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Sepia effect and Macro from Santa Monica

Explain some photography concepts.

Focal length
Focal length is the most obvious way in which a lens affects a photo: it controls the angle of view, and hence how much of the scene is included in your photo. The reason that it is measured in focal length rather than degrees, is that the angle of view yielded by a certain focal length depends on the size of the camera's image sensor.

So doubling the focal length is just like cropping the photo to half of its width and height and blowing up the result to full size, except without the loss of resolution that would occur if you did that in Photoshop. Everything else about the picture remains exactly the same.

A landscape at 18mm, the white box marking 1/5 of the width and height	The same landscape at 90mm: the focal length is 5 times longer so the area marked by the white box fills the whole scene

Shutter speed

The shutter speed is considered an exposure setting because opening the shutter for twice as long lets in twice as much light which increases the exposure of the whole scene by a stop. However you can also use it aesthetically: faster shutter speeds freeze a moving subject, slower speeds record a motion blur. Neither is 'correct': a photo of a stream with a 1/800 second shutter would record each sharp sparkling droplet of water frozen in mid-air, whereas a 4 second exposure would render the stream as a softly flowing ethereal smoke. Either can look beautiful.

A shutter speed of 1/800 second freezes this baseball in mid-air.	A 10 second exposure produces streaked lines of headlights and a ghost of a car that was parked for half of the exposure.

Aperture

Lenses have an aperture to control the amount of light entering them. This is an iris that can open and close to allow more or less light in. Aperture is measured in 'f numbers' – written f/x where x is the ratio of the aperture width to the focal length. Low f-numbers mean wide apertures letting in more light. Aperture has a reputation for being complicated so some guides suggest that you just memorize the f-number sequence and ignore the internal details. Being a geek, you'll find it much simpler when you understand why it is measured like this.

The first supposedly confusing thing about aperture is that it is not measured as a width but as a ratio of focal length to width. This makes more sense if you consider that the scene you're photographing is a light source. Recall that doubling the focal length will half the width and height of the bit of the scene that you project onto the camera plate. Therefore at double the focal length, only 1/4 of the scene area is providing light, so the aperture area must be 4 times as large to compensate (i.e. the aperture width must double). A constant f-number means a constant amount of light entering the aperture regardless of the focal length.

The next supposedly confusing thing about aperture is that the f-number sequence goes in stop increments: 1, 1.4, 2, 2.8, 4, 5.6, 8, 11, 16, 22, 32. There is a logic to this. A 50mm lens with a 50mm aperture will have an f-number of f/1 (the ratio of the focal length to the aperture diameter: 50/50 = 1). If you want to halve the amount of light reaching the sensor you must halve the area of the aperture. To half the area of a circle you divide the diameter by 1.4 (give or take), and since diameter is the denominator in the f-number equation, this means that the f-number is increased by a factor of 1.4. Each f-number is 1.4 times the previous one and lets in half as much light. When someone says "close", "reduce" or "step down" the aperture, they mean increase the f-number.

Like shutter speed, aperture affects the look of the photo, specifically the depth of field. At narrow apertures the whole of a scene will be in focus, whereas at wide apertures only the bit of the scene that you focus on will be on focus; as is clear in the case of these cheap fake flowers:

At f/16 the background is distracting	At f/1.4 the background is reduced to a blur, but not all of the subject is in focus either.

ISO

ISO is a measurement of a digital camera's imaging sensor's sensitivity. Digital cameras with high ISO capability are better able to take low-light images and pictures of fast moving objects.

Sony Cybershot DSC-H5

DSC-H5 Major Features:

• Sony 7.2 Megapixel effective CCD image sensor
• Carl Zeiss 12x Zoom (36-432mm equivalent in 35mm photography)
• Super SteadyShot Optical Image Stabilization fights motion blur, even during longer exposures at full zoom.
• MPEG Movie: 640x480 VX Fine w/audio at 30fps (Memory Stick Duo Pro required),
  640x480 VX at 16fps, length limited only by media
• Auto, Program AE, Aperture Priority or Shutter Priority, Manual Exposure
• Live histogram display in capture and playback
• 3 Area Multi-point AF; auto or selectable Spot AF point
• 3.0" color (230,000 pixels) LCD Screen with Auto Brightness
• ISO Sensitivity: Auto, 80, 100, 200, 400, 800, 1000
• High Sensitivity Mode (ISO 1000) allows you to shoot with great results in low-light conditions
• Adjustable color saturation, contrast and sharpness
• Noise Reduction: Automatically cleans up long exposure images
• 14bit A/D Conversion - allows a wider dynamic range from highlight to shadow
• Built-in flash with Auto Fill, Red Eye Reduction and Slow Synchro
• USB 2.0 high speed Auto-Connect to host computer
• Powered by two AA rechargeable battery
• 32MB internal memory plus Memory Stick Duo / Duo Pro compatible
• DPOF and PictBridge direct-print USB compatible

The Cyber-shot DSC-H5 is a compact and stylish 7.2-megapixel camera with an extra-large, three-inch LCD screen, a powerful Carl Zeiss 12x optical zoom lens (36-432mm in 35mm equivalence). The H5 incorporates Sony’s Super SteadyShot optical image stabilization to help reduce image blur caused by hand movement. Because the camera features high-light sensitivity settings up to IS0 1000, fast-moving cars and distant subjects can be captured with considerably less blur and graininess. Sony’s Clear RAW™ noise reduction technology minimizes picture noise, making it easier to shoot at faster shutter speeds.

These anti-blur technologies are an advantage when shooting in low-light conditions, such as outdoor shots in the evening or inside dark museums. These shots can be taken without a flash, resulting in naturally-exposed images that truly capture the drama and atmosphere of the moment. And, you can get as close as you want with the camera's significant macro mode of just three-quarters of an inch.

The new H-series cameras are substantial, without feeling bulky, and feature a comfortable grip with controls easily accessible by your thumb. You can count on detailed image previews using the brilliant 3-inch, high-resolution color LCD screen thanks to Sony’s Clear Photo LCD Plus™ technology. The LCD features high-quality color reproduction and displays pictures with vivid clarity.

Instant Camera

I want to introduce instant camera which is out of date for a long time. The best company of that product is POLAROID, but Fujifilm is now the only remaining supplier of instant film in the United States.

Types of Polaroid instant cameras

Polaroid cameras can be classified by the type of film they use. The earliest Polaroids (pre-1963) used instant roll film, which has since been discontinued. Roll film came in two rolls (positive/developing agent and negative) which were loaded into the camera and eventually offered in three sizes (40, 30, and 20 series). Later cameras utilized "pack film," which required the photographer to pull the film out of the camera for development, then peel apart the positive from the negative at the end of the developing process. Pack film initially was offered in a rectangular format (100 series), then in square format (80 series). Later Polaroids, like the once popular SX-70, used a square format integral film, in which all components of the film (negative, developer, fixer, etc.) were contained. Each exposure developed automatically once the shot is taken. SX-70 (or Time Zero) film was recently discontinued but had a strong following from artists who used it for image manipulation.

600 series cameras such as the Pronto, Sun 600, and One600 use 600 (or the more difficult to find professional 779) film. Polaroid Spectra cameras use Polaroid Spectra film which went back to a rectangular format. Captiva, Joycam, and Popshots (single use) cameras use a smaller 500 series film in rectangular format. I-zone cameras use a very small film format which was offered in a sticker format. Finally, Mio cameras used Mio film, which was a film format smaller than 600, but larger than 500 series film.

Polaroid One600 Classic Instant Camera

Prices:

Buy new from $58.48

Buy used from $63.53

Prices of Film :

Polaroid 600 Film Twin Pack

by Polaroid

Buy new from $24.99


If you are interested in instant cameras, contact me and I can help you to make a good deal.

Quick tips for Great Photos

Quick Tips for Great Photos by Russ Burden

Who doesn't love a Top 10 list? In this case, Russ Burden decided to step up and give us a baker's dozen of quick tips for great photos

---

Most people have a top ten list for many subjects - movies, CD’s, sports plays, actors, etc. Feeling generous, I feel the urge to give you a dozen. Being a good friend of a baker and knowing he always throws in one for free, what the heck! It’s Valentine's month and I “FEEL THE LOVE” so here are thirteen quick tips to get you on the path to becoming a better photographer. In no specific order:

1) Bracket Tricky Exposures: As most of you have probably gone digital, I suggest you bracket in 1/ 2 stops. What used to hold true with regards to slide film whereby photographers bracketed in 1/ 3 stops, this small amount is easily recoverable in Photoshop so expand this range to acclimate to digital.

© 2008 Russ Burden

2) Depth Of Field: Use apertures wisely. Open up the lens (f4) to help throw a background out of focus and stop down (f22) to increase your depth of field. Get out there and shoot a scene both ways. With Digital, it’s easy to see the difference right away. Make sure you have a strong foreground, midground, and background so you’ll be able to see the differences.

3) Steady as She Goes: Use a Tripod: Not only will it almost guarantee you sharper and steadier shots, it slows you down so it forces you to think more about fine tuning your composition - this is BIG!

4) RTM = READ THE MANUAL: As much as we all want to think we’re smarter than our camera and can figure it out, there are so many features imbedded in the menus, you may be depriving yourself of not knowing that your camera has the ability to do....... and how cool it would have been if you only knew you could have applied.... to a long gone situation.

5) Hyperfocal Distance for Focusing: To maximize the depth of field in any image, in a simplified explanation, focus one third into the frame. Hyperfocal settings are more precise and can be found on line, but in a pinch, the one third rule works.

6) Rule of Thirds: Imagine a tic tac toe board placed in the viewfinder. The most strategic location to place a main subject is where the lines intersect. If you’re shooting with a horizon and the sky is interesting, have it take up the top two thirds. If the sky is mundane, place the emphasis on the foreground.

© 2008 Russ Burden

7) Experiment: If you’re shooting digitally, try something new and different. It doesn’t cost anything except a few more minutes of edit time.

8) Time of Day: The warmest and most appealing color of light occurs around the time of sunrise and sunset. Most subjects are enhanced when shot during these hours. Textures are revealed when sidelit and patterns and shapes are more defined.

9) Histogram Check: As a quick check, I keep the LCD screen set to show the flashing highlights but to really know if I’m nailing my exposures, I use the histogram. Every scene will read differently so there is no such thing as an overall ideal histogram that can be applied to every situation. Avoid spikes on the sides to prevent losing shadow or highlight detail.

10) Shutter Speeds: Try slowing down your shutter to create special effects. A common situation is shooting water for longer than one second to get a cotton candy effect. But don’t limit yourself to this. Whenever a subject is moving, play around with different settings to intentionally show the motion. And try panning for some cool effects.

11) Active Focus Point: Always be aware of what focus point you have active in the camera especially if you’re shooting wide open. If the active focus point is reading a spot on a different plane than your subject, the result is a blurry subject and a sharp foreground or background.

© 2008 Russ Burden

12) Loosen Up: Not every time you go out with your camera will you come home with a winner. There are times when I make two hour drives only to have the light be flat and ugly and I don’t even raise the camera to my eye. Try to make the best of the situation and find something to photograph, but if you come home with no winners, it’s not the end of the world.

13) Shoot, Shoot More and Then More: Like anything else, the more you practice, the better you’ll become. Even if it means heading to a local park or going into your backyard, take pictures every week to keep the photo gears greased.

Fujifilm FinePix F50fd - For The Best Photos

General

Product Type

Digital camera - Compact

Color

Silver

Weight

5.5 oz

Width

3.7 in

Depth

0.9 in

Height

2.3 in

Main Features

Resolution

12 megapixels

Image stabilizer feature

Optical stabilization helps prevent blurry pictures, especially for handheld cameras at slow shutter speeds or when using high optical zoom. This camera uses a CCD-Shift mechanism, which internally shifts the CCD to compensate for camera motion.

Sensor resolution

12

Optical Sensor Type

Super CCD HR

Effective Sensor Resolution

12,000,000 pixels

Optical Sensor Size

1/1.6 in

Light Sensitivity

ISO 100, ISO 200, ISO 400, ISO 800, ISO 1600, ISO 3200, ISO 6400, ISO auto

Digital Zoom

8.2 x

Shooting Modes

Frame movie mode

Shooting Programs

Snow, Text, Beach, Flower, Museum, Sunset, Fireworks, Landscape, Night mode, Underwater, Sports mode, Party/indoor, Portrait mode, Portrait enhancer

Max Shutter Speed

1/2000 sec

Min Shutter Speed

8 sec

Exposure Metering

Multi-segment

Exposure Modes

Program, Automatic, Shutter-priority, Aperture-priority

White Balance

Presets, Automatic

White Balance Presets

Fine, Shade, Incandescent, Fluorescent light (daylight), Fluorescent light (cool white), Fluorescent light (warm white)

Digital video format

AVI

Still Image Format

JPEG

Continuous Shooting Speed

2 frames per second, 0.5 frames per second

Color support

Color

Image Stabilizer

Optical (CCD-shift mechanism)

Exposure Metering Zones

256

TV Tuner

None

Video Capture

AVI - 640 x 480 - 26 sec - With 25MB built-in memory, AVI - 320 x 240 - 52 sec - With 25MB built-in memory

Memory / Storage

Flash Memory

25 MB Flash - Integrated

Integrated Memory

25 MB

Image Storage

Fine JPEG 4000 x 3000 : 5 - With 25MB built-in memory, Normal JPEG 4000 x 3000 : 8 - With 25MB built-in memory, JPEG 4224 x 2816 : 8 - With 256MB card, JPEG 2848 x 2136 : 16 - With 25MB built-in memory, JPEG 2048 x 1536 : 32 - With 25MB built-in memory, JPEG 1600 x 1200 : 40 - With 25MB built-in memory, JPEG 640 x 480 : 200 - With 25MB built-in memory

Flash memory

25 MB - Integrated

Supported Flash Memory

MultiMediaCard, SD Memory Card, XD-Picture Card

Lens System

Type

Zoom lens - 8 mm - 24 mm - F/2.8-5.1

Focal Length

8 mm - 24 mm

Lens Manufacturer

Fujinon

Additional Features

Self Timer

Yes

Self Timer Delay

2 sec, 10 sec

Additional Features

DPOF support, Face detection, Audio recording, PictBridge support, USB 2.0 compatibility, Digital image rotation, In-camera red-eye removal, Digital image stabilization

Camera Flash

Effective Flash Range

1 ft - 14.4 ft

Type

Built-in flash

Flash Modes

Auto mode, Fill-in mode, Slow synchro, Flash OFF mode, Red-eye reduction

Red Eye Reduction

Yes

Effective flash range

1 ft - 14.4 ft

Features

AF illuminator

Viewfinder

Viewfinder Type

None

Display

Type

LCD display - TFT active matrix - 2.7 in - Color

Mounting

Built-in

Resolution

230,000 pixels

Digital Player (Recorder)

Type

None

Microphone

Type

Microphone - Built-in

Technology

Electret condenser

Mode

Mono

Connections

Connector Type

1 x USB, 1 x Composite video/audio output

Expansion Slot(s)

1 x XD-Picture Card, 1 x SD Memory Card

Lens Systems

Auto Focus

TTL contrast detection

Type

Zoom lens

Focal length

8 mm - 24 mm

Focal Length Equivalent to 35mm Camera

35 - 105 mm

Focus adjustment

Automatic

Min Focus Range

17.7 in

Macro Focus Range

7-80cm

Lens Aperture

F/2.8-5.1

Optical Zoom

3 x

Zoom Adjustment

Motorized drive

Features

Built-in lens shield

Miscellaneous

Carrying Case

None

Cables Included

USB cable, A/V cable

Included Accessories

Hand strap

Power

Power Device

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 10.4, Apple Mac OS X 10.3.9

Peripherals

USB port, CD-ROM drive

Battery

Supported Battery

1 x Li-ion rechargeable battery ( Included )

Software

Type

FinePix Viewer, Drivers & Utilities

CNET Labs' Benchmarks

Labs information

All values are expressed in seconds. Please visit our labs information page for information on how digital cameras are tested.

CNET Labs Flash shot to shot time

3.1

CNET Labs Shot to shot time typical

2.9

CNET Labs Shutter lag bright

0.5

CNET Labs Shutter lag dim

0.9

CNET Labs Typical burst speed

3.0

CNET Labs Wake up time

1.8

Sample Pictures :

10 Reasons To Buy A DSLR Camera

I present to you 10 Reasons to Buy a DSLR Camera:

Creative Control: This is probably the single most obvious advantage of DSLR cameras. These cameras have a multitude of settings that are just begging to be adjusted. Everything from shutter speed and aperture to white balance, in-camera sharpening and contrast, white balance and white balance shift, flash synchronization, and more...

Superior Sensors: DSLRs typically use a sensor that is approximately the same dimensions as an APS film negative (22.7 x 15.1 mm). In contrast, the 2/3" sensor size of an 8 Megapixel digicam is dramatically smaller, about the size of the tip of your pinky (8.8 x 6.6 mm). The larger sensor translates directly to higher image quality in terms of detail, color depth, and dynamic range.

Less Noise: Noise is the digital equivalent of film grain. The fact that DSLRs display less noise is at least in part a result of the larger sensor size mentioned above, however it is significant enough to warrant getting its very own bullet point. With your typical digicam, you will get noticeable noise which is detrimental to image quality at pretty much anything above the lowest possible ISO setting. Contrast that with your typical modern DSLR, where you can actually make acceptable prints even at some of the highest ISO settings. I should note that in the literal sense, DSLRs usually make MORE noise when you click the shutter than a point-n-shoot, hehe.

Accessories Galore: DSLR cameras can almost be considered upgradeable, they have so many accessories... There are lenses, filters, adapters, extension tubes, flashes, strobes, brackets, and the list goes on. For example, you can buy affordable general purpose lenses or high-end lenses with superior quality. Some lenses serve special functions as well, such as those with image stabilization, macro abilities, tilt-shift functionality, and soft focus. You get the idea. With a DSLR, you have a lot of compatible tools at your disposal which opens the door to new creative possibilities.

No Shutter Lag: Shutter lag is that awful delay between the time that you click the shutter on a digicam and the time that an image is actually taken. With DSLRs, there is virtually no delay between the time that you click the shutter and the image is taken. How many times have you missed a great photo opportunity because the camera didn't focus fast enough and then didn't take the shot fast enough once it was focused?

Instant Startup: Most DSLRs have nearly instant startup times. That means if your camera is hanging around your neck and in the OFF position, and you see a three-legged man riding a unicycle towards you, you can quickly turn the camera on and snap the shot. And the aforementioned lack of shutter lag will further help in getting the photo. With a digicam it will usually take several seconds to startup, and then you'll have to wait a second or so for it to focus, and then when you click the shutter there will be maybe another second before the image is actually taken - and the three-legged man will be gone.

Higher Build Quality: Most digicams are plastic, plastic, and more plastic. They feel flimsy and they're not all that hard to break. DSLRs are built to much higher standards, increasingly so as you get into the more expensive models of course. Some of the cheaper DSLRs are still going to have a lot of plastic in them, but overall they're more durable than a similarly priced digicam. When you get into some of the more expensive models in the $1,000+ range, bodies are ruggedized with largely metal bodies and nice rubberized grips. The ultra-high-end professional bodies are the most rugged and are weather-sealed so you can use them in the harshest environments without a problem. I don't think you'll find many war photographers using a rinky-dink digicam.

Viewfinder: This can be a plus and a minus, but mainly it's a plus. With a DSLR, you do not compose your shots on the camera's LCD, you do so through the viewfinder, and you're actually looking through the lens (that's what TTL stands for, though not to be confused with TheTechLounge). Looking through the viewfinder allows you to see more detail as you compose your shots with regard to what's in focus, and you won't have to worry about glare on an LCD interfering with composition. The only negative looking through the viewfinder really has is that if you are in a situation where you have to shoot from the hip or over your head, you have to sort of blindly shoot. By contrast, some digicams have swiveling and rotating LCD screens which allow you to compose such a shot without a problem. It's a small sacrifice. I suppose there's also the fact that it might be less comfortable to press your face against the back of the camera, but you get used to it.

Ergonomics: Back when I used to shoot with a small digicam, I would notice that my hand would cramp after a while of holding the tiny camera. DSLRs are larger and have molded grips which (to a varying degree) make holding the camera for long periods much more comfortable. The cheaper DSLRs are smaller and less comfortable, whereas the more expensive ones are usually larger and more comfortable. This is actually the main reason why I chose to purchase a Canon 20D over a Canon Digital Rebel XT - the 20D feels much better in my hand. And since I'm on the computer pretty much all day every day and I already experience occasional pain in my hands, I wanted a very comfortable camera to hold.

Price: DSLR cameras are practically affordable nowadays. The big two (Canon and Nikon) currently offer DSLRs for as low as $500-$600 (Canon Digital Rebel XT and Nikon D50) and they've been encroaching on point-n-shoot price territory more and more each year. Believe it or not, this is actually already cheaper than some digicams out there. Not to mention the fact that you can often find a great deal on a used DSLR at some major online stores such as BHPhotoVideo.com and KEH.com. Another great source for used equipment is the Buy & Sell forums (registration is required, but free) over at FredMiranda.com. Incidentally, FredMiranda is also a great site to learn from other photographers, and it's also a good resource for camera and lens reviews by the site's users.

Rule of third : make a good photo

The Rule of Thirds

In Photography, there is this very famous rule that is preached a lot to the beginners. It's called "The Rule of Thirds".

Hmm... What it is this rule about? Well, in California, The Rule of Thirds means

"Whatever Money you make every month, is divided into Three pieces

• First piece is taken away by the Government
• Second piece is taken away by your landlord or the mortgage company
• And the remaining piece, is shared by you, your spouse and kids."

Just Kidding, :-)

Rule of third is actually about how to position your subject in the picture. Actually it's not even a rule, it's rather a guideline for making reasonably framed pictures.

As there is no "Official Text", here is my version.

"Whenever appropriate, place your subject at one third distance from the edges of your frame."

Take a look at the picture below.

In this picture, the subject - the bikes - is placed in the middle of the frame, little bit off the center. The picture looks OK. Now compare this with the picture below.






The bikes are placed in one corner, centered approximately at one third height from bottom and one third width from right. The picture looks framed better then the first one.

Here is another example.









Below is the same scene, framed again with The Rule of Thirds in consideration.








Main contrast between the two pictures is the fact that, the first picture puts all the emphasis on the surfer by putting him in the middle, while the second picture puts almost equal emphasis on the surfer as well as his surrounding. It also puts emphasis on the direction of his movement and makes it look like the surfer has just entered the frame from the left side.

Another thing worth note here is that the frame is divided horizontally in almost equal parts by water, land and the background of mountains, making it very symmetric.

It does not make sense to try to use The Rule of Thirds for every picture. However, so far I have found that, in any frame where in addition to the subject, you also want to capture an essential property of the surrounding, the rule of third can be used very naturally to create a balance between the subject and the surrounding. For example, the example above shows the beauty of the lake side as well as includes the surfer in harmony with it.

Here are a few more examples.



At the Pier, San Francisco, California



All Terrain Vehicle, Rural India


Waiting for the Spring, Mountain View, California

Things you need to know when buying a digital camera

Digital Cameras: The Top 10 Things You Need to Know

By Rich Knapp

1) Resolution is less important than you think

There is a popular misconception that more megapixels lead to better pictures. This is not the case.

Sure, higher resolution gives you the ability to crop more aggressively or print large pictures, but only a fraction of digital photographers will benefit from this ability. If you're a casual shooter who won't be printing pictures larger than 8x10" or doing extensive computer editing, then a camera with 5- or 6-megapixel resolution will be sufficient.

More advanced photographers will likely appreciate the flexibility of higher resolution, but a 10+ megapixel camera is by no means necessary to create stunning pictures. Choose a camera you can understand and afford, and don't be fooled by glitzy high-resolution specs.

2) Zoom is more important than you think

Whether you're shooting distant wildlife or close-up portraits, you can never have too much zoom. The majority of digital cameras have 3-, or 4x optical zoom, but you will never regret choosing a model with more telephoto power.

Fortunately the extended zoom camera category is growing rapidly, and there is a great selection of models with 8-, 10-, or even 12x optical zoom. For the ultimate in zoom control and quality, look for an extended-zoom camera with image stabilization, which will ensure that shots taken at full telephoto will be tack-sharp, even without a tripod.

3) Travelers should use cameras with AA Batteries

Digital cameras come in two varieties: those that use AA-size batteries and those that are powered by proprietary lithium-ion batteries. If you are a traveler, particularly someone who enjoys remote or rustic locations, choose a camera with AA batteries.

When a camera that uses proprietary batteries runs out of power, you have no choice but to plug the battery into a power outlet to recharge it. This requires an available outlet, a battery charger, and, if you're in a foreign country, a power converter. If access to an outlet is ever in doubt, or if you don't want the hassle of carrying cords and chargers, then the limitations of this system are obvious.

When a camera that uses AA-size batteries runs out of power on a trip, you can simply throw out the old batteries and drop in a new set of high-performance AAs like the Energizer E2 Lithium line. Two or three sets of such batteries can usually take you through a 10-day trip. If you're out of high-performance batteries, you also have the option of using standard alkaline batteries, which are available anywhere in the world, and make a cheap and convenient source of backup power (though they only offer a fraction of the life of high performance batteries).

Recent trips to Asia and Africa have borne this theory out—after my companions' cameras had been sidelined by dead batteries, I was still happily shooting away with my AA-powered Canon PowerShot.

4) Small cameras get shots that big cameras don't

Sure, that big, black SLR with the long lens may look fancy, but it won't do you any good if you're not carrying it. Never underestimate the importance of having a camera that is small enough to fit into your pocket—you'll be amazed at the spontaneous pictures you'll have the opportunity to take. While the photo quality produced by an ultra-compact does not equal that of a large SLR, the ability to whip it out and snap a shot while others are fumbling for their bulky cameras more than outweighs this drawback.

5) Canon makes great cameras

Canon digital cameras receive consistently great reviews, and for good reason: Over the last 2+ years, Canon has time and again proven itself capable of producing well-designed cameras that produce impressive results. From the EOS line of digital SLRs to the diminutive PowerShot ELPHs, Canon invests substantial time in the design process, and the results pay off—photographers of all abilities rave about their Canon cameras.

There have been some mistakes along the way—the Canon A70 was built with a design flaw that produces crippling error messages and black lines on the LCD, but newer models seem to be free of this problem. If you're looking for a great combination of features, price, and performance, Canon will almost always deliver. (NOTE: Digital Camera HQ is in no way affiliated with Canon, nor do we derive any benefit from recommending one brand over another).

6) Kodak makes great, easy-to-use cameras

When I bought my mother her first digital camera, I chose a Kodak, having read countless reviews that raved about their user-friendly controls. The reviews were right—Kodak's EasyShare digital cameras are remarkably easy to use: the menus are simple, the LCD text large and clear, and the controls largely self-explanatory. The results are just as impressive, with attractive, saturated colors and crisp definition. Don't be fooled into thinking that Kodak digital cameras are just for beginners, however—their simplicity aside, many of the high-end EasyShare models offer a full suite of manual controls for ambitious photographers.

7) Digital cameras can and will break

Whether it's due to accidental damage or simple wear and tear, digital cameras are not as durable as their film counterparts. Many photographers have film cameras that are ten or twenty years old—don't expect this kind of longevity from your new digital toy. Some cameras suffer from design flaws (like black lines on the LCD screen of the Canon A70), while others fall victim to the kind of mechanical breakdowns that effect every kind of electronic gear.

Does this mean that you shouldn't buy a digital camera? Absolutely not. A digital camera will so fundamentally change the way you think about photography that you will wonder how you ever got along without one. You must, however, be comfortable with the fact that one day your camera will cease to work.

For some, this knowledge may keep them from spending top dollar on a fancy camera; others simply accept it as the sole downside of working with digital. The most important thing is to do your homework before you buy—any fundamental design flaws will be quickly apparent in user reviews.

8) Don't put all your pictures on one card

After returning from a trip to Asia, I eagerly inserted one of my memory cards into a card reader to download my new pictures. For still unexplained reasons (likely a static electricity discharge), a card that should have held over 200 pictures was suddenly rendered blank. Two weeks and $250 later (thanks to www.drivesavers.com), I had recovered about 90% of my pictures, but the rest were lost permanently.

The moral of the story? Like any other technology, flash memory is not flawless. It is very rare to lose images, but it does happen, and the fact that I had spread my pictures between 5 memory cards protected me from the possibility of losing two weeks' worth of irreplaceable vacation memories. Given the choice between choosing a single 1GB memory card, or four 256MB cards, I will always choose multiple cards.

9) Find & use a simple photo editing program

Most digital photographers will never take the time to master expensive and powerful photo editing programs like Adobe Photoshop or Jasc Paint Shop Pro—these programs are too complex and time-consuming for all but the most dedicated photographers. Fortunately there are a variety of easy-to-use editing programs that even novice photographers can use to edit, improve, and organize their digital photos.

My favorite program is Picasa, and it is absolutely free at www.picasa.com. With Picasa you can perform all the basic editing tasks like sharpening, contrast correction, cropping, and straightening—most with just the touch of a button. Spend a few minutes on your best photographs and you will be amazed at the results. Picasa also make it incredibly easy to organize your best shots so you don't have to sift through hundreds of unwanted pictures to find your prizewinners.

10) Print and display your pictures

Far too many people take great digital images, only to have them languish in obscurity on their hard drive, never to be enjoyed by others. Don't let this happen to you.

Online image hosting and printing companies like Snapfish or Kodak Gallery can turn your digital images into high-quality prints of any size. You can simply upload your pictures onto the website. From there you can order prints of every size as well as photo mouse pads, calendars, t-shirts and other gifts. You can also send a link to friends so that they can view your pictures online and order their own copies.

If you want to see more of your own pictures, nothing beats using them as a screen saver on your computer. Simply right-click on your desktop, choose Properties/Screen Saver/Settings, and you can direct your computer to the pictures you wish to use. Set the screensaver to change images every 10 seconds and you'll have an instant slide show every time your computer is idle.

Sony H50-super Zoom 15x-april 2008( $400)

In a press release this morning, Sony has provided details about the latest additions to its Cyber-shot line, including the 9.1 megapixel, 15x zoom Sony Cyber-shot DSC-H50.

As noted, the H50's most prominent feature, visually and functionally, is its 15x Carl Zeiss Vario-Tessar zoom, which covers an impressive equivalent range of 31-465mm. Out back, the H50 wears a 3-inch tilting LCD that allows equally easy shooting from low and high angles and features a scratch resistant UV coating.

Stylistically, the new camera is much in keeping with other recent offerings in the H line, presenting a mini-DSLR look with an offset lens barrel and prominent hand grip.

The H50 comes equipped with Sony's Advanced Sports Shooting mode that we've seen recently on other higher-end cameras from the manufacturer. Using the expected high shutter speeds in addition to a predictive auto focus system, previous implementations of the mode have made for easier action shooting than is normally the case for a non-DSLR.

Perhaps most significantly, Sony's press materials state that the amount of in-camera noise reduction on the H50 is user-selectable. The company has taken criticism in the past for overly aggressive noise reduction choices that tend to smear fine detail at higher ISOs. With this move, there's reason for cautious optimism that Sony is actively responding to concerns, and that what has often been the primary weakness of recent Cyber-shot models is finally being addressed.

Sony's bevy of intelligent soft features, including Smile Shutter and Face Detection with child/adult priority settings, have also found their way to the H50, as have new image capture technology improvements like Sony's advanced D-Range Optimizer and a NightShot mode capable of taking pictures in extremely low light. HD component output provides a simple solution for viewing photos and video on HDTVs.

MSRP for the Cyber-shot H50, which will begin shipping in May, is $399.

Sony Cyber-shot DSC-H50 Specifications:

Sensor	9.1 megapixel, 1/2.3" Super HAD CCD
Lens/Zoom	15x (31-465mm) Carl Zeiss Vario-Tessar, f/2.7-4.5
LCD/Viewfinder	3.0", 230K-pixel Hybrid TFT LCD; 201K-pixel electronic viewfinder with diopter adjustment
Sensitivity	ISO 80-3200
Shutter Speed	30-1/4000 seconds
Shooting Modes	Auto, Easy Auto, Program, Shutter Priority, Aperture Priority, Manual, Movie, Scene, Smile Shutter, High Sensitivity
Scene Presets	Twilight, Twilight Portrait, Portrait, Landscape, Beach, Snow, Fireworks, Advanced Sports Shooting
White Balance Settings	Auto, Daylight, Cloudy, Fluorescent 1, Fluorescent 2, Fluorescent 3, Incandescent, Flash, Manual
Metering Modes	Multi, Center, Spot
Focus Modes	Multi AF, Center AF, Flexible Spot AF, Semi-Manual, Manual, Macro
Drive Modes	Normal, Burst
Flash Modes	Auto, Forced On, Slow Synchro, Forced Off
Self Timer Settings	10 seconds, 2 seconds, Off
Memory Formats	Memory Stick Duo, Memory Stick PRO Duo, Memory Stick PRO-HG Duo
Internal Memory	15 MB
File Formats	JPEG, MPEG
Max. Image Size	3456x2592
Max. Video Size	640x480, 30 fps
Zoom During Video	Yes
Battery	Rechargeable InfoLITHIUM 960 mAh lithium-ion
Connections	USB 2.0, AV output, DC input
Additional Features	Face Detection, Super SteadyShot, Smile Shutter, NightShot, HD component output, D-Range Optimizer

PANASONIC DMC FZ8

The Panasonic DMC FZ8 is a super zoom camera. It has a 12x optical zoom lens and 7.1 megapixels. With this length of zoom you are likely to find that the built in image stabilisation is a useful feature. Panasonic have included manual exposure and focusing controls with the DMC FZ8. This means that the camera is well suited to someone who is looking for a camera that is a clear step up from a typical point and shoot model.

Style: The DMC FZ8 is shaped like a mini SLR camera. It has a grip on the front that helps you to hold it steady when taking a shot. You can buy either a black or silver model.

Dimensions: 112.5 x 72.2 x 79.0 mm

Weight: 310g

Batteries: Lithium ion. Battery and charger supplied. Panasonic estimates you should be able to take around 380 shots between charges.

Memory cards: 27mb built in memory (enough for around seven photos). Also compatible with SD and SDHC cards.

If you want more information about this model, follow these link :
www.dpreview.com/reviews/panasonicfz8/

http://panasonic.co.jp/pavc/global/lumix/fz8/specifications.html

Sample picture :