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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 |
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. |
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. |
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.
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.
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.
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.
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.
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.
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.
By Rich Knapp
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.
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.
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.
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.
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).
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.
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.
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.
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.
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.
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 |