Digital Camera Guide

So, it's time for a digital camera huh? Well, buying one can be more than a little difficult. What types of features should you look for? Well, this guide will tell you that plus get you a little more familiar with what these cameras are capable of.

Megapixels
When it comes to megapixels, the more the better. I recommend a minimum of 2, but 3 or 4 is great. We did a test to see if a camera with 2.3 megapixels (actually 1.92 - 1600 x 1200) could produce a good quality 8x10.

Turns out it can, if you have the right paper and printer. We used HP Premium Plus photo paper with an HP 970 series printer and made a fantastic 8 x 10. Remember, I was a professional photographer before I got into computing, so I know a good print when I see it :-)

The resolution at 8x10 (we had to crop in to make the picture proportional to 8x10) was only 150 DPI. Most printers would not make a real good 8x10 at that resolution, but this one did. So, if you want to be sure you can get good 8 x 10s, you may want to go with a 3 megapixel camera or better (that gives you around 200 DPI at 8x10 size, still not quite the optimum 300 DPI, but it looks good with the right printer).


Optical vs Digital Zoom
You've probably noticed that most digital cameras have both a specification for digital and optical zoom. Pay the most attention to the optical zoom.

The optical zoom magnifies (zooms in) using glass. The digital zoom basically crops out the edge of the picture to make the subject appear closer, causing you to lose resolution or to get an interpolated resolution (i.e. the camera adds pixels). Neither of which help image quality.

Finally, make sure you get enough (optical) zoom. A 2x zoom isn't going to do much for you. A 3x is the average you'll find in most digital cameras will probably be good for most uses. More on lenses later.


Connection
How does the camera connect to your computer? If you have a USB port in your computer, you'll want a camera that can connect via USB as opposed to a slow serial connection.

On the other hand, if your computer doesn't have a USB port, is there a serial connector available for the camera you're looking at? If so, is it a special order and how long does it take to get it?


Storage
What does the camera use to store images with? If it uses a memory stick, make sure you consider buying additional sticks when you get your camera.


Here's a few more things to look out for when trying to make your digital camera purchase.

Picture Formats
When you're trying to decide on which digital camera to get, check and see how many different picture formats it supports.

You want something that can produce both uncompressed (usually TIFF) and compressed (usually JPEG) images. I personally use the high quality JPEG setting on my camera for most of my shooting. TIFFs are just too big and the difference in quality is not ascertainable by mere mortals.

You also want to be able to shoot at a lower resolution than the camera's maximum. That way, If you're running short on memory, you can squeeze a few more shots on your memory stick.


Auxiliary Lens / Flash
This was a biggie for me. While a 3x zoom may work for the "average" user, I needed something that allowed me to do some wide angle work as well as have a good telephoto lens.

So, the camera I purchased a few months back was a Nikon Coolpix 990 (note that this isn't the only camera that can accept lenses). It has auxiliary lenses that screw into the filter ring on the front of the lens. I now have an ultra-wide fisheye lens plus a nice telephoto.

In addition to lenses, I wanted a good flash. The flash that is built into most of these cameras gives you a top range of 15-20 feet - at best. I wanted a camera that could take a powerful auxiliary flash (again, the Nikon isn't the only camera that fits this requirement, but I liked it better than the rest). If you need more reach than the small built in flash can deliver, then make sure you can attach an external flash to any camera you consider.

As an added bonus, if you get a camera that can take an external flash, you can place that flash on a bracket and eliminate red-eye.


Flash Distance
Speaking of flashes, make sure you check the distance the built in flash is good for. You don't want a camera with a wimpy flash that only travels a few feet (well, unless you can get an external flash for it as described above).


Battery Type
This may not sound important, but it is. Anyone who owns a digital camera can tell you they eat batteries the way a sumo wrestler eats at a buffet.

Make sure the camera can run on regular (or rechargeable) "AA" type batteries. You don't want a camera that eats through expensive lithium batteries every 10 shots or so.

One thing to remember about digital cameras, they do eat through batteries. I recommend getting some Nickel Metal Hydride rechargeable for it. I have some for mine and they have saved me a fortune.


Final Notes
Choosing a digital camera isn't easy. There's a huge selection out there and only you can determine which features you need.

For instance, if you shoot wildlife photos, a small 3x zoom probably isn't going to cut it (unless you can attach auxiliary lenses to it). If you shoot lots of close-ups, make sure the camera has some sort of macro capability. If you shoot big group photos indoors, an external flash may be necessary.

My advice is to make a list of things you want to be able to do with the camera then go to somewhere that can help you make a good purchase decision.

Finally, buy the BEST camera you can possibly afford. Or wait until the price drops on one with the type of features you want.

How to Use Focal Lock

It’s a very simple technique and something that virtually every digital camera (and most film cameras) have the ability to do. Here’s what you do:
- Pose your subject.
- When framing your subject put the central point of your frame on the point that you want to focus upon (the face of a person is generally the best point).
- With the subject’s face in the center of your image half press down on the shutter button (not fully). This will tell the camera to focus on that point.
- Without letting go of the shutter (it should still be half depressed) move your camera to frame your shot as you want it (ie the person’s face doesn’t need to be centered now).
- Once you’ve got the framing right press the shutter the rest of the way and the shot will be taken with the right focusing even though the center of your image might not be the person’s face.
This technique is not just useful for taking photos of people when they’re not central in your shots but can also be used in many other types of photography. For example in Macro shots when you want to place the insect or flower that you’re photographing off center (using the rule of thirds) you might want to use focal lock. Similarly if you were taking a landscape shot but wanted to focus upon a house in the foreground that was off center rather than the horizon you’d use this technique.

This technique is one that most people know but it’s something that beginners should master in the early days of their photography as it’s something you’ll use constantly. It might take a little practice but after a while it will become second nature to you.

Speed Photography - How to Photograph Exploding Fruit and Balloons Popping

What you need:

1. External Flash
2. Flash Trigger


Shutter Speed Myth

Most people believe that speed photography is done through very fast shutter speeds, like 1/1000 or faster. However, this is not true. Flash duration is the primary component for this. The duration of flash units range from 1/1000 of a second to almost 1/30,000 of a second. So as long as your subject is very dark, the only light your camera sensor will see is the light coming from the flash for that very short duration.


Flash Triggering

So now that you know that flash duration is more important than shutter speed, you need to have a way to fire the flash when the action happens. This is done by using a flash trigger. There are three main types: sound, light, and mechanical. Sound triggers will fire the flash when a loud sound is heard, and mechanical triggers fire when something comes in contract with the trigger. Light triggers create a beam of invisible light between two points, and fire the flash when the beam is broken (commonly used for water drop photos).

The sound trigger which was used in the example image was a home-built job with parts from Hiviz. Their kits are cheap ($7), but require a little electrical expertise. If you have an electronics background, they are super-easy to build. If you would like a fancy pre-built model, you can get one for about $170 here.


The Photo Shoot

1. Turn off or dim the lights
2. Open the shutter
3. Perform Action (I like shooting pellets at stuff)

Using Fill Flash

The Problem

The problem with the shots was that there was so much light coming in the windows that the super little camera which was used in Auto mode thought that the scene had enough light. As a result the window and what you can see through it is reasonably well exposed - but the main subject matter of the picture (the happy couple) are well under exposed. Some of the other shots taken this day were much worse and had the bride and groom as silhouettes.

Obviously the issue with this shot is that there is just not enough light from the front of the subjects to light up the subject with the shutter speed being used.


The Solution

There are a number of possible solutions to this problem but one of the easiest is to override the camera and force it to shoot with a flash - a technique often called ‘fill flash’. Fill Flash is used to supplement existing light in a scene - it’s generally not the primary light source (as a flash often is at night) but fills in light where natural light doesn’t go.

In addition to helping with backlit subjects fill flash helps in more subtle ways also by helping to eliminate shadows cast by facial features (under eyes, noses, chins) or under hats - especially when light is shining down from above. It also might just add a special little sparkle to the eye of the person you’re photographing.

In the same way it is also very useful in other styles of photography including in nature and macro photography for lighting up subjects in much the same way as when you’re photographing people.

Most cameras have a way of doing this that doesn’t mean that you have to go into a full manual mode - in fact my point and shoot digital camera allows me to force the flash to fire IN automatic mode. Check out your digital camera’s owners manual to work out how to do this on your digital camera but in most point and shoot cameras the main button to look for will be the one with the lightning bolt (flash) on or near it. Press this multiple times and it will cycle you through the different options for flash (on, off, automatic, red eye reduction are the main four). Some point and shoot cameras even have a ‘fill flash’ option that ramps back the strength of the flash a little which is ideal.

Some more advanced digital cameras will allow you to experiment with the strength of the flash you use. This will enable you to tailor your flash to the situation you’re in. Most DSLRs will let you pull back your flash output in 1/2 or even 1/3 stops. I find that at the start of a photographic shoot if I shoot off a few shots at different exposure levels and check them on my LCD that I quickly find out what’s working and can stick to that level in the shots that follow.

Keep in mind that Fill Flash can be overdone. If you beef up the flash too much your shots can look artificial and overexposed. Aim for subtlety when using a flash and you’ll really lift your shots.

How to Get That Zoom Effect

1. Frame your shot how you want it to appear
2. Set exposure to something greater than 0.5s
3. Mash shutter button
4. Twist the zoom ring to zoom in or out slightly
5. Observe
6. Repeat if unhappy

How To Photograph Lightning

Being one of the most unpredictable forces of nature, lightning storms present a unique challenge for most photographers. We’ve all seen powerful photos of lightning in action and you may be wondering how you can capture the majesty of a storm the next time you’re fortunate (or unfortunate) enough to witness one. While a lot matters on what Mother Nature decides to do with all that electricity, the tips below should help in capturing a great shot of lightning.


1. Use a steady surface
While a tripod typically works best, in reality any steady surface will work.

2. Long Shutter Times
While lightning is unpredictable, it’s extremely hard to make a decent capture by tripping the shutter when you see a flash. There are some fancy remote controls that have the ability to trip when the flash is sensed, but I’m guessing you don’t want to invest in these types of gadgets. Depending on your cameras ability to manage noise on slow shutter speeds, using a timing of 30 seconds can work well. The bulb setting can also be handy if you have a way to keep the shutter open.

3. Horizon Up
It’s safe to say most of the lightning action you will see will be in the sky. I know it’s obvious, but it needs to be stated that your field of view will be skewed toward the sky then. Depending on how close the lightning is, you’ll be including more blank looking sky than normal. But fear not; that sky becomes far more exciting when the lightning starts.

4. But Include Something Interesting
While the action will be in the sky, don’t forget to keep something in the frame to give relevance and perspective to the shot. Buildings are a favorite, but really, anything that can give an idea of the size of the storm works well.

5. Manual Focus
It’s best to use manual focus when shooting in lightning situations. Mainly because the view will probably be at night (but not always) with a fair amount of darkness. Rather than allow your camera to hunt around for something to focus on with each new shot, get a good manual focus on the sky and leave it there.

6. Manual Shutter/Aperture Too
As mentioned in #2, if your camera has the ability to set the shutter speed, pick a long shutter time and a fairly wide aperture. The action will be far from you so a wide aperture and shallow depth of field won’t be a problem (unless you have some very near objects you’d like to include).

7. Stack ‘em
If you can keep your camera in a steady spot, shot after shot, you can use stacking software to combine multiple strikes into one image. You’ll often have many unexciting shots with maybe just a single strike or faint action between clouds. These can all be combined to make a spectacular image.

8. Be Patient
This is a big one and a key to success. Get familiar with your gear and settings so when there is a lightning storm you can set up the camera and then let it do its thing while you enjoy the show. You’re going to have a number of times when you miss “the shot” for one reason or another. Don’t sweat it.

Shooting lightning storms can be a very enjoyable experience but it takes a little practice to get it just right. Follow the steps above and you’ll be well on your way to creating electrifying photos.

How to Eliminate Lens Flare

It’s amazing how the smallest things can have such a massive impact upon a photo (both in a positive and negative way).

One such small thing that can both enhance and detract from an image is the ’sunspot’ (or lens flare). Shoot into the sun on a sunny day (or into bright lights) and you’re sure to get them in your images at some point or another..

Positioned well and in the right type of photo they can actually add something to the shot - giving it a more informal and paparazzi feel (in fact some photo editing software help you add sunspots to create this feel).

However in many instances sunspots or lens flare can be a distracting element - a problem that all but ruins an otherwise great shot. Of course you can try editing them out later, but it’s probably best to eliminate them before they happen. Here’s a few techniques to try:


Lens Hoods

The way that professionals generally deal with lens flare is to use a purpose made lens hood on their DSLR lens. Most DSLRs and prosumer digital cameras these days come with the ability to attach lens hood (in fact most professional grade lenses come with them when you purchase them).

These hoods are specifically designed to overcome sunspots while allowing as much light into the lens as possible. They come in all shapes and sizes depending upon the design of the lens, its focal length, whether it has a zoom etc. The main downside of them is that they can be a pain to transport (some of the lens hoods for my lenses are as big as the lenses themselves) but they do work pretty effectively and really add something to your shots (and they can look quite cool and make you look like more of a pro too!).



Give Your Lens a Hand

If you don’t have a lens hood (or your camera can’t take one) then use your God given hood - your hand (or someone else’s) to help shield your lens from the sun. Just be aware of not putting it in the corner of your frame if you’re shooting at a wide angle focal length - especially if you’re shooting through a viewfinder that is not on a single lens reflex camera (where what you see through the viewfinder is slightly different to what you get in the actual image).


Zoom

If you don’t have access to a lens hood and you’re using a camera with a zoom lens you might find that moving your zoom to a different focal length might help decrease the impact of sun spots. It might not remove them completely but could lessen the impact and/or change the position of them to a less distracting spot in the image.


Reposition Yourself

One of the most effective ways of reducing lens flare is to move yourself to a new shooting position - either so you’re not shooting into the Sun quite as directly or so that your lens is more shaded by some other object from the Sun or main light source. Try moving around your subject but also try changing the height that you’re shooting from (ie get down low or shoot down from a height) as all of these things change the angle at which light hits your lens.


Using Composition to Eliminate Lens Flare

Another option for getting rid of lens flare is to use elements within your image to block it. Sometimes it’s possible to to place a tree, building, person’s head or some other element between the sun and the lens - and as a result remove the flare altogether.


Work With It

If you can’t eliminate lens flare consider working WITH it. You might need to try a few different framings and positions to shoot from to make sure it’s in a good position that adds to the impact of your shot - but don’t be afraid of it. At times it can actually give that special something or point of interest to a shot.