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If you’re an intermediate level digital photographer, you might be looking for a good advanced digital camera. I know it’s very tough to decide on which one to buy - given that these models usually cost a bomb. A good advanced digital camera should be pretty rugged and also give you as much control over the photography process as possible. I’ve compiled a list of the top 10 advanced digital cameras that are selling like hotcakes in the market right now.

Canon EOS 20D

The Canon EOS-20D is one of the best digital cameras for the advanced user. With an 8.2 megapixel resolution and a bewildering range of manual modes, this digital SLR will deliver professional looking photos.

Canon PowerShot G6

The Canon PowerShot G6 has a 7.1 megapixel resolution, a 4x optical zoom, as well as a wide range of scene modes and manual controls. Even though it lacks a digital SLR body, the images shot with this camera are nothing short of outstanding. It’s also one of the cheapest advanced digital cameras out there.

Olympus C-7000

The Olympus C-7000 zoom offers a 7.1 megapixel resolution and 5x optical zoom. It also boasts 5 scene modes and full manual options. A very attractive buy, although the optional lenses are not allowed.

Nikon D70

The Nikon D70 is one of the best-selling entry level digital SLRs. It has a solid design, a bewildering range of options, powerful speed, as well as great photo quality. With its cheap price, this 6.1 megapixel SLR is one of the best value cameras for serious photographers looking to upgrade their camera.

Canon Digital Rebel

The 6.3 megapixel Canon Digital Rebel is a direct competitor to the Nikon D70. It targets photographers at the lower end of the advanced digital SLR market. Its low price, excellent image quality and speed give the Nikon D70 a run for its money.

Sony Cybershot Pro DSC-V3

The Sony Cybershot Pro DSC-V3 is a decent advanced camera which is light and easy to use. With its 7.2 megapixel resolution and 4x optical zoom, it’s a great buy. Do note the colors can be a bit poor in some shots.

Canon EOS-1D Mark II

The Canon EOS-1D Mark II is a new digital SLR aimed at professional photographers who want excellent customization options, great photo quality and impressive speed. This 8 megapixel camera is high on my list of recommendations.

Olympus C-8080

With its 8 megapixels and a 5x optical zoom, the Olympus C-8080 represents great value for those hunting for a digital SLR. While it doesn’t sell as well as the Canon and Nikon SLRs, I think Olympus comes up with pretty decent advanced cameras too.

Konica Minolta DiMAGE A2

The Konica Minolta DiMAGE A2 is a hot favorite amongst professionals. From a feature and function point of view, it’s one of the best digital SLRs I’ve seen. However, the build quality lacks that nice and heavy SLR feel.

Sony DSC-F828

Featuring a whopping 8 megapixel image resolution, the Sony DSC-F828 comes replete with a powerful 7X zoom lens and great camera optics. Very nice camera indeed.

Conclusion

There are lot of cameras suitable for the advanced digital photographer, but the list above covers some of my favorites. I particularly like the Nikon D70 and Minolta DiIMAGE A2. One shopping tip to remember is that the camera above tend to be more expensive than the average point-and-shoot model. So do consider carefully whether you need to features before buying the camera. If you’re just starting out in digital photography, you may want to try a simpler and cheaper model first.

About the Author
Gary Hendricks runs a hobby site at
http://www.basic-digital-photography.com
Read his tips on digital photography and learn to shoot better photos with your digicam.

This was emailed to me by a friend when I decided to buy a camera
Mrs. Vaidehi Ghag
http://www.davbindu.com

Keeping up with the times…

Is It Still Called Stock Photography ?

A century ago, magazines featured mostly text. Graphics were secondary. Today, it’s reversed. If you include advertisements, our periodicals today feature more graphics than text. The new “automated” stock photo services (with Royalty-free photos that offer lower prices for photos), are providing quality generic images to publishers who previously couldn’t afford photography as an option. As a result, new markets are now opening up for photographers who produce generic images.

The stock photo industry has finally come around to recognizing a previously largely neglected major marketing principle (one that we actually have been espousing here at PhotoSource International since our beginning). To wit: there’s a vast market of photobuyers who are not interested in high-fee, RP (”rights-protected”) photos. They simply want an image they can temporarily use, one-time, in one of their low-circulation, limited-readership, publications.

Let me backtrack.

In the 1950’s, there were few stock photo agencies. When I returned from a trip through Africa in 1958, I sought out an agency from the few listed in the Manhattan telephone directory. My photos landed at Photo Researchers, then a two-person, New York City hole-in-the-wall on 42nd Street. Photo Researchers is still there today.

The dozen or so “managed-rights” photo agencies of the ’60’s have increased to several hundred agencies today. In the late 80’s this “managed-rights” stock industry was at its peak. Today it’s still thriving, with a major impetus being the emergence of the massive corporate digital agency (Corbis, Getty, Jupiter Media, Index Stock Imagery, etc.). The smaller stock photo agencies are folding or being absorbed in mergers, or have resorted to specializing.

THE TRANSFORMATION

The Digital Era has transformed other major industries: communications, transportation, banking, plus the military and government. It was bound to transform our stock photo industry, and it has.

In the past, traditional “managed rights” stock agencies demanded very high fees for their images, and why not? They had the market all to themselves. There was no “Kmart” counter in the stock photo industry.

The formation of micro digital stock agencies has changed all this. These new companies are able to reach out to markets that couldn’t afford the traditional high stock fees of the past. Using “volume” as their guide, rather than “managed exclusivity,” these digital agencies have proved that there was a sleeping market for their inexpensive on-line offerings.

This movement has opened a whole new market area for individual photographers whose files are filled with generic photos that, up to this point, have been going nowhere. Today, by using the power of automation, digital photo corporations are selling “Royalty-free generic images for very low fees: $35, $15, and $1.

Do these lower fees deflate the market? We have seen in other industries that they do not. The textbook progression is that after a leveling out period, thanks to lower fees, the market actually expands. If you have an automated volume product at a lower fee, the bottom line usually improves. The consumer benefits, and so does the corporation. It’s called free enterprise.

This marketing approach, of course, is what we have been espousing here at PhotoSource International since 1976 when we introduced our first marketletter, The PHOTOLETTER–still in existence today. Back then we observed there were thousands of small graphic houses, regional publishers, denominational houses, and small book publishers, whose budgets would not allow the use of $200, $300, or $3,000 images.

Many of our subscriber members, by concentrating on only a few specialized markets among these lower-budget buyers, found they could earn healthy incomes by selling to these markets in volume. Back in the 70’s, these photographers in effect automated their selling methods and reduced administrative costs, much the way corporate digital stock houses have learned to do today.

The theme of my first book, Sell & ReSell Your Photos, emphasizes this approach. If the picture is good, more than one photobuyer is going to want to use it, when there’s no cross-readership conflict and the price is within their budget. The early stock photography pioneers found it was a lot less stressful selling a photo 10 times at $75 to these lower budget editorial markets, than selling one picture at $750 in the high-pressure commercial arena.

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WHAT IS EDITORIAL STOCK PHOTOGRAPHY?

You know what photography is, and you know what stock photography is — yes?

Take another look. During the past couple of decades, an aspect of photography has been growing to where it is now planted firmly on the scene as a photographic division in its own right: editorial stock photography.

These are the photos of everyday slices-of-life, the insights into the human condition, the events and vignettes and moments you spot — and then dive for your camera. Editorial stock photos show people involved, doing things; they feature specific geographical locations; they give a “real” look at every aspect of human activity and the world of nature. As legendary Magnum photographer Elliot Erwitt has said, “[Photos] have got to tell you something that you haven’t seen, or touch you in some way emotionally…” As to his personal preference, he says, “With regard to photography that I respect, my view is fairly narrow. I like things that have to do with what is real, elegant, well-presented and without excessive style. In other words, just fine observation.”

Editorial stock photos are in contrast to commercial stock photos, the latter being the slick scenic and product shots, the gorgeous sunset, the healthy senior citizen couple bike-riding through autumn leaves, that we see in advertisements and commercial promotions.

Commercial stock photos have to conform to “what sells.” The commercial photographer must engineer the photos to fit into commercial clients’ needs, trends in the industry, and to appeal to a wide, general audience. The resulting photos are often called generic images because they can fit a variety of uses.

Editorial stock photos are produced by a different approach. Rather than appeal to the commercial needs of a client, the editorial stock photographer follows his or her own interest areas, and targets certain segments of life and culture that they enjoy photographing. Examples: medicine and health, sports, social issues, travel, etc. The photographer then sells these photos to markets that use images in those specific subject areas.

Buyers in the commercial field include designers at graphic houses, corporate art directors, and ad agency creative directors. There’s much turnover in these positions, so developing consistent working relationships with these markets is frustrating and difficult.

In the editorial field, the buyers range from photo editors at books and magazines, to photo researchers — the people who are hired by publishers and art directors to seek out highly specific pictures. There’s less turnover and more longevity with editorial buyers, and editorial stock photographers can enjoy strong long-term working relationships with their buyers, which translates to more consistent sales.

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Rohn Engh is director of PhotoSource International and publisher of PhotoStockNotes. Pine Lake Farm, 1910 35th Road, Osceola, WI 54020 USA. 1 800 624 0266; Fax: 1 715 248 7394. http://www.photosource.com

Street photography is an approach to photography rather than a location, although the streets are the usual place that it happens.

\”When I saw the photograph of Munkacsi of the black kids running in a wave I couldn\’t believe such a thing could be caught with the camera. I said damn it, I took my camera and went out into the street.\” Henri Cartier-Bresson

Alternatively it is refered to as no rules photography. The plethera of equipment (tripods, lenses,filters,lights etc etc) associated with \”serious\” photography is left at home, or better still in the camera store. Its just too heavy and bulky to cart around, takes way too long to set up and by the time it is set up the moment is gone.
Street photography is shooting from the hip.
Likewise the rules of photograph, the f stops, the shutter speeds, the rule of thirds etc etc are left in their dust jackets on Amazon shelves. By the time all the technical considerations are taken into account, the birdy is in another country.
Thank Canon, Nikon, Fuji et al for point & shoots.

It is just the camera and the photographer with their enthusiasm, intuition and open mind.

Street photography can be and often is: Out of focus; a tilted horizon; a soft focus.

Street photographers are optimists, for them the glass is always half full. They go out on a photo shoot with no plan in mind secure in the knowledge that this wide world of ours will provide. A subject, a situation, a scene will present itself all they have to have is the presence of mind to capture it when it does.

Street photography can be and often is: Odd things in the foreground; no central focus; odd crops.

Street photographers see the usual, the every day with fresh eyes. The reflection in a rain puddle, the colours in a crowd, the balance of a negative space. Their minds are open to all the stimuli that they see and they curse the days when they leave their camera at home.

Street photography can be and often is: very busy; a tilted perspective; upside down.

Street photographers are not only on the streets, they are at weddings,school concerts, next to you on the train. They look a lot like tourists, its their favourite cover but they are one without the big flash. It was left at home, the available light will do.

Street photography can be and often is: under exposed; blurred; suffering from vertigo.

Street photography is, what all photography is, a snap shot.
What shines through is the photographer, his/her interpretation of the scene, what they see in the situation, their reaction to the stimuli, the art they see in the every day.
Technicians take technically correct and often pretty pictures.
Visual artists, whatever their medium, create images that stimulate the mind, the heart and validate the human condition in all its guises. Because, after all, pretty is in the eye of the beholder and consequently very subjective, whereas art speaks to all who are prepared to listen.

Henry Bateman is an artist/photographer who finds a lot of his inspiration in the streets he wanders. His work can be seen at www.pissedpoet.com and this article with pictures at www.pissedpoet.com/art.html

When I teach a new class learning digital photography, over 75% of the students turn up with the camera the salesman suggested.

Guess what? They soon find out that its wrong one for them. This can be a very expensive mistake. So the big questions are what is the right one for me and how do I know which is best for me.

One of the first things that you want to know about the camera that the salesman is trying to sell you is as follows -
How long does the camera take to turn on and be ready to take the shot? In the consumer market this can range between 1 to 5 seconds most being towards the 5 seconds mark.
How long does the camera take to focus on the subject? (not to take the picture) most cameras take between 1 to 3 seconds most at around the 1 second mark.
How long does the camera take to actually take the photo after you have pushed the shutter button completely? Again, most cameras take between 1to 3 seconds.
Now you can see to take a photo can take up to 5 seconds just to turn on and up to another 3 seconds to focus in and the up to another 3 seconds just to actually take the photo.

In a cheaper camera, but not necessarily cheaper it can be up to 9 seconds to take a photo. You may say “yes but I will leave my camera on” ok that’s fine, but you may still have a lag time of up to 6 seconds just to take a photo.

Just imagine how annoying it will be now that you have purchased your new digital camera costing you around $400 - $500 to find that you just can’t catch your child blowing out the candles because your new camera at the critical time of blowing the candles out took 1 second to focus and a further 2 seconds to take the photo.

What was the result?

A child sitting in front of a cake with black smouldering candles.

Can you set the white balance on your camera?

Just what is the white balance?

The white balance is simply this; if you were to look at a piece of white paper outside in the morning it looks white to you and I, that’s because our eyes adjust to the blue light of morning but our camera sees the paper as light blue.

At noon the paper will look white to the camera and at dusk with the warm sun it will appear yellow. So we can set our cameras white balance to reflect the light at the time.

About 60% of digital cameras don’t have this adjustment, you must buy one that can be set manually, not just one that has an “auto white balance” as they are not as good as they advertise.

Does your camera have different exposure modes?

Exposure modes are simply where does the camera take a light reading from? The cheaper cameras just do an all over reading which can be very limiting to say the least. A good camera will have a “spot”, “centre weighted” and “matrix” metering system, which allows you to take great photos in any light situation.

When buying a digital camera, buy it for the fact that it’s a camera not a video camera as well. One student showed me all the features her camera had and that’s why it was more expensive - the only thing that it didn’t do well was take still pictures!

You can get so much out of your new digital camera you just have to put some time in for learning how to use it properly and how to take better pictures - remember no one will ever want to look at a poor quality photo twice!

If you want to take really great pictures that will be in your family for years put in a little effort with your new digital camera.

Sydney Pix is a professional photographer who has developed a DVD course to take you step by step through how to set up your camera correctly, and more importantly, how to take professional looking photos every time. Your photos will be a joy for people to look at for years to come. For more information go to http://www.profotocourse.com/learn-digital-camera.html

For any level of filmmaker, it is imperative to have a proper way to protect all the essential gear. Manufacturers have been working on effective camcorder cases for years, and M-Rock has developed a compact line of camcorder cases to suit any filmmakers need. Their wide range of styles and sizes of camcorder cases are equipped with all the crucial features to protect expensive equipment.

Solid Structure. Delicate filmmaking materials are not strong enough to withstand heavy pressure. M-Rock camcorder cases are constructed with plastic paneling and thick foam that help protect camcorders from mishaps like falling or dropping. The result is a stiff, rigid structure that protects all that expensive equipment inside.

Impervious to Weather. Inclement weather can be most devastating to delicate camcorder equipment. M-Rock has gone the extra mile to assure their camera cases can withstand the elements. The M-Rock has a triple protection system on every case that consists of a rain-flap, zipper and front buckle. And if that’s not enough, all cases come with a protective weather jacket that serves as a dry bad in inclement weather.

U-Shaped Lens Cradle. Space restrictions can be a large problem for filmmakers creating awkward lens placement that can be damaging to equipment. However, M-Rock components are universal and can be placed almost any imaginable combination. The U-Shaped cradle is available for larger M-Rock camcorder cases. The U-shaped cradle is a rigid foam felt covered cradle that holds the lens. It can be placed on any of the camera case walls to perfectly hold any size lens. Visit M-Rock to see what filmmakers are saying about the great advantages of this unique feature in camcorder cases.

Quality equipment is essential for great filming, and the gear is not cheap. The equipment is an investment that should be protected with a quality camcorder case. Visit M-Rock, the camcorder case leader who has though of all the details to protect you expensive filmmaking gear.

Angela Oliver is an author for www.M-Rock.com, maker of the most multi-functional and user-friendly camcorder cases. Visit M-Rock today and check out their complete line of unique and high quality modular camcorder cases and see why filmmakers everywhere are switching to MRock camcorder cases.

Ever get caught without a light meter? Stuck on an important photoghrapic expedition without a way of determining your exposure settings? Well I have, and it worked out ok, thanks to the Sunny 16 Rule and careful consideration of years of experience. Here’s the story surrounding this event and how it worked out.

High Investment Trip

For over 12 months I’d planned and prepared for this wilderness landscape photography trip to outback South Australia. I’d driven about a third of the way across the continent to get to my home base at Roxby Downs, a mining town in the arid desert. I’d driven on pastoral station roads for 82 km to Bosworth Station Homestead where I left the car and trailer. I’d ridden on my ATV (that’s a four wheel motorbike) for two hours over the roughest and rockiest ground you could imagine and set up a base camp on Andamooka Island.

Light Meter Lost

I camped the first night and went photographing just on daylight. At the start of my afternoon photo session my light meter was missing. It must have fallen out of my coat pocket while I was riding. If you could see the million, trillion rocks strewn over the desert and where I’d been on the bike, you’d understand that it just wasn’t worth looking for the meter. Five days of photographing in front of me and no way of getting accurate light readings.

Applying the Sunny 16 Rule

The Sunny 16 Rule says that on a sunny day the exposure is the reciprocal of the film speed at f16. That’s 1/ISO @ f16 Here’s how I applied the rule, making notes and an exposure table in my notebook:

First of all, please understand that there are a number of things in life where too much is better than not enough. Among them are your breakfast, your pay and film exposure. I was using 160 ISO film and the nearest shutter speed was 1/125 so I added 1/3 stop to line up with the available shutter speeds. That gave me 1/125 @ f16.

Next, it was winter so I added another stop. That made it 1/60 @ f16. That was fine for the middle of the day.

Being winter, the angle of the sun was low all day so I was photographing for most of the time except for a while around noon when I went back to my camp for a feed.

The above film exposure wouldn’t do for the early and late shots as the light level was decreased. For the first and last half hour of the day I added another two stops making the exposure 1/15 @ f16. Then for the two hours on the noon side of that, I added one stop to the middle of the day reading, making the exposure 1/30 @ f16 for that time period.

Of course, when I used the polarizing filter I added another two stops. When using 400 ISO black and white film I made a new set of figures adding three stops for the red filter.

In order to manipulate depth of field I changed the exposure settings around, 1/8 @ f16 becoming 1/4 @ f22, using the polarizing filter in the early morning.

Checking the Figures

Well, a fair bit of looking at the light and checking the figures went on for the next five days. When I got back to Roxby Downs I used another meter to check my exposure calculations at various times of the day and began to feel more at ease.

Great Negatives

When I got home and processed the black and white film and in due corse got the colour negatives and CD back from the lab, I was relieved and delighted to find that my exposures were pretty close to correct with good detail through the full tonal range from shadows to highlights.

Memorize the Sunny 16 Rule

When I get a new meter I’ll keep it on a cord around my neck in such situations. I’ll also keep the Sunny 16 Rule in the back of my head in case I need it again one day. Remember: f16 @ 1/ISO.

Laurie McArthur is a wilderness landscape photographer based on the New South Wales Far South Coast, Australia.
Laurie’s images may be viewed at http://www.southimage.net/

Early cameras of the 16th and 17th century were able to project images onto paper or glass but the study of capturing, processing and printing the images took many more years. Up until the 17th century, scientists believed that light was composed basically of the ‘white’ that is perceived by the human eye. It took the research done by famous physicist Isaac Newton to discover that light is actually composed of a spectrum of colors. While he made a big contribution to the study of optics (that is at the core of camera advances) with this discovery, Newton did not actually have anything to do with camera development per se.

The early camera that first became a phenomenon was a little more than a pinhole camera and can be traced back to 1558. It was called the Camera Obscura. The Camera Obscura was seen as a drawing tool for a clearer and realistic portrayal of objects. It was in the early 19th century that an invention named the Camera Lucida was introduced by Cambridge scientist William Hyde Wollaston that consisted of an optical device that could help an artist view a distant scene or person or object on a paper surface that he or she was using to draw. In other words the artist gets to view a superimposed image of a subject on paper and this image could be effectively used to attempt to draw, trace or paint it. Both the Camera Obscura and the Camera Lucida provided an image that was temporary, which could not be lastingly captured on to paper for later reference.

Studies however continued well into the 1800’s on how to actually capture the image onto material. It was during this time, around 1822 that French researcher Joseph Nicephore Niepce, created the first photograph by using paper that was coated with a chemical. The image would not stay permanently on the paper and would disappear after a short while. Even so, despite the short-lived nature of the image, the concept of photography was born with this experiment and paved the way for further study and development in this field.

Capturing images to retain them longer and permanently became the next big quest for researchers. Another Frenchman Louis-Jacques-Mandé Daguerre partnered with Joseph Nicéphore Niépce in 1829, to develop the process of creating permanent photographs. Joseph Niépce died in 1833 but Daguerre continued with the work and succeeded in 1837 after many long years of experimentation. The process of capturing photographic images that would not fade away, introduced by Daguerre came to be known as the ‘daguerreotype’.

The word ‘photography’ was coined by scientist Sir John F.W. Herschel in 1839 and it is actually is derived from two Greek words ‘photos’ meaning light and ‘graphein’ meaning draw.

A slightly more advanced version of the daguerreotype called the Calotype process that makes multiple copies possible using the negative and positive method became available very soon after. In fact, it was during the 1840’s that the use of photographic images in advertisements first started and cameras made their mark on the power of visual communication. It was not much later, in the 1850’s that photographers first started experimenting with underwater photography of seascapes.

Up until 1850, the process of capturing images was cumbersome requiring upto half an hour of light exposure. The discovery made in 1851 by Frederick Scott Archer was a blessing since the new method termed the Collodion process called for just 2-3 seconds of light exposure to capture an image.

Prior to 1871, photographers went through a development process where they had to coat the plate with wet chemical each and every time and process the image immediately. With the invention the gelatin dry plate silver bromide process by Richard Leach Maddox, negatives did not have to be developed immediately. This was an important discovery since up until then the captured image had to be processed instantly.

Kodak created in 1888 by George Eastman has been a modern day pioneer of sorts in cameras and photography for the masses. George Eastman and the scientists who worked with him at Kodak developed the photographic film in 1889 and made it available in rolls for the mass use of consumers. An important milestone in our entertainment and communication history was the development of transparent roll film by Eastman. This development led to another key invention – the motion picture camera by Thomas Edison’s in 1891.

–>Modern Times

During the 20th century the pace of technology development in cameras and photography continued at an accelerated pace much like many other key technology developments. While several key inventions like car, telephone and the gramophone record happened in the later half of the 19th century, it is the last 100 years that saw major developmental work in many areas of communications technology and as well as in other fields – TV, aircrafts, PCs, digital technology, digital cameras, mobile phones, fax machines and the internet, to name a few.

In the case of the camera, the developments simplified the whole process of photography, making it accessible to one and all at affordable prices and the camera industry denizens of our times made it into a mass phenomenon. The first mass use camera became available at the turn of the 20th century and can be traced back to the year 1900. There are hundreds of models of cameras available today both for the amateur as well as the professional and the camera is an important part of any family’s repertoire of must have gadgets.

–>20th century chronology in the history of the camera:

1913: 35 mm still-camera created

1927: The flash bulb introduced by General Electric Co. (The concept of camera flash existed much before but was based on the use of a flash light powder that was invented by German researchers)

1935- 1941: Kodak starts marketing Kodachrome film and subsequently launches Kodacolor negative film. Canon released the Hansa Canon in 1936, the first 35mm focal-plane shutter camera.

1948: The concept of the Polaroid camera is introduced in the market. American scientist Edwin Land developed the process for instant photography. Later Polaroid Corporation developed the ‘instant color’ film around 1963.

1957: Frenchman Jaques Yves Cousteau invented the first waterproof 35mm camera for underwater photography named the Calypso Phot. The actual camera was developed by the Belgian airplane technical designer Jean de Wouters based on the blueprint and suggestions given to him by Cousteau.

1972: The electronic camera that does not require film was created and patented by Texas Instruments. This is however not the same as a digital camera though you don’t require film in digital cameras as well. The launch of the digital camera is still many years away.

1975: Kodak’s experiments with digital imaging kicked off around the mid seventies but it will take another 20 years before a digital camera for the home consumer market is launched.

1978 – 1980: Asian players like Konica and Sony begin to make their mark. The ‘point and shoot’ automatic focus camera is launched by Konica while Sony starts talking about the camcorder and demonstrates a prototype.

1981: Sony launches a commercially available electronic still camera. Similar to the 1972 invention by Texas Instruments, the Sony electronic camera came with a mini disc on which images were recorded and stored. The recorded images could be later printed or viewed on a monitor using a reader device.

1985: Digital processing technology makes its entry. Digital imaging and processing is introduced by Pixar.

1986: The camera industry becomes even more consumer focused and taps the fun and travel connotations behind camera usage, with the launch of the concept of the disposable single use cameras. Fuji is credited with the development of this concept.

Also in 1986 - 1987, Kodak started taking giant strides in digital development. Digital means, the photographic image is divided into tiny units of dots or squares known as pixels. Pixels are the programmable units of an image that can be processed by computers. Each image could be made up of millions of pixels. The use of pixels in digital technology allows storing large volumes of pixels to deliver high definition print quality.

1990: Kodak introduces Photo CD’s. It is a system of storing photographic images on CD and then viewing them on a computer. With this development the user-friendly approach of the camera industry began to take concrete shape.

1991: Kodak introduces a digital camera targeted at professionals and journalists. Kodak is credited with the invention of a pixel based camera technology known to us as the digital camera. Digital cameras don’t use film similar to their predecessor electronic cameras but the storage method is entirely different and the final photograph is of much higher resolution. In a digital camera photos are recorded and stored in digital form. This digital data can be transferred to a computer and processed for printing. Kodak and Canon are well known digital camera manufacturers and there are also several other key brands as well.

1994: The Apple QuickTake camera, a home use digital camera is launched. This is followed by the launch of a clutch of home use digital cameras by Casio, Kodak and others in quick succession during 1995 -’96.

–>The digital era:

The development of digital camera technology is considered to be linked to the development of TV and Video technology. The principles of transmission and recording of audio-visual images using digital electrical impulses finds use in camera imaging as well.

Through the 1990’s the developments continued in camera technology, the focus now shifting to the field of digital imaging which is where the future lies. Use-friendly features like software that can download digital images directly from camera onto home computers for storing and sharing on the internet is the new norm in the market place.

The camera, the computer, the software industry and the worldwide web are today irrevocably interlinked to empower the user in experiencing the benefits of camera usage to full potential. The innovation that sparked many an invention in the camera industry found its way into the digital world as well and continued among digital camera manufacturers. During 2001, the Kodak and Microsoft partnership ensured that digital camera manufacturers could use the power of Picture Transfer Protocol (PTP) standard through Windows. The digital photo experience is a key visual driver in the Internet era. Many of Kodak digital camera models with EasyShare capabilities are compatible with Windows XP. The Kodak EasyShare software enables users to transfer digital camera pictures directly from camera to their computers and then print the pictures or even email them.

Manufacturers in a related industry like the printing industry have adapted their products to be in sync with the images created by digital cameras. Cell phone manufacturers have tied up with digital camera manufacturers to develop new age camera phones in recent years. These camera phones can capture images and share the images through the cell phone.

Among the 21st century digital developments are the advanced product offerings from digital cameras manufacturers and these are sure to occupy an important place in the ensuing history of camera development. For instance, the Kodak Professional DCS Pro SLR/c is a high-end digital camera and the Kodak website calls the DCS Pro SLR models the most feature-rich digital cameras on the market. It has an image sensor that can handle 13.89 million pixels and this makes it the highest resolution digital camera available. High resolution determines the sharpness or level of detail in photographic images. This is just a glimpse of the capabilities that digital technology places in a user’s hands. Digital camera sales figures for 2003 show that the two key players Kodak and Canon have recorded impressive growth.

–>What does the future holds for camera users?

The features offered by digital cameras can be quite mind-boggling for the average user and pretty exciting for most pros. Four key ongoing camera developments that are likely to further improve the process of photography:

1. Greater resolution from even the simplest, low cost camera models

2. Usage in any type of lighting conditions,

3. Compatibility across a range of software, hardware and image types

4. Rich colors and tone

While the higher-end digital evolution continues, the prices of the simple camera have crashed to such an extent that even children and teens are proud owners of uncomplicated cameras. The camera and photography interest starts young and this creates a truly large audience base for the camera industry.

And throughout history, it is evident that the endeavor of researchers and developers has been to make the camera available to a wide section of society. Without camera technology and photography, the other key developments of cinema and TV would have been delayed and what a boring place the world would have been without TV and films!!

The author, Chris Haslego, is founder of http://www.cameramanualstore.com, the internet’s foremost source of camera manuals. With over 4000+ camera manuals available from all major manufacturers.

As a professional wedding photographer I get this question asked more than anything else. Rarely will somebody ask me about my wedding photography education, awards, or professional memberships. I believe the root to this question lies on misinformation about the different qualities of film and digital.

Film

For a photographer with no computer experience or who does not want to spend the time correcting digital files film is the way to go. Film allows the photographer to photograph a wedding or event and at the end of the day be done with the process. When the time comes to print the photographs the photo lab will take care of color balance adjustments and retouching.
From a technical aspect film has a wider dynamic range than digital. This means than in high contrast scenes film has the edge. It can handle them better without blowing the highlights.

Digital

The greatest advantage for digital is the control of the photographic process in the hands of the artist. The photographer is not longer at the mercy of the lab to produce a photo that reflects his inspiration and vision.

Digital allows the photographer to shoot more frames without the expense of film and development, which can translate into a more complete coverage. After the event the photographer simply edits out the bad photos and you as the customer end up with the best selection of the day.
The digital medium is ideal for backup. Multiple copies of the event can simultaneously exist in different locations in the event of a catastrophe. With film there is always only one copy of the negatives, which could be duplicated, but the second copy suffers significant quality degradation.
With digital it is possible to produce different versions of the same photo including black and white, color, sepia, etc. through a very simple process.

Digital allows for a faster workflow. If your photographer offers digital gallery previews your photographs can be available in a matter of hours for viewing and ordering. In addition, slide shows and DVDs can be produced for the client.

Digital retouching in the hands of an expert can create amazing results.
Since there is no chemistry involved to develop digital the digital process is more environmentally friendly.

Resolution

In terms of resolution both film and digital can produce similar results. With the advent of 11 mega pixel and above digital cameras, digital has the edge for enlargements due to its lower noise levels and the lack of grain.
Many purist talk of the film look, which is basically film grain and noise that gives film its unique look. This film look can easily be simulated with digital image processing techniques.
Many people would be surprised to know that most photo labs will scan film prior to printing. In other words direct film to print is a myth. Digital photos when printed on true photo paper are virtually indistinguishable from their film counterparts.

What does the film vs. digital war means to the client? I believe that when selecting a wedding photographer the client has to focus on the end product more than anything else. At the end it doesn’t matter if the photographer uses film or digital. What really counts is the quality of the photographs that he or she will produce for your wedding day.
There are good and bad photographers using film or digital. Your task as a client is to weed out the bad ones and select a photographer that will capture beautiful memories of your wedding day.

Juan Carlos Torres is a very respected and awarded wedding photographer in Oregon. He has a Masters Degree in Remote Sensing with a strong background in digital image processing and photography. He is a member of the several professional photographer organizations including the Professional Photographers of America, the Professional Photographers of Oregon, the Wedding Photojournalist Association, and the Oregon Wedding Photo Guild. His wedding photographs are unique and very artistic and have been featured in national and international magazines. For a sample of his works please visit oregon
wedding photographer and
salem oregon wedding photographer

George Eastman, founder of Kodak is world renowned today. Digital cameras or cinematography, Kodak has excelled in all fields. In this article, we will view the rich history of Kodak’s rise.

It all started in the year 1879 for Kodak, when George Eastman obtained an American patent for his plate coating machine and started manufacturing dry plates. In 1888, Eastman introduced the concept of manufacturing films in rolls and thus made it possible for all to possess a camera. This Kodak camera came with film for 100 exposures at just $25. After the pictures had been clicked, the camera could be returned and the film would be developed and replaced just for $10.

This level of innovation started a period of no-return for Kodak. Eastman’s aim was that “you press the button, we do the rest”. He has achieved this through constant innovation by making the camera simpler to use and making photography an enjoyable experience today.

In movie making technology, since the Academy Awards have started, all Oscar “Best Movies’ have been shot on Kodak film. In fact, Kodak itself has won eight Academy Awards for scientific and technical excellence in cinema. Kodak has also introduced the concept of ‘infoimaging’. As the name suggests, it means communicating through pictures.

In the late 80’s, Kodak started to make great advancements in digital technology. It developed the concept of Organic Light Emitting Diode (OLED) displays which depicts information with the use of self-illuminated pixels and does not require any back lights for support. The OLED also provides clearer images, sharper contrasts, and lower energy consumptions as compared to LCD display units. In fact, it is Kodak who is considered to be the inventor of the basic technology utilized in a digital camera i.e. the pixel technology.

In the year 1990, Kodak introduced the Photo CD. This CD enabled people to store photographic images onto a CD and then view them on a computer. As a result, it became more practical for people to use a digital camera. Then, in the late 90s, several companies including Kodak launched digital cameras which could be used at home.

Kodak also tied up with Microsoft in the year 2001 so that digital camera manufacturers could use the Picture Transfer Protocol (PTP) through Windows. This would enable people to easily view and share their pictures through the Internet under an Windows operating system.

Today, as technology advances, Kodak has introduced several hi-tech digital cameras such as the Kodak Professional DCS Pro SLR/c. These cameras are capable of storing 13.89 million pixels, which makes them the digital camera with the highest resolution available in the market today.

The latest digital cameras by Kodak today are as follows:

Easyshare Point-and-Shoot Series: The C and CX series are simple and low cost cameras.

Easyshare High Zoom Series: The Z and DX series have extensive zoom and provide control to the photographer.

Easyshare Pocket Series: Small, compact cameras for travelers.

One time use Digital Cameras: Single use digital cameras.

Kevin Rockwell worked as a network TV cameraman for 20 years shooting news and sports. Now a devoted fan of digital photography and video he works to gather information, tips and news for digital camera users. Oh and he loves to shoot pictures of his kids playing sports.
http://great-digital-cameras.com/gdcj.html

In part 1 of: Get the most out of your camera, we looked at how to use the aperture and the creative uses of depth-of-field. In this part we’ll look at how to use the shutter button on your camera and how both the shutter and the aperture control exposure.

The shutter is a mechanical device that controls the length of time that light is allowed to act on the film.
Most standard cameras allow us to use a range between 16 second and 1/1000 second. You might be wondering, why anyone would use a long shutter time of 16 seconds: I’ve used this and even longer shutter times when taken lowlight landscape images. I would always advise the use of a tripod with these long exposures time to avoid blur images.

Using a shutter speed of 1/125 second should safely avoid overall blur due to camera movement if you hold the camera by hand. Any longer shutter time should require a tripod.

Each time you open the shutter by one, we double the light, when we close down the light by one we half the light. Open the shutter at 1 second allows twice the light as that of a ½ second.

The shutter can also be used creatively when taking landscape images or sport images. If you want to add motion to your image a slow shutter speed can give an image an extra bit of sway. No more so than taking images of streams. Using a slow shutter speed when photographing water will cause the water to blur, resulting with the image expressing motion.

By contrast, a fast shutter speed of 1/250 would be used in shooting wildlife or where the subject that you’re shooting needs to be still and sharp. Most wildlife photographers would use a fast shutter speed.

By using the shutter and aperture together we control exposure. Both allow light to enter the camera: the shutter by time and the aperture by the size of the hole in the lens.

For example: you’re shooting a landscape scene; you get an exposure reading at f/11 at ¼ second. You know that by using f/11 that the entire image wont be sharp. You want to shoot at f/22, which is four times less light than f/11. You need to quadruple the light through time; each time you open the shutter by one you double the light, so open it by two stops and your exposure time will be 1 second. Your final exposure should read f/22 at 1 second.

At the best of times, calculating the correct exposure can be a difficult task, but with a few simple tips our images can produce eye-catching colours that we see all around us every day.

TJ Tierney. Award winning Irish Landscape Photographer. If you are looking for more tips visit: Photo tips. To view some of his images visit his on-line gallery: Pictures of Ireland.