If you are in the market to purchase a digital camera, you have surely seen several different types of cameras. It isnt exactly clear what the differences between the types are, and it can be confusing trying to choose the digital camera thats right for you. In this article, we wil discuss the different types of cameras so that you can better understand what to look for in purchasing a digital camera.

Point and Shoot Digital Cameras
Most consumer cameras on the market today fall into the category of Point and Shoot digital cameras. These cameras usually provide resolutions of between 2 and 4 megapixels (million pixels). These cameras are the digital version of your typical 35mm consumer camera.
A point and shoot digital camera is designed to do just that - take snapshots. They provide limited flexability with options, although many newer models have some limited options for special effects. The image quality from a point and shoot digital camera is generally good enough for common uses, such as auction photos, and even 4 X 6 prints.
If you just want a standard, entry level digital camera for family snapshots and auction photos, then a point and shoot digital camera is a budget conscious choice.

Semi Professional Digital Cameras
A semi professional digital camera is a more advanced version of a point and shoot digital camera. Typicaly, these cameras provide resolutions between 5 and 6 megapixels (million pixels). They also often offer the user additional settings and greater control over the camera. The image quality of these cameras is good enough to produce clear prints up to about 8 x 10.
A semi professional digital camera may be the best option for you if you seek greater creative control than you can get with a point and shoot model. The increased flexability does come with a price. Most semi professional models are priced much higher than point and shoot models.

Digital SLR Cameras
If you are a serious or professional photographer, no less than a Digital SLR model will do. SLR stands for Single Lens Reflex. Digital SLR cameras are very similar in operation to their 35 mm SLR countereparts. Also, many camera companies (such as Cannon and Nikon) have built their digital SLR models to be compatible with 35 mm SLR lenses. This is a great benefit to professional photographers who can select a model that is compatible with their existing lenses.
Digital SLR cameras provide an amazing ammount of creative control over the camera and the resuting images. Also, these cameras provide resolutions over 6 Megapixels and can produce prints of poster size without noticable pixelazation.
A Digital SLR camera (without lenses) is a pricey investment indeed. Currently, you can expect to spend $1500 or more on the camera alone. Accessories and lenses cost extra.


About the Author

For more articles, information, and product reviews on Digital Cameras and Digital Photography, visit: http://www.digitalcamerasource.info

What I learned from a mentor that enabled me to go from an amateur photographer to a professional portrait photographer in very specific steps is something I like to pass on. Rather than spending countless hours in classes learning every possible detail about photography, I learned just the necessary specifics to get started in the business and now I work out of my home part-time earning a full-time income and have been in business for over 17 years; but I started out with practically nothing, just an interest in photography and the need to earn more money.

One of the things that my mentor taught me was the Three Classic Elements to produce “salable portraits.”

"Salable" is an industry term every photographer quickly becomes familiar with to distinguish between the everyday reality of making money versus creating those “artistic competition” or “award winning prints” which don't earn the money.

I've been in the business for over 17 years now and I'm still amazed that:

People don't buy the award winning prints that you see wearing many of the ribbons at professional photography conventions.

When my clients are faced with the choice of buying an artistic pose of their child being demure and not looking directly into the camera or buying a pose smiling close-up straight into the camera, they buy the smiling close-up every time.

Not very original, but I'm telling you now so take note:

Happy people whose faces you can readily see are the most salable prints.

They'll never tell you this at a photography workshop, seminar, Annual Convention or at a photography institute because their job is to create award winning photo artists rather than people whom simply make a living, but...
if you haven't learned all the fancy lighting techniques, then you've saved time because the most important thing about light is having enough to keep the face out of the shadows.

People prefer any kind of light, as long as there is enough of it to light the face and eyes so you can get a good look at the person!

The quality of light people prefer for portraits is soft light, whether it be from an artificial source like a flash umbrella or a natural source from the sky at sunset, but other than a soft quality of light they want enough of it to SEE the face of the person you're photographing, even if it is a flat almost straight on technique.

You may not win any competitions or awards this way, but if you get plenty of light on the faces you'll create salable prints.

This leads me to talk about fill flash. There are times outdoors when you'll need a flash on your camera to fill in dark shadow areas mostly in the eye sockets. Just use one f stop less flash than the existing ambient light calls for. That's enough light to fill the shadows and don't worry about not lugging around a portable umbrella to get the perfect modeling technique.

My mentor is right again: there is no change in the sale. The customer pays for well lit faces, not perfect modeling. I've tried it both ways and the customer buys the same amount of pictures in the same sizes no matter what you do.

Element number Two: Body Positioning.

This is a little more detailed area, but it is important, believe me.

My basic education from my mentor began with the same advice I'll pass on to you:

You should rarely photograph anyone straight on.

The exception to this rule will be for family and large groups, which for reasons of body placement will often break this rule. But for individuals or smaller groups of people this rule applies.

Now, when you're not just photographing a head and shoulders close-up you'll have to understand other aspects of body positioning that makes people want to buy their pictures. Hands. They should always be turned slightly so they are seen from the edge with fingers together, or hide the hands altogether behind your subject or somebody else next to them. Never position hands straight on with open fingers.

Simply put, anything that minimizes how much hand you see works to make it a better portrait. This is always more flattering in a portrait and you'll see they are the ones people buy.

Crossing legs at the ankles refines the pose and minimizes this area of the
body making it more appealing.

Look at it this way, what's less of a distraction: two legs leading to two ankles leading to two feet -- or two legs blending into one ankle section with blended feet? Surely it's the latter.

When standing, one cannot simply cross their ankles unless they have something to lean against, so I will have one foot in front of the other in such a way that they taper into one general unit. Have them place their weight on the back leg (remember, they are at a slight 3/4 angle) and bring the front leg forward and slightly tilt the foot to face out toward the camera.

Whenever I'd show my mentor my portraits that I was just unsure of, it was these recurring themes that he patiently pointed out to me.

As I began to look for these simple things during my portrait sessions,
my pictures got better!

I can't stress enough how basic, but important, it is to watch for these details.

I have people come to me who went to the contract photographer for their High School Senior yearbook portrait and disliked their picture. They want me to take one that they can proudly give out to friends and family. Usually the problem with the pictures I've seen is that the photography school graduate “intern” who works for the contract photographer took the photo without paying attention to some minor detail. I get it right and my reputation grows from “fixing” the contract photographer's mistake.

The techniques for salable body positioning are what you look for in any pose you try whether close-up or full body.

When photographing people full body standing, seated or reclining on the ground, noticing body angle, hands and feet is the way to “fine tune” your portrait and distinguish it from just a “snapshot”.

Lastly, I must share my favorite body positioning tool that makes it so easy to make a better portrait than someone who doesn't really know what they're doing: the head tilt.

A woman alone tilts her head just slightly in either direction to make a more stunning portrait. A man's head can stay straight up or tilt slightly away in the opposite direction from his most forward shoulder but never back towards his most forward shoulder.

Element number Three: Salable Composition

There are many compositional techniques in many books, but it doesn't take all that knowledge to make portrait compositions that are what the typical consumer considers good enough to call professional.

Once you know what the consumer considers salable, you will be able to reproduce it again and again for other clients. You also will thank me for saving you from thinking that in order to be good enough to sell portrait photography you have to create grand artistic images. You just have to know what works and be able to repeat it for the friends of your clients whom will be getting your business cards by way of referral.

When photographing one individual person, it's so simple I don't think you need too much input for that. In fact, I believe you know the naive simplicity with which you thought “hey, I can do this for a living” after taking some portraits of a friend or family member. Yet it truly gets challenging when there is more than one person involved.

I know of a local professional who has referred family portrait clients to me as she specializes in children outdoors. Do you know what that really means? It means she's intimidated by having to do groupings, but that's okay, most people are.

So here's the rule of salable composition:

Keep everybody's head at a different level.

Like I told you, I didn't have a fancy College degree so my mentor had to keep it simple enough for me. In some cases, you will recognize that it's not possible, but if you do your best to stagger head height from individual to individual, you will be creating professional looking images.

You will stand some people, seat some in chairs, seat some on the arms of chairs, seat some on the floor, kneel some, crouch some, lay some down, but you will achieve staggered head heights and salable compositions.

Tip heads inward toward one another for unity when photographing a family group.

Note that men are usually positioned higher than women.

No, I'm not aware of being a chauvinist pig, but I am aware that this is what usually sells. Not the images where mom's higher than dad but where dad (even if he's actually shorter!) is positioned just a head or so above mom.

Once you understand the rules, you can bend them where you need to in order to make a portrait work; but people will see that you know what you're doing as you position them for a good composition and especially when they see your finished work.

My mentor critiqued my work time and time again over several years as I brought images and questions to him. It almost always boiled down to my understanding these most simple aspects that I've shared with you.

I know it's not customary to learn photography on such simplistic terms, but trust me; I've had exposure over the years to many different photography educational venues such as classes, workshops, conventions, guest speakers, lectures, teaching videos and books but never have any of the teachers been willing to simply say “look, there are just a few rules to follow and people will be happy with their pictures”. Never have I received more helpful advice than I received from my mentor. This is the reason I've written "Professional Photography: Success Without School." Not because schools have no place in the lives of photographer hopefuls, it's just that they are not the only way to guarantee success in the business.

I guess if I could sum up the philosophy my mentor embodied in word form I'd say it was rather like this:

“Not everybody wants a masterpiece. Most people just want to remember their loved ones as happy. It's not hard to capture that with your camera, just don't stand them in hard sunlight, standing in a straight line facing straight toward the camera.”

About the Author

-Tom Ray is a Certified Professional Photographer through the Professional Photographers of America. If you are interested in his full story please go to: www.rayphotography.com/

The nature of photographic media has changed. That is the obvious part; but what can surprise you is that the lens filters that worked so well with your film cameras don't always achieve the same results in the digital realm. Photographers who've discovered this are either abandoning their old filters and using nothing or using whatever software comes standard with their Photoshop or similar program. If you're interested in getting the same quality for your portrait photography that you used to get with film and filters, you need to know that it can be done!

Like many people who’ve made the switch from film cameras to digital, I’ve discovered that the lens tools I once used so effectively on my cameras to soften, diffuse and vignette my images for quality “finished” professional results won’t do for digital what they did for film.

I’m sure it’s arguable by some that their diffusers still work fine, and I too have discovered that some tools still work okay under some circumstances but as I’ve learned, not all circumstances; my Ziess Softar #1 seemed to offer decent results when photographing a single subject in the studio but not without substantial cost to image contrast. I also knew that the black netting diffuser that I used so effectively with my Lindahl Bell-o-Shade and medium format camera no longer worked on the new digital zoom lens without showing lines in the image. I also knew that my other softeners made the images look too out of focus. Not a risk I was willing to take professionally so I just stopped using the Lindahl shade and drop-down filters. Intimidated, I stopped using any filters.

Then it happened. A savvy carriage trade-minded customer brought in a wall portrait that she had purchased several years ago by a photographer obviously using medium format lens tools like I was used to using in the past with my film camera. She wanted her new wall portraits to have that same “softened” look. So I arrived at the portrait session armed with my digital camera equipped with the very mild Softar Filter that worked okay in the studio on single subjects.

Understand that I knew any diffusion used on an entire family group portrait would be more exaggerated by their relative head sizes but I had explained that to her and she assured me she liked her portrait images “very soft”.

While the images looked good on the small camera monitor, once I opened them up in Photoshop and printed them out as proofs I knew they were too soft. I called a colleague who is a digital expert and explained to him what I had done. He told me that you simply cannot use on-lens filters anymore for professional softening and diffusion without creating mush on 35mm type digital camera images. This leaves the special effects job now to the computer and not the camera. I told him I’d tried using Photoshop CS in the past for their diffusion tools and what I got didn’t look like real photography, at best it degraded my images or made them look grainy and out of focus. He agreed that Photoshop’s filters weren’t the right tools either to mimic the professional photography filters of the past but told me that there is a company that has a software program that is a plug-in for my Photoshop and has filter tools to recreate believable results for various levels of softening and diffusion.

The software is called “PhotoKit” and is available from Pixel Genius for only $49.95. I bought the Mac version and it is wonderful. I have played around with it now and have found that you can get varying degrees of whatever you want that looks similar to what you used to be able to do with your old lens filters and drop-down tools. Even more possibilities are now available to you. One of my favorites is the ability to lasso areas and “clear” the results of diffusion keeping eyes and teeth sparkly and sharp.

Now that you are no longer needing actual lens filters you may make the same mistake I did originally and not have your lens hood or bellows shade on the digital camera. This is a mistake especially with digital; you still need to shade your lens from any ambient light even more than you did when you used film as the exposure latitude is not as great as it was with film and milky images are even more devastating with digital capture. You will get vignetting from the shading device at wider angles but just do what you did before you had access to zoom lenses and take the hood off when using wide angles. (Most pros using medium format film cameras did not have zoom lenses.) You shouldn’t use anything below a normal lens for portraits anyway. (The 35mm lens setting with digital cameras).

If there is a downside to doing your diffusion in the computer now it’s that the customer can’t really see the results on the proof, so they have to “trust” your artistic license. But it was like this with retouching too so there will be a short new education curve for your clientele to learn, or to save yourself from disaster you might offer a second proof appointment to show the customer a proof of their selected images with the added softening or diffusion. It’s going to take more time and you’ll end up with having to rework some things more than you want so I’d only recommend this for customers like mine who’s initial concern was the diffusion issue. You may also consider adding fees for “enhancement” to your price list just like you did for retouching and put such things as vignetting, softening and retouching all under the heading of “enhancement”. You can even charge a proofing fee for those who want to proof how the finished results will look, or else they “sign-off” that they accept any modifications sight-unseen.

In summary, softening and diffusion can be done effectively and professionally but it’s not as easy as it used to be when you’d just pick the filter you wanted and pop it over the lens. Your old on-camera lens filters will often turn your digital images to “mush” or images of weak contrast that may or may not be salvageable.

About the Author

-Tom Ray is a Certified Professional Photographer through the Professional Photographers of America. If you are interested in his full story please go to: www.rayphotography.com/EbookAD.html

Before you are able to take the kind of photos you want to take, it is important to think about the equipment you would like to start out with. Probably the most important decision you will have to make is what kind of camera to buy. There are so many options and brands now that the whole process can seem quite overwhelming.

Shopping for Cameras:

If you are planning to become a serious photographer you should probably buy an SLR (Single Lens Reflex) camera. The term single lens reflex comes from the fact that the camera has a view of the subject through a single lens and that view is reflected to the viewfinder so the photographer can see exactly what is going to be in the picture. The Digital SLR's are getting so advanced that it's very hard to choose a film camera over a digital. The main advantage of an SLR camera over a point-and-shoot digital camera is the fact that you can change lenses and filters whenever you want to, although new point-and-shoot cameras have increasing optical zoom and similar capabilities. Point-and-shoot cameras are also a great idea if you just want something simple and small that is convenient to carry wherever you go.

What to Look for in Lenses:

Lenses are what your camera uses to focus on the world. All lenses are defined by their focal length and aperture. The focal length tells you what the angle of view is and how far it magnifies. The aperture is the amount of light that the camera is letting into the sensor. Any lens lower than 50 mm focal length is considered wide-angle. Any at 50 mm is considered normal. And any lens above 50 mm is considered a telephoto. But there are also zoom lenses that have a variable focal length. With a zoom lens you can cover a wide range such as 28 mm to 105 mm or 80 mm to 210 mm.

Lenses can be very expensive and very cheap and it is usually the faster lenses or the ones with the wider apertures that are the highest priced. The faster lenses are more appealing primarily because they can produce better pictures in dim light without a tripod. But it is quite possible to find great lenses at low prices. Probably the first lens you buy should be broad range zoom lens such as a 28 mm to 105 mm. The slight drawback of zoom lenses is that they are slower and they don't quite match the sharpness and contrast of a fixed focal length lens.

Do You Need any Filters?

Another very important item that you should definitely acquire is an ultra-violet filter (UV filter). It is a simple piece of glass that screws on to the end of your lens and protects it from scratches, dust, dirt, moisture and fingerprints while reducing unwanted ultra-violet light.

But when you buy a UV filter you might as well get a polarizer filter as well. A polarizer filter is most commonly used for darkening the sky by cutting through atmospheric haze. This affect can also dramatically improve the results of black and white photography. Polarizer filters are also good for removing reflections from glass or water.

Get a Tripod:

We would also strongly recommend that you buy a tripod of some kind which is vital when there is not enough light to handhold a picture. Some of the best pictures you've seen at dusk, night, or just when it’s cloudy have almost certainly been taken using a tripod. Tripods allow you to use your camera's full range of shutter speed and aperture combinations which can sometimes creating amazing unexpected results.

You should pick a tripod that is plenty sturdy but also convenient enough to carry wherever you might want it. You also might want it tall enough so you can look through your camera at eye level.

Some Memory Card Details:

Memory cards are extremely convenient with digital cameras but you need to make sure you have all the space on them that you want. It is always a good feeling to know that you can take all the pictures that you want when you think you have a good opportunity. Most SLR's take Compact Flash memory cards, smaller cameras usually either take Secure Digital memory cards or Sony memory sticks.

It is convenient to have only one format of memory card if you have multiple cameras because then you can interchange them even between a big SLR and a small point and shoot camera. The smaller cameras usually use secure digital cards and Sony memory sticks but some very nice ones use compact flash cards. One thing you must always do is remember to format the card after you unload pictures and put it back into the camera or else you won't have the full capacity of the card.

If you are looking to buy a new digital camera you should consider these things or you might have regrets later.

About the Author

Richard Schneider is a digital photography enthusiast and founder of http://www.picturecorrect.com/ which offers tips and news about digital photography, digital camera reviews, photoshop tutorials and computer wallpaper.

I've been practising wildlife photography on safari for over twenty years now in places like the Kruger National Park, Chobe, Okavango Delta, and Hwange game reserves and these four tips have been indispensable in making sure that I get some decent wildlife photographs.

1. The Right Equipment

I believe that you can't beat the quality of film but that digital offers wildlife photography practitioners more options at a better cost so for the purposes of a safari trip a digital camera is your best bet.

It should have some of the following characteristics to qualify as a good safari camera.

There should be little or no lag between the time you depress the shutter release button and the photo is taken. Some of the compact digitals on the market today suffer from this affliction and it's not ideal when you come across fast moving wildlife subjects.

It should be ready to take photographs at a moments notice because that is sometimes all the time you have before an animal disappears into the undergrowth. No long power up cycle.

Due to the fact that most of your nocturnal wildlife sightings on safari will occur during early morning and dusk it needs to be able to function well in low light conditions as well as bright sunlight during the day for the diurnal animals.

Lenses should have a focal length of at least 70mm for adequate wildlife photography and an image stabiliser is not essential but a great help in eliminating blur.

Another piece of equipment that is essential however is a deadrest in the form of a beanbag or a window mounted tripod that you can rest the camera on to help stabilise the long lenses. Handholding a long lens will often lead to blurring and the dead rest will prevent this. A tripod or monopod is impractical because you will be taking photos from the safari vehicle for most of the time.

2. The Best Wildlife Photography Areas

You can have all the right equipment and the best wildlife photography talent in the world but it won't mean much if you can't find any wildlife to take pictures of.

Some areas in Africa are better in terms of safari photography than others. The top five for getting excellent overall wildlife picture opportunities are:

Kenya - Masai Mara
Tanzania - Serengeti
South Africa - Kruger National Park
Botswana - Moremi
Namibia - Etosha

3. Patience and Luck

Everything comes to him who waits is a very relevant saying for wildlife photography. Patience will help you get better photographs because you will be able to take pictures of animal behaviour that you would otherwise have missed.

The role of luck mustn't be underestimated either. There is no guarantee of what you will encounter in a game reserve and whatever you do get to see and photograph is a matter of a little bit of planning and a lot of good fortune.

4. Light and Composition

Because you are at the mercy of the elements in wildlife photography, you don't have too much control over the light. Flash is of no use when the animal is at a distance and you can't wait for better light conditions because the subject could move off at any moment so you need to make the best of what you have.

And due to the habits of nocturnal species you will find yourself taking lots of pictures in low light conditions at dawn and dusk which is why a fast lens and a dead rest is essential. Using bracketing (changing the exposure by one stop up and down) will also help get the optimal exposure in the available light.

What you do have some control over is the position of the safari vehicle which can be moved to change the aspect of light that is falling on the animal somewhat but even that is sometimes not possible because in most reserves you are not allowed to go off-road and moving might scare the subject away.

Composition is something you do have more control of however and you can apply the rule of thirds and framing using the available vegetation just as well as in any other form of photography.

Be especially careful using the autofocus on your camera because it will cheerfully focus on a twig or tuft of grass close to your animal subject and spoil your composition.

You will also need to make your compositional decisions quickly as wildlife often doesn't hang about long waiting for you to make your mind up so it pays to have a solid foundation in the basics.

About the Author

Collection of African safari pictures depicting most of the animals you can see on safari like lion, leopard, cheetah, elephant, crocodile, chimpanzee, baboon, gorilla, rhino and many more species.

If you ever get to see photos that were not done digitally, you would begin to wonder why it isn’t so. With digital cameras now being used everyday, photography has been taken to another level. Digital cameras have just begun its reign in the printing industry for some years. But digital has been used in the printing industry for quite sometime. Many processing laboratories have been printing digitally, especially for printing material needs.

Mass production of printing plates that are needed for books, magazines and other printed materials went digital years ago. Smaller publications have also seen the need for this digital printing as a source of less expensive but quality printing that they needed for their business. With digital becoming most successful for businesses, the traditional method of printing has been totally replaced. There may be others still using this system, but the numbers are low compared to those that are printing digitally.

Photographers have also seen the advantages of what digital printing can make. Those that make use of films are fast turning to digital methods to make prints from their negatives and transparencies. The availability of affordable printers paved the way for these photographers to take home their work and do the process themselves. With the many available sources of knowledge going about digital printing in the internet, the process is made easy. Going about with digital printing themselves gives them the satisfaction of getting the print that they want. Using their own styles and techniques, they can now make masterpieces out of their photos.

For some who do not have the required technology needed for printing at home, they turn to the many printing companies that offer affordable and fast services. Of course, using all the technologies that is digital. Gone are the times when only a few people and large businesses can afford the services of these printers. With more and more competitions springing out doing digital printing, the prices are the ones being taken to consideration in order to get more clients interested. Lowering the prices in digital printing does not lessen the quality you will get in printing. The theme is the same for all; quality printing at affordable prices.

Why shift to digital? Because with digital you can be assured of producing the best printing you could never have imagined possible. Not only that, you can get the amount and volume you want with less time and money spent. What more can you ask for?

For comments and inquiries about the article visit http://www.digitalprintingcompany.com


About the Author

Florie Lyn Masarate got the flair for reading and writing when she received a subscription of the school newsletter in kindergarten. She got her first article published on that same newsletter in the third grade.

Composition is defined as the combining of distinct parts or elements to form a whole. In photography that definition is very important in taking quality pictures. The following rules of composition should be learned and considered but not necessarily used in every photo. Once you have learned these rules you will be more observant of the possible photo opportunities that surround you. But keep in mind that the really famous photographers usually find a creative way to stretch or break the rules of composition.

RULE OF THIRDS

The rule of thirds has been used through the centuries and is probably the most recognized rule. The rule of thirds directs that the frame can be divided into three vertical sections and three horizontal sections. Wherever the separating lines connect is an ideal spot for a subject or point of interest. By positioning your main subject at any of the four intersection points, you are giving your subject more emphasis than if it is right in the middle of the photo. The intersection points can also work if there is more than one main subject in a photo. Most famous photographs and paintings have the rule of thirds applied to them in some way or another.

SIMPLICITY

The simplicity rule directs that you should keep the items in your photo relatively simple. If your main subject is close to the lens, then your background should be very simple in order to avoid distractions. Another good idea is to avoid objects or lines that lead the eye away from your main subject.

CONTRAST

The contrast rule directs that light subjects should be placed against dark backgrounds and vice versa.

FRAMING

The framing rule directs that using natural surroundings mindfully can add more meaning and focus to your subject. The surroundings could be anything such as bushes, windows, trees or even a doorway. When using this rule be sure to focus on the main subject and not on the surroundings that are framing it. It is also a good idea to use a narrow aperture (high f/stop) when using this rule in order to create a high depth-of-field.

TEXTURE

The texture rule can add a great amount of interest to most photos. When people see texture in a photo it can spark their imagination and make the photo more real to life. Texture would be a good idea when taking photos of rocks, walls, surfaces, hands or even leaves. In order to create texture try to compose your photo so the light is coming from the side and therefore casting shadows in key places.

DIAGONALS

The diagonal rule directs that diagonal elements or lines can make a photo more dynamic. Diagonal elements could be fence posts, roads or even tree branches.

LEADING LINES

The leading lines rule can be used to direct the eye deeper into a photo and commonly to the main subject. Leading lines can lure the eye to a subject by leading to it from any side or depth of the photo. Leading lines could be roads, rivers, tree branches or even bridges.

COLOR

The color rule is what adds interest and emotion to your pictures. Different color configurations can inspire and amaze viewers. Colors can also be used to accent certain parts of a photo.

It might not be a bad idea to keep these key terms with you when you practice taking photos. The best way to learn and improve your composition is just to use them often and to experiment.

About the Author

Richard Schneider is a digital photography enthusiast and founder of http://www.picturecorrect.com/ which offers tips and news about digital photography, digital camera reviews, photoshop tutorials and computer wallpaper.

There are many different types of photography. You can take pictures of anything and there is someone out there somewhere who would like to see the pictures that you take. So, photography is a great field to get into.

What is landscape photography?

Landscape photography is a great field of photography, especially if you love nature and if you love to travel. You can travel the world taking pictures of beautiful scenes across many countries. Of course, this is landscape photography on a big scale. Not many people are lucky enough to start off traveling the world.

But you can find beautiful landscapes right where you live. That’s the great thing about nature, it’s everywhere, and landscapes are everywhere. And that same sunset behind the mountain that you’ve seen everyday since you were a kid may look pretty amazing to someone who has never been to the mountains. Seeing the sun rise up out of the oceanfront may be absolutely astonishing to someone who has never been to the beach. It’s all relative.

What you may see every day is someone else’s treasure. If you can open your eyes to the beauty and see it, then other people can see it in your photography. It can be simple and everyday or it can be vast and amazing. It’s all about the great pictures you take. You may see a night city skyline, a series of lightening bolts or an interesting cloud; it’s how you take the picture that makes it beautiful to someone else.

How to Learn Landscape Photography

If you are serious about landscape photography, you should take a course. You may have already had a course in photography but you will want to take one specifically for landscape photography so you can learn how to get the best pictures possible. You will want to learn what film to use and how to work with the sunlight or other natural light. You will also learn about achieving a sense of balance and scale, how to photograph running water and similar issues that a landscape photographer might face.

If you can’t find any appropriate classes in your area, you can find them on the internet. You can also find many groups and message boards designed for landscape photographers to meet, share photos and tips and ideas. You can get tips and advice for your questions if you join these groups. You can also view the work of others, some that may be much more experienced than you. You can learn from them and their photos.

How to Make Money with Landscape Photography

If you are considering landscape photography as a career (even part time), the first thing you are going to want to do is learn as much about it as possible; read books, take classes, visit websites. Then you are going to want to practice, and build a portfolio. Your portfolio should be updated often and only include your absolute best work. You may want to send some of your best photos to photo contests or magazines. These are good ways of breaking into the world of professional photography when you have no experience.

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Looking for information about Photography?
Go to: http://www.asaphotography.com
'ASA Photography' is published by Colin Hartness -
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To many people the idea of being paid to take photographs of exotic places is the ideal job. It may takes years of effort to be paid by magazines such as the National Geographic, but are there better ways to become a travel photographer. As most people have more leisure time, more holiday time, and more disposable income, the demand for travel photographs has increased dramatically. Not only are they in demand for travel brochures, but they also are used extensively in other advertising copy.

Images necessary for sale and publication require rather more skill than those applied to standard holiday snaps. "The real voyage of discovery consists not in seeking new landscapes but in having new eyes." Was a quote by the French novelist Marcel Proust, and it appears to be of particular use to the travel photographer.

Investigate the possibilities of becoming a contracted photographer at Lonely Planet Images. Lonely Planet Images is a digital library of travel photography. They have submission guidelines available for download at their website. They are a subsidiary of what used to known as the Lonely Planet Guide, and currently have 400 photographers on contract.

You can also increase your chances of breaking into the very lucrative travel market, by entering competitions such as the Travel photographer of the Year . There closing date for submissions is September 5th 2005.

A camera is merely a box, that captures light, and in a studio, it is very easy to manipulate light. The reality of location photography is that it is generally expensive; you have the expenses of air tickets, hotels and meals on top of normal expenses. At the end of the day you are at the mercy of “weather”, no one wants to see their ideal location subject to rain clouds.
When we talk of light in terms of travel photography we are talking about intensity, as most travel shots are taken outdoors, In general there is harsh direct sunlight and diffuse soft light. Harsh light is when the sun is directional, and it is great for capturing deep contrasts between light and shadows. With this type of shot, it is difficult to judge the exposure. If you direct your exposure towards the light, that will leave your shadows without any depth or definition. Conversely if you use the correct exposure for shadow, then the light areas will be without detail, giving a vaguely sinister result to the image.

Unfortunately your drawback here is film, the human eye is capable of registering contrast to a ratio of 800:1, slide film is capable of only 30:1, which is slightly improved, by going digital at a ratio of 40:1. Professional photographs have all passionate views on their favourite brand name of film in this situation, but they are all in accord that you need a slower speed films, as they record better contrast and grain. ISO/ASA rating of a hundred is about the fastest film to use. It is important that you use a good photovoltaic cell (either a separate light meter or one inbuilt into the camera. Once the light meter has registered the light, the camera is capable of indicating the aperture opening required, and the shutter speed. The speed of the film is also taken into this equation. You need to measure the darkest and the lightest areas.
Your immediate decision is whether to correctly expose the dark and emphasize the shadow and leave the light areas washed out or to correctly expose the light and leave the shadows without definition.

Using light correctly greatly enhances your colors, the diffused lighting just after and dawn and just before sunset is helpful here. The technical reasons for this are simple when the sun is nearest to the horizon; the light has a greater distance to travel through pollution, ozone, water vapour and dust. This means that wavelengths at the violet end of the spectrum are more scattered, than the colours at the red end. This allows the blues to absorb more colour than at the red end, so the sunlight appears more golden. To study the more technical aspects of lighting you may like to take an online course.

An inexpensive, but invaluable tool for the outdoor photographer is a polarizer, as they improve the ambient lighting. They will always emphasise the blue of the sky, whilst minimalizing glare. This will allow you to capture the colors you want to make a saleable photograph. More importantly it reduces the contrast in a photograph by creating a more even tone, it restricts the very much lighter and darker tones, in the image. Mike Johnston gives an excellent technical explanation of this in his excellent online course. He has also written an excellent tutorial on color theory, which explains the use of color to improve the quality of your outdoor images. Photographers who use digital imaging will also find this article tremendously helpful in enplaning how to improve the final image with regard to colour.

Research is a great tool for the travel photographer, and the Internet is a great help, but don’t forget to use local knowledge, ask local taxi drivers, as well as the tourist boards for inside information on a location. City photography is also included in the aspect of travel photography and here taxi drivers’ knowledge can be invaluable. You can also try and coincide a trip with local festivals. If you can oversee a vantage point you can use a zoom lens to great effect without the embarrassment of having to foist a camera into someone’s face. Also local festivals give opportunities to capture a part of the local culture.

About the Author

Publisher & author: Roy Barker. Roy is the author of the popular ebook, Income from Photography - a downloadable ebook guide on how to start up and market a Profitable Photography business. It can be viewed at http://www.profitable-photography.com. Other related and reviewed services & research sources can be found at http://www.profitable-photography.com/html/117/

With the hustle-and-bustle of the modern living, anything just turns out to be instant and digital. For instance, instant noodles, instant boyfriend, and many others, I just recall that a friend of mind told me that. Everything now is instant and digital or computerized.

The latest and better digital photo software must always be a competitive one, that is versatile, easy to be understood and of course easy to use. It is not always particular to be used in order to have a software package that works well with only selected varieties of cameras.

Take note that there is limited value that comes along the package not designed for the layperson, since huge percentage of users are laypeople. The cameras are mostly available in the market that comes along with a software package of their own.

For example in Sony and Kodak cameras the majority of its users can find the software that is suitable for its use. Generally, the software that is provided with the camera does not simply allow the user to dump the photos onto the hard drive for editing or printing. There is always a better system that allows you the ability to place your photo in categories for its easy access.

The family photos would not just be dumped in the same place with the other group of photos, with friends or of any other occasions. You can consider it valuable, though it does not take a little extra time to rename, rearrange and print out your photos.

Bear in mind that any program is designed to provide you the capacity to tell the computer what you want to do. However, the ideal product has enough range that you don’t have to sift through a variety of possible commands and wasting time while retaining the adaptability to allow you for creative and personalized use. There are some products that had missed the mark were those where too much emphasis was placed on fancy and crippled graphics and so on.

Consider the other point about digital photo software that often overlooked by many that the program is designed to interface with a creative skill. Photography or any kind of it can be pictured with a real eye for aesthetic value, have been captured in the digital realm. A program should always possess things like file sharing and transferring and the ability to edit and print photos in its most creative and personal ways.

Rest assured that this is something that should be fun and worthwhile. Live a life that is full of memories and joy to live-by. If you will download a photo or image, it will take sometime but well, it’s worth the time!


About the Author

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