for both of the model and the photographer. Both parties are acquiring experience and compositions for their portfolios.

Doing work with models can constitute a great experience or an atrocious one. A few models are a dream to work with, other models are not. But, you must always act as a professional and be as enjoyable as possible. It is very crucial that you mesh and attain acquaintances with the models, hairstylists, make up artists, and the assistants. Not only will your photo shoots improve, but you never know who these folks know and whenever you’ll work with them in the future. In addition, it is always most beneficial to construct your shoots tp be pleasurable for everyone.This impacts the shoot on a number of levels. Primarily when working with models, if they are uncomfortable, it will show in the shoot. Not to mention no one advances in this industry by being a rude or difficult. Discussion spreads just as quickly or faster about the bad-tempered lensmen as it does about the honorable decent ones.

Like any industry, you have got to be afoot with what’s coming about. New trends etc. Try to be that person who creates something new as opposed to copying current trends. Read as much as you can about the fashion business. Who are the hottest fashion designers? What are this year’s coloration’s? Cognition of the industry gains your chance of being prosperous, and successful.

No Comments »

Groovy cyberspace web site portfolios

In this cyberspace age, featuring an internet portfolio is not just a good idea, it’s a must. An internet site is the most beneficial path to extend to a astronomic quantity of masses and easily showcase your body of work. Employers, clients, and art galleries would like to discover what you have made and interpret your viewpoint as a lensman. If you do not have a internet site, get one. If you have got one, make it groovier.

Here are the basic principles of how to begin an internet site and what you ought do once you have got one.

Purchase A Domain NAME
The first matter you need to arrange, is the purchase a URL AKA a Domain name, you know the www.xxxxxx.com part. The most beneficial place to arrange purchase of this is link “http://www.godaddy.com/”www.godaddy.com, Really you do not purchase the name, you pretty much rent it on a yearly or muti year basis. Here, you will be able to ascertain what URLs are purchasable and buy them straight away. Just about all URLs are $9.99. The superior, more coveted names could be a hundred bucks or more. I have seen them in the hundreds of thousands of dollars, but for all intents and purposes you don’t need those.

Discover A HOST
Now that you have acquired your URL, you require a manner to publish it on the World Wide Web. Online hosting companies offer you a place on their server in which the masses online can access. It’s how you arrive on the internet. There are a countless number of companies which offer this service. The difference in rates depend upon how much space you are assigned, or purchase. Additional factors in cost are the quantity of electronic mail accounts you acquire and if you ante up for the full twelvemonth period at once, or on a month-to-month basis. You can anticipate paying approximately a hundred bucks a year. I typically purchase my domains and hosting from godaddy.com since the one stop shop is easier than using two different companies. Be careful for the hosting companies that offer to register for you since that means they own the domain name in that case, and it could be troublesome to transfer the name should you need to change hosts.

Specify the internet site’s aim
The next matter you need to answer is think of the aim of your internet site. What type of portfolio are you planning to exhibit? Commercial or fine artistic creations? Whenever you do both, deliberate on getting two separate web sites, and or two separate domain names. An acquaintance of mine actually delivers one internet site for his black-and-white body of work and a different web site for his color work because they’re so dramatically dissimilar. Do you prefer to sell prints of your body of work? Do you prefer to appeal to brand-new clients? Do you prefer to furnish data about photography thru a web log or a blog as they are commonly known? Are you targeting art galleries? You must specify the aim of the web site prior to you doing anything additional.

BUILD THE SITE
The two things which define a great web site portfolio are design and content. Your web site will not have that wow-factor if you do not have both.

Locating an internet designer which accommodates your expressive style calls for a bit research and it is not inexpensive. An innovational, modern multi-media internet site will cost you a minimum of ten thousand dollars. Realize that a well designed,high caliber web site will cost you some money up front. For an inexpensive website post an advertisement in craigslist and at the local university and look and their portfolios. Also, internet design houses feature standard bundles and templates which are less costly. While you require people to pay you for your talent and expertise as a lensman, and so it is with a web architect. The really good ones cost money, the old adage applies, you get what you pay for!

The 2nd component of featuring a groovy online internet site portfolio comprises of content. Content is king in your portfolio.Content also helps your website to be found in the vast sea we call the Internet. Showcase exclusively your most proficient body of work, and whenever you need to, go out and shoot many more pictures in the domains that you are inadequate. You’re entirely as good as your best picture.

MARKET YOUR internet site
Once your internet site is constructed and is filled with potent content, you will be able to do some free promoting for your site. Apart from manually sending your internet site to those who request it, there are a host of complimentary directories which you will be able to submit it to. A few directories call for a reciprocal hyperlink. You just need to construct a page on your internet site for this aim, call it something like resources or links. Additional directories demand that you ante some money up to be listed. Do not do it. There are a plenitude of complimentary directories out there. Do not get suckered into paying for something you do not require.

Finally you should create or have created a Google site map, this helps Google do what is called spidering your site, which is essentially discovering the website and the contents of the web site. This is particularly important if you use flash to protect your images from online piracy ( which I highly recommend). Once the site map is created submit it to Google. This is done via Google’s webmaster tools and is very easy to sign up for.

No Comments »

GREAT WEB SITE PORTFOLIOS
by
Heather Shimmin

In this internet age, having an online portfolio is not a just a good idea, it’s a must. A web site is the best way to reach a large amount of people and easily showcase your work. Employers, clients, and galleries want to see what you’ve done and understand your point of view as a photographer. If you don’t have a web site, get one. If you have one, make it better.

Here are the basics of how to get a web site set up and what you should do once you’ve got one.

BUY A DOMAIN NAME
The first thing you need to do is buy a domain name. The best place to do this is HYPERLINK “http://www.godaddy.com/”www.godaddy.com. Here, you can find out what domain names are available and purchase it right there. Most domain names are $9.99. The premium, more sought after names can be $100 or more.

FIND A HOST
Now that you’ve got your domain name, you need a way to publish it on the internet. Web hosting companies provide you with space on their server which people online can access. It’s how you get your site on the web. There are a myriad companies which offer this service. The difference in rate depends on how much space you’re allotted. Other factors in price are the number of email accounts you get and if you pay for the entire year at once, or on a month-to-month basis. Expect to pay about $100 a year.

DEFINE THE WEB SITE’S PURPOSE
The next thing you need to do is think about the purpose of your web site. What type of portfolio are you going to display? Commercial or fine art? If you do both, consider having two separate sites. A friend of mine actually has one website for his black and white work and another for his color because they are so dramatically different. Do you want to sell prints of your work? Do you want to attract new clients? Do you want to provide information about photography via a blog? Are you targeting galleries? You must define the purpose of the site before you do anything more.

BUILD THE SITE
The two things which define a great web site portfolio are design and content. Your web site will not have that wow-factor if you do not have both.

Finding a web designer which fits your style takes a little digging and it’s not cheap. An original, innovative multi-media site will cost you a minimum of $10,000. Understand that a well designed, quality web site will cost you some dough. Post an ad in craigslist and at the local university and look and their portfolios. Also, web design firms have basic packages and templates which are less expensive. As you expect people to compensate you for your talent and expertise as a photographer, so it is with a web designer.

The second part of having a great web site portfolio is content. Content is king in your portfolio. Showcase only your best work, and if you need to, go out and shoot some more images in the areas that you fall short. You are only as good as your weakest image.

MARKET YOUR SITE
Once your site is build and is filled with strong content, you can do some free advertising for your site. Aside from manually sending out your site to those who request it, there are a host of free directories which you can submit it to. Some directories require a reciprocal link. You just need to build a page on your site for this purpose. Other directories require that you pay to be listed. Don’t do it. There are plenty of free directories out there. Don’t get suckered into paying for something you don’t need.

No Comments »

HOW TO PHOTOGRAPH FIREWORKS
by
Heather Shimmin

Photographing fireworks is easier now than ever with digital cameras because you can see the results immediately and make the necessary adjustments. Shooting firework displays is exciting because you really never know what you’re going to get. Here are some tips on how to go about it.

USE A TRIPOD

Using a tripod is a must when shooting fireworks. Because of the limited amount of available light, you will be using a slow shutter speed. Any movement on your part will produce a blurry image. You want to produce a crisp image. This is impossible if you don’t use a tripod.

SHOOT IN MANUAL MODE

All of those fancy, automatic features on your spiffy camera are useless when shooting fireworks. You need the precision and control of shooting in manual mode.

FOCUS MANUALLY

Autofocus is one of those fancy features on your camera which are pointless when shooting fireworks. Your camera can’t focus on a black sky. In fact, it won’t be able to focus on the ever-changing fireworks, so you’ll have to do it manually. I recommend you set the focus to infinity ಯಯ(), just to be sure everything will be in focus.

How far away you are from the action will determine your aperture, however, I recommend use don’t go larger than f11 (by larger I mean aperture diameter) to insure a large depth of field so that everything will be in focus.

SHUTTER SPEED

One of the beauties of firework shots is the long exposure time, the streak of light which follows the path of the exploding fireworks. If your slowest shutter speed still isn’t giving you the effect you want, you may have to use the bulb (B) setting. This setting keeps your shutter open until you manually close it. You could leave it open for five minutes if you wanted to.

ISO

Shoot with a low ISO. This will allow slower shutter speeds and your images won’t be grainy. I would suggest an ISO of 50 or 100.

TURN OFF THE FLASH

Shooting with a flash in this scenario is pointless. The light from the light will not make any difference because the distance the light from the flash can travel is only a few feet. Shooting with a flash will also make the camera think it needs to use a fast shutter speed.

Click the image for more info

FRAME THE SHOT

Arrive early to set up and frame your shot. Examine the foreground and the background. Are there going to be people around you? You don’t want someone’s head popping up and ruining your shot. Locate where they are setting up the fireworks and what part of the sky they are mostly likely going to go off.

When you are framing the shot, be mindful of the horizon. Position it in either the top third or bottom third of the frame. Placing the horizon in the center cuts your image in half (an all around no-no, not just for shooting fireworks).

EXPERIMENT AND ADJUST ACCORDINGLY

Now that you’re all set up, experiment. If the fireworks haven’t started yet, take a few frames and look at your composition. See how the lights around you are being recorded. Do as much adjusting and refining as you can before the firework display begins.

No Comments »

Has the term “edgy” Lost it’s meaning?
by Terry Runion

By now I am sure you have heard the term “edgy” typically you hear this term used in photography or graphic design, and sometimes the term is used to describe a model’s look. Well just some food for thought here, but as we use this term more and more, it really starts to lose meaning. Here is my point, the term is used to describe an image that is new and unusual, something completely different, right? It is my personal opinion, when the term is used to define something new and unusual, we start to formulate an idea in our mind exactly what is edgy. Once that look is defined as edgy it no longer conforms to the meaning of edgy. The term edgy conjures up images of something bold like a totally new hair style or some new makeup technique for a model or subject. So while this blog is short and sweet, I truly believe the term “edgy” is sort of like saying tomorrow, you know tomorrow never comes since it will always be today. While I am not sure that makes any sense at all, it is intended to provoke thought, and the realization that we can never truly achieve and “edgy” look, since by sheer definition that can never be.

OK, here is something completely off the wall, I propose since the term “edgy” is a useless term, and can never be , we could use a new term, perhaps naming the new look like hurricanes are named, like today’s new look is called Ike, or New look version 1.x , or New look version 2.x .

Really I hope you don’t think I have lost my mind, since I write this partially in jest, the real point of this whole blog is to point out how the term “edgy” is fast becoming worn out and the term itself is indeed no longer “edgy”.

Just something to think about, but don’t stop trying to achieve an “edgy” new image, since without that we would not have anything to look forward to, or aspire for greatness.

No Comments »

Scanning Services
By
Terry Runion

Do you have a bunch of old photos hanging around, that you would like to convert to digital format? Do you have old negatives, slides, just sitting in a box? Well many folks know this, but I think many may not, there are a ton of scanning services out on the Internet that you can use. I did a quick search on Google for “photo scanning service”, and came up with about 12000 hits, so yep there are plenty out there. Not too long ago I decided to clean out my closet and my negative files to see what I may want to convert to digital.

The entire process was actually allot of fun, I had stuff that I had totally forgotten about, like some portrait shots I had shot at the Career Education Center (CEC) in Denver. The CEC was a sort of vocational curriculum geared towards photography that I took in high school. I took this class since I loved photography, and my counselor told me I was not college material, but that is a story for another time. It was pretty amazing to me that the negatives had lasted so long, I mean it has been about 20 years, and I can’t even remember how many times I have moved over the years, but yep they were still in good shape. I selected about 50 frames, I had to do this since the service I was going to use was www.scancafe.com and they have a minimum of 50 frames you can send, then once they are all scanned you select the ones you want to convert.

OK, so I had my 50 frames ,and I had to go online and sign up to print out a tracking slip, and send this company all my negatives and prints, not really a thought I relished since these negatives are literally irreplaceable. I bit the bullet though and mailed them all to scancafe.com and once they were received , I was notified via email, it was a relief they arrived in tact. While the service was good on the front end of the process, the actual scanning process took about two months, and near the end I was becoming very impatient with the service, but I think the company had done some sort of huge marketing program, and it buried them.

When the negatives and a few prints were completed with the scanning process, I received another notification email that they were available to be viewed online. When I viewed the images, in particular the prints( the prints I had sent were quite yellow and faded) it was like no time had passed at all, and they had been restored back to their original state. The images were crystal clear, and had no dust, or scratches. They were simply gorgeous! I went through the selection process, and decided on about 15 final images, and hit the finish button on the site, and waited for the CD to come in the mail.

Probably another 3 weeks passed and I finally got the CD in the mail, you can only imagine how cool it was to put the CD in the drive to see the images. As I viewed the images, something was wrong, the final CD was not as good as the web versions, some had scratches and the prints looked like the old ones. I contacted the company and they said it was possible the untouched versions were sent. As a part of the service, they retouched all the images, to clean up any imperfections that may have been on the negatives. For those of you who think negatives, are anything but photography related, it is not like digital where you typically get a clear image, all it takes is a little dust, a scratch to mess up the negatives, sometimes to the point of not being of any use at all. It is somewhat similar to having dust on your sensor, but with that you can at least tweak it in Photoshop. Negatives are a different animal, if you had a negative that was scratched you would have to touch up the final print, and they almost never really looked that good after that. Scancafe told me they would send a new CD with the final images on it, and in about 2 weeks I had another CD.

This time I dropped the CD in the drive to look at the final images and they were spectacular just like the ones I had seen on my preview on the web.

So my advice to you is try this out, be patient, and you will be very pleased with the end result. The only other advice I can offer is you might want to try and find a local scanning company, then you won’t have to go throughworrying about lost negatives in the mail.

Below is the scanned copy, it actually looks better than the original print:

This is the final image, once it was digital I could add some elements via Photoshop

No Comments »

Apple’s Aperture vs Adobe Lightroom
Terry Runion

Are you trying to decide which workflow software package to go with? I was a while back, so I decided to try them out and here are my findings, granted your experiences may be different than yours, so if they are please feel free to drop me a line.

At first I went to the Adobe website and downloaded a free copy of Lightroom, this seemed liked a natural fit since I use Photoshop rather extensively. The version I was using was 1.x, 2.x had not been released yet. Before I get into the details of my experiences, let me tell you I am a MAC user , it is an iMAc 24″ with 4 gig of Ram so it is a pretty new machine and software apps should run without issue, which most do. OK so back to Lightroom, I totally loved it , and began using it in my everyday work flow tasks. The only real drawback was the lack of plug ins, I am a plug in junkie and like to have a wide variety of options when it comes to plug ins. The other drawback was lack of any good way to add a watermark to the file, and what I would end up doing is exporting all the finished files, and then running an action in Photoshop on the finished files, it works , but it sure would be nice to click a button and select the watermark, and the watermark position, and apply it to whatever images you need to . If you don’t want to alter the original files, the watermark option would allow you to create a duplicate version of the file. But alas in this version there was no functionality to watermark at the level. Perhaps in Lightroom 2.x they have added this functionality but I have only tried the beta version and cannot tell you.

So as I was using Adobe Lightroom, I loved it , and when the 2.x beta came out decided to try that out, so I downloaded that one, and used it for sometime, but Adobe had moved a bunch of stuff around for the navigation, and I know they never really put things back even in the final product. Maybe I am getting old but once I like a certain thing, I don’t want it changed, this is why I hate Windows, I mean Apple comes out with an updated OS and you can barely tell, other than the new stuff there, when Windows releases they feel the need to more all the functions around, sometimes I think just so you think they actually did something to earn your upgrade money. Anyway I abandoned Lightroom at that point, the change in navigation and still even with 2.x the lack of plug ins, not to mention 300.00 bucks for it. I felt it was time to move on.

So on to Apple’s Aperture, for 200.00 it was 100.00 cheaper, so that was a plus, not to mention all the vast amount of plug ins I could get. I downloaded the trial version and tested it out for awhile, and here is where I went wrong, I should have used it for at least 30 days, the full trial period, but alas I am an impatient person and gave it a couple of days. The program seemed to work great , the interface was great just like other Apple apps, so I figured I would buy it , I mean 100.00 bucks difference sort of made the difference for sure.

The good news is I saved 100.00 bucks, the bad news is this program has some serious drawbacks, and is a dog. I am sorry Aperture Guys at Apple, but it is . One thing that I hate is once you import images the app has to build thumbnails of the images, that is not the issue, then time that the program takes to do this is painful! It takes so long for some of them I literally let the app run overnight and in the morning when I come back to check it is STILL not finished. The other major drawback is the amount of time the image takes to load once you are ready to work on it. Lightroom pulls up the image in a second or two, with Aperture, it could take as long as a minute, so for the most part I end up using the quick preview mode, but this is a pain to switch back or forth. The worst issue I have is the entire library became corrupt, and this was after I has sorted and classified all the images, and there was not a utility or really any way I could find to restore the library, so you guessed it I had to start from scratch, the saving grace here is I import my images from their current location, so none of the images were impacted. Could you imagine how angry I would have been if it had trashed all my images? Yea I have them backed up, but I have almost a terabyte of data now, and it would have taken me the rest of my natural born life to restore them.

So what to do? i guess I could spend the 300.00 and get Lightroom, but I won’t , I will just tough it out with Aperture, and hope for improvements in then next version. How much do you want to be the upgrade will cost 100 bucks? Kind of funny, when you try to skimp this is where you end up, so my advice to anyone that is wanting a good work flow package, download one , use it for the 30 days, then do the same with the other, and then make a good decision on the package.

1 Comment »

How to get into the Photography Business
Terry Runion

Have you ever tried to sell a car in the auto trader? If you have not here is how it works, you place a call for an ad and a photographer comes out to shoot the images, usually it takes a week or so , and if you are like me I want the ad online ASAP, as a regular joe, I might go out and shoot images of my car and then upload it. Have you ever thought of the car dealers in your area that would like to have someone come by on a regular basis and shoot images of thier car inventory? For the dealer this is probable a pain and time consuming to do themselves so they would gladly pay you to do this for them. A normal car dealership could move several hundred cars in a month so you can see this really adds up!

I recently found an online book the gives all the details on this an much more! It really is worth the purchase price, check it out.

This area of photography is great for folks just getting started, students, retireees, just about anyone!

No Comments »