Facts About The Birth Of Photography

The title of photography was derived from two Greek words- "photos" and "graphein". This item was first used by the scientist John Herschel. Photography is essentially the process of using light, radiation in addition to sensitive materials.

The birth of the first image-

It has been stated that around, the early 1800's that Joseph Semaphore was able to create the first image by working for at least 8 hours on its development. A fellow citizen of the same homeland as Semaphore, Louis Daguerre was able to come up with a way to lower the exposure time to as little as 30 minutes.

The Daguerreotype-

Daguerre was the first to create the best and most useful methods for developing pictures. Louis was born near Paris. Prior to photography, he was a painter of sorts. He came up with his process and methods after experimenting with light and the way in which it effected images.

In the process of doing so, he developed a more efficient way of developing photos. After he created his methods, he wrote a book about the process and his discovery. After further discoveries in the early stages, the Pinhole camera as well as the flash bulb were created.

The arrival of instant photos-

Edwin Land created what is known as the Polaroid camera. As a result of his awesome work, we were able to take photos and get them instantly. This completely eliminated the time it took for the image to be exposed.

Digital Photography-

as we moved into the 90's the most exciting form of photography was born. Digital photography has had more impact on modern photography than anything. As a result of digital cameras, anyone can enjoy the fun that comes along with photography. You no longer needed to go you your local film processor or buy film. You also no longer needed expensive cameras that were on the market place.

Digital cameras are easy to use. They consist of advanced technology, but they are made to be user friendly so even the technically challenged can have fun using them.These are just a few facts about the birth of photography.

If you learn these facts and others, you'll have a great appreciation for photography as an art and science. When you're pursuing your photography ambitions be sure to think about all of the work that was applied to creating this wonderful art that we can enjoy today. Consider adding as much to the art form as possible that way the next generations can experience what we've been able to experience.

To learn more visit your local library and borrow a few books about the history of photography.

About The Author

Keith S. Black has many different photography methods. He is a successful photographer and makes a full time living as a photographer. To find out about one of the best cameras to use for your photography you can visit: http://reviewdslrcameras.com/nikon-reviews/ to read one of Keith's Nikon Reviews and get more information.

Why Are Camera Lenses More Important Than The Camera?

Now that everyone has already turned to digital cameras and developed their last film, a great number of people are upgrading from a fixed lens camera to a DSLR or an SLD. Compared to all but a handful of premium fixed-lens models, these cameras are noticeably more expensive, particularly when considering the cost of lenses.

When choosing which DSLR to buy, a great number of models compete with prices ranging from about $400 to over $8000 USD. It is easy to find a model that costs all of your budget and tell yourself you bought the best DSLR you can afford while forgetting about the cheap lens that comes with it. This is the biggest mistake you can make when buying a DSLR because:

The secret of modern Digital SLR cameras is that they are ALL really good.

Despite the price difference between the cheapest and most expensive DSLR, the image quality is similar and indistinguishable for most common print sizes and for sharing on the web. As a matter, it is often the case that an $800 camera and a $1600 share the same imaging sensor! There is a jump in quality between cropped-sensor DSLRs and full-frame ones which you can afford with a budget of at least $2500 USD excluding a lens. However, even that jump does not compare with the difference in quality between a cheap and a high-end lenses. Therefore, spending more money on a lens will often improve image quality much more than spending more on a camera.

Now that image quality differences are out of the way, it's time you should know that image quality has very little to do with the impact of photography. What makes a great image is complex but the least important aspect is its quality. That's right, people appreciate images based on many factors of which image quality plays a small part. Take a look, for example, at great photographs of National Geographic made over 30 years ago. They are still great images, even though the cameras used were well capable than today's.

Lenses play a role in image quality but, most importantly, they control the vision you put into your images. Depth-of-field, focal-length and perspective change your photos dramatically. Choosing the right lenses gives you creative power of all these aspects. To quote LIFE photographer Joe McNally:

...the lens is incredibly important to what photographers do; it defines what we see.

For this reason, it is critical to spend enough to get lenses that suit your photography in terms of subject and style. At least, one of the greatest advantages of DSLRs is that there are so many lenses to choose from. So, if you already have a DSLR, you should strongly consider making your next photography purchase a lens. If you do not own one yet, then the best advice is to choose lenses first.

Do not only choose your next lens, but all the ones you would like to shoot with. Start by buying one and get more as budget permits. Renting lenses is also possible for times when you need something for a special occasion. The good thing about buying lenses is that they tend to outlast cameras because optical technology changes less. Most mid-to-high quality lenses also increase in value and usually end up forming the bulk of your investment in photography, so choose wisely.

Just like buying a digital camera requires some research, so does choosing lenses. If you feel confused by basic lens terminology such as focal-length, aperture, filter-thread, supersonic, etc, then you should really start by reading a lens buying guide. By reading two pages there, you will know all the basics about camera lenses. If you already know what you are looking for in terms of focal-length, aperture and type of lens, the Lens Finder can find and compare lenses that match your criteria.

To learn more about digital cameras read on Itai Danan's digital camera buying guide with 4 easy steps to buying a digital camera, a DSLR or camera lens. There are tools to search for cameras and lenses by features or specification and compare them side-by-side.

Photography on an African Safari - Which Digital Camera to Take With

Going on an African safari is a big event in most people's lives so it's important that you take good photographs home with you. In order to do this you need to bring the right camera on safari.

I was tempted to use the word 'best' in this page title but I don't think there is a 'best' camera. The best camera is the one you have with you when you see the lion kill! It's the one you feel comfortable using and that gives you pleasing results.

We realise, however, that there are various levels of photographers out there - some are just starting out, some want to upgrade, some have budget constraints while money is no obstacle for others. If you are wanting to enter your photos into photo contests, publish them or make prints you will need to go for a minimum standard. On this page we will provide our advice for these different levels of photographers.

When we started out with photography we had a simple Kodak point and shoot camera and very quickly realised this was not sufficient for good wildlife photographs!

For the Beginner / Budget-Conscious Photographer

Compact cameras just cannot provide the picture quality and variety of settings that a DSLR (Digital Single Lens Reflex) camera does so we will therefore be discussing only DSLR camera options.

We recommend the Nikon D5000, D90 (both 12.3 Megapixels) or the Nikon D7000 (16.2 Megapixels). The D90 and D7000 have a built-in motor while the D5000 doesn't.

Most modern lenses come with a motor (Nikon has a SWM - Silent Wave Motor while Canon has a USM - Ultra Sonic Motor) but some lenses, like the Nikon 80-400, don't have one, so if you chose the D5000 camera with the 80-400 lens you would be shooting only with manual focus. These camera bodies are 'DX' meaning they have a smaller sensor with a 1.5x crop factor - this means that the image will be 50% larger than the size of 35mm film. The end result is that your 200mm lens now has the magnification of a 300mm lens!

Also, the D5000 has a flip-out screen so you can shoot low-angle pictures without having to buy a right-angle viewfinder - both these features (1.5x crop and flip-out screen) are great for the budget conscious.

The only problem we experienced with both the D90 and D7000 is that the program dial cannot lock so I often would inadvertently bump or rub against the camera and the dial would turn from A (Aperture) mode to S (shutter), P (program) or M (manual) and I would end up with some ugly photos! If you choose either of these camera bodies please keep this in mind and check the position of the dial before taking any pictures.

If you like Canon equipment my good friend and Canon wildlife photographer, Irvine Eidelman, recommends either the Canon 50D (15.1 Megapixel) or Canon EOS 7D (18 Megapixel). Keep in mind that the 7D is a bit more complicated to use than the 50D.

For the Intermediate / Budget-Doesn't-Matter / Professional Photographer

If budget is not an issue the Nikon D300s (12.3 megapixels) or D3s (12.1 megapixels) is my choice. The D3s has superb low-light capability and the ISO can be pushed to 12800 with minimal noise!

We use this body in Etosha, the Kruger Park and Kgalagadi to get amazing photographs of nocturnal animals. The D300s has 1.5x crop factor while the D3s is an 'FX' or full-frame camera body. The pixels on the FX sensors are larger than on the DX sensors so the image quality is a bit better because of the higher light sensitivity and dynamic range. I stress 'a bit' - I'm using both these bodies and I struggle to see a difference between photographs taken, in daylight, with each camera. For night photography, however, the difference is immense.

For Canon users the Canon 1D mark4 ( 16.1 megapixel with 1.3x crop) or the Canon 1Ds mark3 (21 megapixel full-frame sensor) would be the ultimate camera body to take on safari.

Please keep in mind that sometimes less is more. Just because a camera has gazillions of pixels does not make it the 'best' body. As an example, I enjoy nocturnal photography so a camera that can produce low noise on high ISO and focus well under low light would be my number-1 choice, hence I have the Nikon D3s.

Another criteria for you may be weight and the Nikon D5000, D90 and D7000 as well as the Canon 50D are smaller and lighter bodies so if you will be doing bush walks or walking around camps taking photographs these may be better options than the heavier pro bodies.

If you want to use the camera to also shoot videos we recommend either the Nikon D7000 or the Nikon D3s as both cameras have excellent video functions.

Mario Fazekas is a wildlife photographer living in South Africa, and is the webmaster of http://www.kruger-2-kalahari.com - Find out more about wildlife photography at http://www.kruger-2-kalahari.com/Wildlife-Photography.html

Travel Photography: Packing Camera Gear for a Trip

So you've decided to take a trip - that's fabulous! You're excited about capturing photos along the way, but how do you make sure you've remembered everything you need to pack? Well first, each person has a different approach to taking photos while away from home, so to help you figure out what you need to pack, consider the following concepts.

Concept #1: How many photos will you take?

When it comes to photography and trips, it's all about the balance of time spent snapping photos and time spent doing activities or relaxing; it's about how you want to experience your trip. Are you the type of person who spends hours waiting for the right light before taking a photo, or do you snap a single shot and move on? Are you trying to get the artsy shot or are you perfectly happy just to record the scene once? Part of your plans to take photos will depend on who you're travelling with and whether you're on a pre-scheduled trip, or free to make your own schedule. Are you travelling with someone who is a photo enthusiast, or will your travel mates grow impatient the instant you pause to take a shot? Have you signed up for an organized tour, or can you stay in a city for an extra 3 days if you wish? Are you planning to visit 30 cities in 30 days, or just 1 city in 2 weeks.

The number of shots you take will depend on who you are and the nature of your activities. For example, if you're hiking through forest or jungle for 8 days, you may be too tired to snap more than a few shots a day, let alone carry anything heavier than a small camera, whereas if you're staying in central Venice for 8 days, you may plan to take hundreds of shots a day and can easily change cameras or lenses should you need to go back to your hotel. Consider how active you plan to be - e.g. hiking vs bungee jumping vs rafting. Can you hold your camera securely, or do you need to rely on the camera strap, or even some other type of harness? Is your camera heavy, or do you have a lighter one? Are you willing to carry it in a large camera bag with various lenses and accessories, or would you prefer to have a small case that fits only the camera? The case or backpack that you bring to carry your camera and accessories in can make your trip very pleasant, or very unpleasant! The bottom line is that only you know yourself when it comes to snapping photos and what you're likely to do. Make sure you'll be physically comfortable with what you choose to bring or else your photography goals will be hard to achieve.

Memory card capacity is a major consideration for digital photographers when it comes to how many photos you can store; likewise film photographers need to know how much film to bring. Assess how many photos you plan to take per day, and come up with the total number you plan to take for the whole trip. Then look up how many photos will fit on each film or memory card; that should tell you how many of each you need to pack (or purchase). However, once you've calculated how much memory storage you have to pack, or how many film cartridges you need to carry, seriously consider doubling it; it's a lot easier to pack extra film or an extra memory card than spending time during your vacation buying an extra one. If you're anything like me, you'd rather spend your time looking through tacky souvenirs than searching for an internationally-known brand of film! Of course, if you're going the digital route, research the internet cafes near your lodging to see if they support USB downloads; perhaps you can burn a CD along your travels using these facilities. Or, if you're really gung-ho, pack a laptop or a video iPod and download your photos to a larger disk.

Concept #2: Airports and Customs

The obvious concern of travellers these days are the X-ray machines and what damage they can do. Digital cameras and memory cards have no reported incidences of damage from X-ray machines at airports, so you're pretty much safe if that's all you carry. Film photographers, however, do need to be concerned about film passing through X-rays, so be sure to pack your film in your carry-on luggage in a separate bag so that you can specifically request the bag be manually searched instead of X-rayed. Note that checked luggage typically have more damaging X-rays pointed at them, so checking your film is not a good idea. At modern airports, there tend to be fewer problems with X-ray damage, but I know a friend of mine who went to Iceland returned with blemishes on virtually all of his 12 rolls of film after airport authorities convinced him that X-rays would not damage the film. Better be safe than sorry.

The other concern is your destination country's customs laws and whether they limit the amount of camera equipment that you can bring, so do a little research on customs and check with your travel agent before you pack. Some countries may charge a fee or require you to bring special documentation, so it's best to go prepared. At a minimum, you should get your expensive equipment certified at your local customs before you go, so that re-entry is not a problem either.

Concept #3: Lighting conditions when you get there.

Flash will use up batteries faster than non-flash, as will using the built-in digital viewfinder on point & shoot digital cameras. So consider how much photography you'll be doing in low light. Museums and indoor photo opportunities may require flash, or use of a tripod, whereas sunny outdoor shots may need you to increase the brightness of your viewfinder.

Concept #4: Technical limitations on your hardware.

Let's face it: extreme temperatures can play havok with any mechanical or digital equipment. How hot or cold will it be where you stay? Will you be quickly going between air conditioning and hot humid weather, or will you be outdoors in frigid temperatures for more than a minute? You must weight the risk of fungus or heat damage to your film or memory cards versus convenience and the cost of replacing them. Also consider taking sealable bags to prevent condensation as you go between dry, cold hotel rooms, and steamy hot outdoor temperatures.

Do you plan to take underwater photos? If so, consider purchasing a disaposable underwater camera. These days, it seems most underwater cameras also float, but you need to figure out if that's what you want. Sometimes your camera will have a special underwater casing accessory for your camera that you can buy before your trip, but it likely won't float, so be sure you don't drop it in the ocean!

Digital photographers must consider battery life in foreign countries, and accessibility of throw-away batteries if rechargeable ones are not available. The DSLR that I own has a proprietary battery, but in case it dies, I purchased a AA battery accessory that lets you operate the camera on 6 AA batteries. Disposable AAA batteries are much more readily available than proprietary rechargeable ones, and I'd rather spend money on batteries than be without. Be careful, though; should you ever end up purchasing batteries in a foreign country, make sure you splurge on internationally known brands, rather than skimping on the cheap kind - I can't tell you how frustrated I was when I bought a brand I had never heard of in Switzerland only to find my camera detected they had no juice left!

Related to battery recharging, it's important to be aware of the power configuration in your destionation country. Do you need a power converter, or will your native power supply work? Do you plan to bring your AA battery recharger with you, or your priorietary battery charger? Check with your vendor to see if they recommend a particular power converter.

Concept #5: In case of damage...

Is there technical support available for your camera at your destination? If so, is it free, or do you have to pay for it? Can they fix your camera same-day, or replace it quickly if it outright dies? If your nearest camera shop is 500 km away, you may need to take a second camera with you, or tools to fix it yourself.

That's a lot to consider! But frankly it depends on your shooting style and your desitnation. On my trip Mexico, I took a disposable underwater camera, a small point & shoot, and a larger DSLR with a single primary lens. I left them locked in my room's safe, and only used one at a time, so it worked well for me. I took a small bag with which to dampen the affects of condensation because of rapid changes of air conditioning to humidity. But I also took a larger bag that had cleaners, spare batteries, and my AA battery pack - I used this when going inland to see Mayan communities since I knew I'd never go back and didn't want to risk coming away with no photos!

Jennifer Clarkson is a Canadian Photographer living in Ottawa. She is compiling a website of articles for Amateur Photographers to share knowledge about digital photography (http://www.jclarksonphotography.com). You can sign up to her Photography Forum to post questions and images, and you can rate the photos in her Photo Gallery. She is also compiling a series of eBooks for Beginners, and the first eBook is now available: Choosing your Digital Camera and Accessories.

Could Bill Gates' Strategies Help Photography?

Consider this. If you bought a computer without Microsoft Windows®, what in the world would you do with it? It's really that wonderful bit of software which makes the computer so great.

So what does this have to do with Bill Gates selling cameras?

Today, cameras are much closer to computers than they ever were before. The newest DSLRs (digital, single-lens reflex cameras) are wonders of modern electronics. These cameras will automatically do all the required calculations internally, in tiny complex microprocessors, to insure that you get a beautiful looking photograph. They have automatic settings for landscapes, for portraits, sports, close-ups, etc. You can even program your own favorite settings of aperture, shutter speed, or ISO and the camera will be sure to make whatever other adjustments are at its disposal to insure your photo looks good.

But how is it then, that every professional photographer I know who uses one of these marvels of technology, with many pro cameras costing several thousand dollars each, wouldn't dream of presenting a photo to their clients without first running it through Photoshop? (Adobe Photoshop® is THE photo-editing software of choice for amateur and professional photographers alike when it comes to maximizing the quality of their photos)

In fact, people have come to me after buying a new camera, asking for lessons in photography because "their camera" doesn't take photos like the ones they've seen from others using that same camera. Maybe you've wondered that too? It's quite likely you've been comparing apples to oranges, photos right out of the camera vs. those that have been optimized with Photoshop. You'd be amazed at the difference just a few simple tweaks can bring!

Imagine, a thousand dollar DSLR camera, with all its automatic features, that can't produce an optimal quality image without the help of additional software?

Now doesn't that sound exactly like a computer without its Windows?

I'm not sure who's heading up the Adobe division that markets Photoshop, but I'm certain if it were Bill Gates, you'd see every camera sold being bundled with a Photoshop installation CD. (hopefully it would be a far bit cheaper than buying the two separately!)

But until that day arrives, do not despair over your own photographs. I'm not saying the new DSLR's don't create beautiful photos on their own, they certainly do. All I'm saying is, there is so much more that can be achieved with a little assist from Photoshop.

Personally, Photoshop® is half the fun of photography for me, the most creative half.

I'd highly recommend it for anyone with a serious interest in getting the absolute most from photography.

Robert Schwarztrauber is an author, speaker and photographer who provides many online resources which help people take and create better pictures. For more information on improving your results in photography, and more specifically using Photoshop to maximize your images and your fun, please visit my blog at: http://PhotoshopHouseofCards.blogspot.com

Digital Camera Accessories - Here's A Guide On How Best to Get Everything Connected

Digital Photography Tutorial -Seamlessly Connected; It's all very well having a Dslr camera, Personal computer and other photography's kit, but at this moment you need to get them to connect with each other. Here's a guideline about how best to get the whole thing connected.

USB Connections:

The most common form of connection for a digital camera to modern PC is a USB (Universal Serial Bus) connection. This has recently been improved with the introduction of USB 2.0, which provides increased data flow speeds. Your keyboard, mouse, printer and scanner probably use USB. All digital cameras have a USB port for connection to a PC, and your camera should come with a USB lead as standard. This makes it very easy just to plug in and connect your PC to your camera, so you can download images for editing and printing. USB also enables 'hot swapping', which simply means you can plug or unplug the cables without needing to restart your computer or the device.

You camera will also probably come with a video lead which will allow you to connect your camera direct to TV to show pictures on screen. There are other forms of interface, the name given to connecting various digital devices to a PC, and some system will have one, two, or all of them usually depending on the price of the system.

FireWire Fast Data Connection:

FireWire is technically called IEEE 1394. It is a fast data cable connection common to higher-end digital cameras such as D-SLRs and most modern PC systems. FireWire is faster than 'normal' USB connections but not as fast as USB 2.0 and hot swappable. You'll also find FireWire on best digital camcorders and on some high-end printers and scanner.

Wireless Connections:

You'll rapidly see that wires abound with all these interfaces, so if you can afford it, consider wireless networking or Wi-Fi (Wireless Fidelity) connectivity. Wi-Fi devices transmit data in a waveform and can connect together multiple devices, such as a printer PC or camera, without any cables. Often use for notebook and laptop PCs. Wi-Fi also mean you can work anywhere in the home, not just sat at a sat at a desk. Any hardware bought that displays the Wi-Fi logo should interconnect seamlessly with any other Wi-Fi enabled device. It can work at distances of up to 350 feet, depending on the type of connection.

Connection Speed:

It may come as no surprise that the faster the rate at which data is transferred the faster you can work and each of the main connection options has different connection speeds. We don't have to worry about the exact rate they work at, but it's useful to know which is fastest.

- Bluetooth: Bluetooth is very slow when compared to cable add to Wi-Fi connections.

- USB (Universal Serial Bus) 1.0: This is pretty much the slowest wired connection and is being phased out and replaced by USB 2.0.

- Wi-Fi: Wi-Fi connections are getting faster all the time but are relatively slow compared with a direct USB 2.0 or FireWire connection. Also, Wi-Fi speed is affected by the number of obstacles in the way (number of walls and size of the room for example). The latest type (802.11g and fastest 802.11a) offers the greatest range and speed.

- FireWire/IEEE 1394: FireWire is fast and very common and offers connections fast enough for image and video transfer without problems.

- USB (Universal Serial Bus) 2.0: This new USB connectivity allows very fast connectivity and is slightly faster than FireWire.

Bluetooth is another example of wireless networking and can be found on many modern mobile camera phones. It is a common wireless interface for up to eight devices over a range of about 30 feet. If you have a Bluetooth-enable printer, you could print images directly from a Bluetooth camera without needing a physical wire for example. Not as flexible or fast as Wi-Fi, it still saves on wires.

Conclusion - USB 2.0 is key for swift connectivity as it makes connection of your digital camera to your PC or printer, very easy. It provides fast communication between devices, ideal for printing or transferring images.

We hope you found this digital camera article informative and also helpful. Tabitha Mwendo - She's very passionate and currently working on a new theme digital photography tutorial for more inspiration visit http://www.edigitalcamera.org

The Changing Landscape of Professional Photography

Forty years ago nobody would buy a Brownie box camera and think to offer their services as a professional photographer. Around thirty years ago Kodak and a couple other manufacturers came out with "Instamatic" cameras. Still, no one would think that with an Instamatic camera they were equipped to offer professional photography services.

As camera technology progressed, more and more "bells and whistles" got added to the improving models of what then became known as "point and shoot" cameras. Still, nobody with just a point and shoot camera would consider himself or herself a professional photographer.

You see, back in the days before the advent of digital cameras, film was the medium for recording photographs. And before the invention of Instamatic and point and shoot cameras, you had to actually know how to use the controls on a camera in order to properly expose the film to make a photograph.

Instamatic and later point and shoot cameras enabled millions of people to make snapshots and record their lives and those of their families and friends. Professional cameras with changeable lenses and aperture and shutter speed controls continued to be the tools of professional photographers and serious amateurs.

Point and shoot cameras designed for hobbyists proliferated and millions of people began to enjoy the hobby of photography. And certainly many got to be pretty good at composing and creating photographs with them. But even if all their friends told them what great photographs they made, do you think a person with a point and shoot camera would have the gumption to claim to be a professional and offer their services for hire? I think not.

Now days with all the available digital SLR cameras geared to the hobbyist consumer with a price tag that is within the reach of many hobbyists, one cannot tell by looking at the camera whether the user knows what they are doing or not! Why not? Because all the DSLRs have Program modes of operation that enable the user to use them just the same as a point and shoot camera.

The advances of digital photography have been absolutely wonderful! Now days a camera is a complex computer with a lens, and most people with a little practice can make some pretty good photographs with them. Certainly the optics for modern DSLRs are vastly improved over the point and shoot optics of yesteryear.

The downside of all this progress is that more and more hobbyists with nice DSLRs are marketing themselves as professional photographers, and charging for their services without knowing anything about photography except how to frame a picture and press the shutter release. As a result many people are being duped into hiring amateurs, and are buying amateur quality photographs because they think they are getting a good deal because the price is low. And because they don't know how to separate the amateurs from the pros when choosing a photographer to do a job for them, whether it be portraiture or commercial photography.

Caveat emptor...Let the consumer beware!

About the author: Stan P. Cox II runs a Portrait and Commercial photography studio in Honolulu, Hawaii, and has been a professional Hawaii photographer specializing in portraiture for over 30 years. His web address is: http://www.paramountphotography.com This article may be freely distributed if this resource box stays attached.

Choosing & Buying a Digital Camera

With the advent of digital camera technology, photography has been placed within reach of everybody, and photography has never been more exciting. Nowadays, there is a large variety of digital cameras to choose from. From the most inexpensive point-and-shoot camera to the most elaborate DSLR, each has its own features and capabilities. That is why its getting harder to choose the right camera.

When choosing your camera, the first step is to decide how you will primarily use it. If you just want a small lightweight camera to carry in a pocket or purse for occasional shooting, then you have a large selection to choose from. Many of today's compact cameras are capable of producing very nice results. If you want to take pictures which are worthy of a professional, or if you are a professional photographer, then of course you will need higher-grade equipment.

There are two major types of digital cameras in use - P&S or Point-And-Shoot, and DSLR or Digital Single Lens Reflex.

Now you'll need to determine which type of camera to buy. Do you need a point-and-shoot only camera or a DSLR?. Let me explain a bit about both. Generally, a so-called point-and-shoot camera is one which does not have interchangeable lenses, and does not offer true through-the-lens viewfinding. These cameras usually allow (and sometimes force) the user to rely on automatic & pre-programmed settings for image quality, exposure, flash, etc. but that can be their advantage because the user can often snap very nice quality images with no more effort than simply pressing the shutter button. Most mid-to-high end P&S cameras these days allow for manual settings too.

The DSLR or Digital Single Lens Reflex camera is simply a modern digital adaption of the film type SLR camera. DSLR cameras usually offer through-the-lens viewfinding - that is to say that what you see in the viewfinder is exactly what the lens sees. They also offer the ability to change lenses in order to accommodate different shooting conditions. For example, say you want to take pictures of family members during various activities. For most of these types of images you would use perhaps a 25-50mm lens which would produce good results. Now you've decided that you want to take wildlife shots too. Well for this, you need a good telephoto lens.

With a DSLR camera, you can use either type of lens with the same camera, whereas with a point-and-shoot model, you generally cannot. Many people also consider DSLRs to deliver superior image quality. I should mention here though that the line between P&S cameras and DSLRs is getting increasingly thinner in terms of both image quality and usability.

Most if not all DSLR cameras also offer full manual control of nearly all of their settings.

So which do you buy, Point-And-Shoot or DSLR?. Depends on your anticipated shooting needs. If you need ultimate flexibility, the DSLR is probably for you. If you just want a good all-around camera for everything from vacations to soccer games to simple portraits then go with a good Point-And-Shoot.

Next, determine how much money you are willing to spend. The really neat thing about this part is that you can buy a lot of camera for a reasonable amount of money these days. Within the last few years, camera prices have become quite attractive in many cases. For example, $400USD can buy you a nice DSLR camera complete with zoom lens, battery, charger, lens hood, etc. at the time of this writing. That same amount of money can also buy a very nice, full-featured semi-professional non-DSLR camera.

Another consideration is overall quality. After all, you probably don't want to buy a camera only to find that it doesn't live up to the claims of its makers or quits working after a short period of time. The key here is research before buying. It is easier than ever to get opinions from current and past users of the product you want thanks to the internet, and there are a lot of websites which offer unbiased and in-depth reviews of a given camera. Many large online retailers such as Amazon.com offer user opinions right on the purchase page.

A great way to research a particular model is simply to type the make & model of the unit in question into your favorite internet search engine, followed by the word(s) "review" or "user opinions" or both. then you can choose your reading from the results.

Okay, so let's review. You've decided what you want a camera for. You've figured out which type to get, done some research, and found what looks to be the perfect unit. And you've got money to buy said camera. Well, that pretty much meets all of the prerequisites so what are you waiting for? find out who has your camera for a good price and buy it!

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Street Photography Techniques

When you're getting started the challenge is overcoming the fear of taking pictures of strangers. Since telephoto lenses are not normally used in street photography, how can you stand a few feet from your subject, put the camera to your eye, focus, and click the shutter without getting nervous? A good street photographer is not only fearful in the beginning (this is a good sign of being sensitive) but they also don't want to do anything which will change the how the subject is behaving.

With practice, you can overcome your reluctance to photograph strangers as well as learn techniques which will help you get better candid shots. One word of caution - it can be addictive. After a while the street photographer will choose which seat has the best view in a restaurant, or which side of the street offers the best possibilities.

THE PSYCHOLOGICAL AND MORAL ISSUES

The first thing to accept is that you are invading the privacy of your intended subject. You may have the best intentions in the world, but once you decide to point your camera at someone without their permission, you will be invading their personal space. This is what it means to take a candid street shot. Before going into the physical techniques which can make your job easier, it is important to look at your own motives. Most of the time, you see something that you simply want to share with the rest of the world. It might be funny, odd, mysterious, have an interesting design, or any other quality that you think is worth shooting. But you are nervous about taking the photograph. This is normal. When you are just starting out, ask yourself whether you would take the picture if you weren't afraid of your imagined consequences. This may seem drastic, but pretend that this is your last day on earth, and that nothing else matters but getting this shot. Take a deep breath and after learning the various techniques listed below - you should be ready to get at it.

WHICH CAMERA?

A good street camera has the following characteristics: a quiet shutter, interchangeable lenses, fast lenses (F-Stop of F2.0 or lower), no shutter lag, RAW capture mode, the ability to focus well in dark places, usable high ASA, a good viewfinder and lightweight enough to take with you wherever you go. I don't know of any digital Point and Shoot camera that meets all these criteria. A digital Single Lens Reflex (DSLR) will meet all or most of these properties. The Canon 40D, for example is no heavier than a Leica M, but the fast lenses are larger. The high end Point and Shoot, known as a digicam, has some of these features, but they don't have interchangeable lenses, and the zoom lenses are not usually faster than F2.8 at the wide end.

The current crop of DSLRs have many features of a good street camera.

So, let's get to it. Whatever digital camera you use, turn off any beeping the camera makes. Also turn off the immediate playback on the LCD. Do some tests to find out that highest ASA you can use without getting too much digital noise. Again, this is where DSLRs are best. Cameras like the Canon Mark II can allow you to use an ASA as high as 3200 (maybe more) without creating much digital noise in the image. Most point and shoot digital cameras creating noiseless images at much about 200 ASA.

Most DSLRs depend on a tic-tac-toe matrix of focal points. Keep the center point on, and turn the other focal points off.

For a digital camera with a cropped sensor, a 30mm F1.4 is a good walking around lens. Sigma makes an excellent one though remember, the Sigma f1.4 30mm won't work with a full-frame sensor). If you are using a full-sized sensor, then a 35mm f1.4 lens, in combination with a 50mm f1.4 is an excellent combination. Having a lens that gives you a good quality shot at F1.4 is very important. And just because a lens opens to F1.4 doesn't mean that it's good at that F-Stop, so pick this lens carefully. In the Canon line, the 50mm F1.4 which is for a full sensor, and which works with a cropped-sensor as well, is one of their best lenses and compared to their other F1.4 lenses is cheap.

A DSLR usually has a method for decoupling the exposure from the focal point. It's a good idea to do this. The Canon 40D and in fact almost all Canon SLRs (going back to the film days) have this feature. You set the focus lock to a button on the back of the camera, and a half-press of the shutter locks exposure. I dwell on this idea because many times you are going to use the button on the back to pre-focus your shot, and do framing as the camera comes to your eye. The idea that you want the camera to take it's exposure off the focal point doesn't make much sense. In general, if you are relying on the meter, than it's better to lock focus, and have the meter do a general reading of what's in the frame.

Whether it's a sunny day, or an overcast day - ASA 800 is a good place to start. You almost always want all the shutter speed you can get. If your camera produces very noisy images at ASA 800 than it is not the right camera to use.

Never use a lens cap. Not at any time, for any reason. You should always have a UV filter on the lens, which will protect the lens and make it easy to take a quick shot. You can always tell an amateur if they are using a lens cap.

DRESS THE PART

You'll be headed out to a tourist spot, so dress like a tourist. I'm not kidding. Although you may have lived in your city for 50 years, get yourself a tourist map and dress like you have just arrived from the mid-west on vacation. I'll leave that part for you to figure out.

Visit a crowded tourist attraction where everyone has a camera. Dress and act as just another tourist. Study your tourist map. Gawk at the landmark like everyone else. And keep an eye out for interesting subjects.

DO NOT REMOVE YOUR EYE FROM THE CAMERA AFTER YOUR SHOT

Start off like everyone else. Take pictures of the landmark. Keeping the camera to your eye you can now scan through the crowd for something interesting. As you take pictures, do not remove the camera from your eye even after you have the shot you wanted. Continue to move the camera around pretending to take pictures. Never give away the fact that you've taken someone's picture by removing the camera from your eye after taking the shot.

You may not find anyone worth shooting, but this is an easy way to get started. It shouldn't be very scary, and you will find that even while standing very close to your subjects you can take their pictures without arousing suspicion. You can employ the same techniques at street fairs, or parades. Just about any crowded area which is filled with tourists is a good place to practice.

KEEP BOTH EYES OPEN, TURN OFF THE LCD

Keep your non-shooting eye open. You should be able to look at possible subjects even with the camera to your eye. Most DSLR cameras have an LCD screen for viewing images on the back. This should always be turned off.

You just don't want the LCD coming on while the camera is to your eye. It's annoying and it gives away the fact that you've taken a shot, especially in a dark location. Also, if the LCD is off, and you hold the camera a bit in front of your face, you can see the reflection of what's going on behind you.

Knowing what is happening behind you is useful in a street where people are moving around because you can estimate the distance the potential subject will be when you turn around, and have your camera pre-focused for that shot. Of course you'll need to gauge how fast they're walking towards you, and about where you'll turn around and snap. But again - as you turn keep the camera to your eye as if you are just looking around. You will be surprised at how easy it is to take a picture of the subjects when they are five feet or so from you without them knowing.

SHOOTING FROM THE HIP VS. HAVING THE CAMERA TO YOUR EYE

As a general rule of street photography, if you can get the shot with the camera to your eye, you will get a better shot. I know that there is an entire school of shoot-from-the-hip photography, which you can practice as well, but you will never be able to frame this sort of shot as well as if you put the camera to your eye. (That's my own opinion and of course open to debate.) There will be times when it is simply impossible to shoot with the camera to your eye, and so shooting from the hip is worth learning. But I don't think it's a good way to get started.

You need to make decisions about depth-of-field. A common technique for the street photographer is relying on hyper-focal distance. I don't think this is as necessary with modern auto-focus cameras, but the idea is that with a wide lens, in the 30 - 35mm range, you can set the lens to f8, if you have enough light, and set the focus at ten feet, and know that everything from approximately 6 feet to 15 feet will be in hyperfocal distance.(I'm not looking at a lens as I write this so the exact distance and f-stop may be off, plus most modern autofocus lenses don't include a hyperfocal scale. But for older cameras with a hyperfocal scale on the lens, this is a tried and true technique.) I just haven't found it to be necessary with modern auto-focus cameras.

PRE-FOCUS

For example, with the Canon and Nikon DSLRs you can assign focus lock to a button on the back of the camera and exposure to the shutter button. You anticipate that you are going to shoot a certain subject, and hold the back button down to focus on them, but maybe you aren't ready to take their picture yet and they aren't moving much. You can continue to hold that back button down until you are ready to take the shot, or you can turn the lens to manual focus while holding the button down. Then you can release the button and know that the focus remains the same. Don't forget to turn autofocus on the lens back on when you're finished or all your subsequent shots will be out of focus.

Modern cameras have a matrix of focal points. They are a big selling point. But they are not very useful for street photography. I would recommend turning them all off except for the center focal point, which you'll use to pre-focus with. I don't like the idea of having the camera decide what to focus on.

Suppose you're walking down a New York street and you see a bunch of subjects leaning against the building to your right. You know that you are going to turn and face them at take your picture and then walk on. So the distance between you and any building directly to your right is the same. You focus on a building to your right before you arrive at your subjects and lock that focus. Now as you approach your subjects, you turn to your right and take your shot without the need to focus.

HAVING A FRIEND ALONG

This technique goes back a long way in the history of street photography. Walker Evans would bring a woman friend along with him, and stand on a crowded street pretending to take pictures of her. She was a decoy, and he would move the camera so that she wasn't in frame and take pictures of the people that behind her.

GADGETS

Sneaky camera gadgets have been around for a 100 years. The right-angle attachment on the viewfinder was often used by famous street photographers. It can swivel at various right-angles so that you are looking in a different direction than where the lens is pointed.

A similar device that fits on the end of the lens has a mirror inside. The front of the lens is points straight ahead, but the mirror is pointing to your left or right.

Both gadgets are still made, but they take some getting used to. I haven't found them necessary, although I've experimented with both devices.

TOUGHER LOCATIONS

The subway car is another popular locale for street photographers.

When Walker Evans did his series of subway "portraits," he used a Rollei Twin Lens camera. You look down at the ground glass to focus and compose. Evans used a cable release which he ran up the arm of his coat. He put the camera on his lap, sat directly across from his subject, and kept his right hand in his pocket to operate the cable release.

He knew ahead of time, what the distance was too his subject. If you are shooting on the same subway line, the trains are always the same dimensions. If you don't have a camera with auto-focus, you know the distance between different points.

Evans had one problem with his setup. After taking his shot, it was very obvious that he was advancing the film to the next frame. He would usually get up and settle down in another car with a new frame loaded.

Although the subway is a difficult place to shoot, it has one advantage: it's noisy. There's always enough noise to drown out the click of the shutter. I have taken thousands of pictures on the subway with the camera to my eye without running into any sort of trouble other than the occasional nasty stare. However, before the camera is raised to your eye it should already be focused. This rule is true for most street shots.

You can focus on your subject when they aren't looking, set the camera lens to manual and wait for "the moment" if it ever happens.

Whether on a train, or some other location, the easiest time to shoot is when there is a distraction. For example, when the mariachi band enters the car, everyone will be looking at them. You can shoot other passengers without being noticed.

And even if you are seen, people will understand that you have your camera out if you take a few shots of the mariachi Band as well. This is the same technique as using a landmark as a reason for taking pictures.

Another modern phenomena which makes life easier for the street photographer: everyone, whether on the street or in a subway car, is already distracted by their iPods, cell phones, e-books, and Blackberry devices. One day I was on the train, and noticed that everyone around me had earphones, or were reading their email. Combined with the noise of the train, I was able to take closeup shots of a passenger who was about a foot and a half away from me without being noticed by anyone. I found that amazing. It wasn't like that ten years ago.

SHUTTER SPEED

As a rule for hand-held shooting, your shutter speed should equal the focal length of your lens. If you shoot with a 30mm lens, your shutter speed should be at least 1/30th of a second. If your shoot with a 90mm lens, your shutter speed should be at least 1/90th of a second to prevent blur due to camera shake.

Some photographers can hand-hold a camera at 1/15th of a second with a 30mm lens and some will have trouble holding the camera steady enough even at 1/30th of a second with a 30mm lens. So this is just a guide. Camera shake is also a property of the camera. An SLR camera, with the slap of the returning mirror, vibrates more than a Point and Shoot camera which doesn't have a mirror. Many Digital SLRs now feature "Live Mode" where the mirror slap is no longer a factor. So you will need to experiment to find out the lens / shutter speed combination which will prevent camera shake with your setup.

But remember this, camera shake is not the same thing as motion blur. Even if your camera is set on a tripod, with a mirror lock-up, and a cable release, if the motion of the subject is too fast for your shutter speed, you will have a perfectly blur free background (no camera shake) with a blurred subject.

I call this technique The Stutter Step. The object of the stutter step is to be able to freeze your walk, in mid-step if needed, at the same instant you click the shutter, and then continue on as if nothing has happened. If you do it slowly, someone walking briskly behind you may just about bump into you because you have stopped dead in your tracks for an instant while you put the camera to your eye and took a picture of someone walking towards you. For this sort of shooting, where your subject(s) more directly towards you, it is best to have as fast a shutter speed as you can manage.

Digital SLR cameras usually have the following settings: P (program mode), AV (aperture mode), TV (shutter speed mode) and M (manual mode). They also have a a bunch of icons representing other situations such as Action Mode, or Portrait Mode, or Night Mode. Don't use these. Again, you don't want the camera to make decisions for you.

But it is handy, to set your AV and TV modes so that with the twist of the dial, you are set for aperture or shutter speed priority. In the case where it is a sunny day and you are walking, and expect to be taking pictures of other people who are walking, you can work in TV mode, with your shutter set to 1/1000th of a second. This assumes that you are using a relatively fast lens, and that you can shoot at an ASA of at least 800.

But to return to the stutter step. Your camera is hanging around your neck. You are wearing tourist clothes. You see an interesting situation developing ahead of you. Your camera is set to shutter priority of 1/1000th (more if you can manage it), and you must image what distance you will be when you take the shot. Aim your camera at the sidewalk and focus at the distance that you imagine you'll take your shot and lock that focus in.

Now, just when the situation is right, you halt, sometimes in mid-stride, the camera moves to your eye. You already know whether this is going to be a vertical shot or not, and what the frame will be, and while you are stock still, you take your shot and just as if nothing happened, you continue on your way. Your subjects have passed you. Even if they noticed you, it is unlikely they will turn back to find out why you may have just taken their picture. Maybe you did, and maybe you didn't.

THE BENEFIT OF HIGH ASA

One benefit of modern cameras is the ability to shoot at a high ASA. You may be able to set your walking around shutter speed at 1/4000th of a second, with an ASA of 1600. Some of the newer cameras have usable ASA ratings of 32,000 and higher without causing noise in the RAW image. This opens up a new world to street photographers. With a high ASA you can shoot with a high F-Stop and a fast shutter speed in low light situations like the subway. For example you could use an F11 f-stop with a 1/1000th of a second shutter speed, and still have enough light for a proper exposure on the subway. That is a new development in street shooting.

Previously, street photographers would push their film or use fast film for shooting. They might use an ASA of 1600 or more, but the resulting negatives would be grainy. As I write this, the Canon Mark II can easily shoot at 1600 ASA with results similar or better than 400 ASA black and white film.

DON'T THROW ANYTHING AWAY

No matter how you try, and no matter how good your street technique is, most of your shots will be ordinary. You might come back after a day of shooting with nothing to show for it. You may feel non-productive.

Street photography is like fishing. If you enjoy fishing, the catch is important, but the entire experience of getting up early, and making many fruitless casts from your boat isn't non-productive. You may enjoy the experience whether you return with fish or not. You simply can't cast your rod and expect to catch a fish every time.

Your best street catches make up for all the uninteresting shots. Unlike fishing, you can't always tell immediately if you've caught a great shot. Many street photographers will let their captures sit for a while before looking at them. What this means is: don't throw anything away. Make backups of your images, and even if you think they're not very good - don't toss them. Given the inability to describe what makes a good street shot, you shouldn't throw any away. Even an out-of-focus shot might have something interesting in it when you have enough distance to judge it. Your may find something in a shot that seems boring when you look at it again a few years later. This has happened to me enough times so that I never delete digital images.

THE OBLIVIOUS PEOPLE

Street Photography is easier then it used to be. People in the city walk around with their senses clogged up. More people are oblivious to what is going on around them then ever before. Music is blasting in their ears, or they're talking on their cellphone. If they're not talking on the phone they may walk the streets while reading their email. This makes it easier to photograph a stranger without them noticing you.

Street Photography is harder than it used to be. Since we live in an age of urban terrorism and web postings, people and the police are more suspicious than ever. This suspicion extends to landmarks and property. The subways and the streets are filled with video cameras watching your every move. While you take your photographs, most likely you too are being photographed. In New York all major infrastructure contains signs banning photography.

In New York, although it is legal to take pictures on the subway, there is the possibility that you'll be questioned by the police who think you may be a terrorist. Maybe they don't know the current laws. You are allowed to photograph on the subway, so long as you don't use a flash or tripod. However, it is always a good idea to have valid ID with you in case you are stopped. I have been stopped many times while photographing on the subway and usually I just explain that I'm a fine art photographer, working in black and white, and show some ID and that's enough. If you are going to use a flash, or a tripod, it is still possible to get a permit to photograph in a specific location in the subway.

ASKING PERMISSION

Photographers who are starting out want to know if it's a good idea to ask permission from your subject. It would be nice if you could, but it isn't practical. Once you strike up a conversation with your subject, you are no longer doing street photography. From that point on, the person will strike a pose, and you will be doing what I call street portraits. Should you get a model release? Unless you are doing street portraits, it isn't practical. On any given day, you may take 100 images only to find one good one (if you're lucky). It would be impossible to ask each person you photograph to sign a release Many of your shots are of people that rush by you in a fraction of a second.

WHAT TO DO IF YOU ARE CAUGHT

At some point, you will be caught, and your subject will approach you. Maybe they say, "Did you just take my picture."

Honesty is the best policy. The answer is, "yes." You smile, and try and explain what it was that you found so interesting about them. With a digital camera, you can show the image on the back of the camera. The person may then be annoyed, or they may be flattered. If they are upset, and the picture isn't that great, then you could offer to delete it for them - and don't play any tricks. Delete it while they watch. If it's a great shot and you want to keep it, then you'll have to win them over. If you were using a film camera you could just shrug it off and say "no." But everyone knows that you could just show the picture on the back of the digital camera.

Most of the time the person is flattered and wants to know if you would like to take another shot. At this point they almost always strike a pose, and you take the picture knowing that you won't use it. You aren't a war correspondent. Very few images are worth getting into a big hassle over. In all my years of shooting, the worst that's ever happened is that someone asked if I would please delete their photo. I think this happened twice out of ten thousand shots.

SUMMARY

- Choose an easy locale with lots of tourists when you are first starting out.

- Turn off any beeping your camera does.

- If you photographing individuals in a crowd, don't remove the camera from your eye after you take a shot, but keep scanning the crowd with it.

- Turn off the instant playback on the digital LCD

- Use a wide to normal lens. Don't rely on telephoto lenses

- Make sure that you are focused and know how you are going to frame the image before the camera goes to your eye.

- Only shoot from the hip, or without looking through the viewfinder as a last resort.

- Practice looking for specific literal ideas: irony, juxtaposition, design elements, joy, sadness, emotional moments, things that you find unusual, surprises.

- Be prepared to take a hundred shots for every good one. And try and understand what a good shot means. (This is outside the scope of this article).

- Always have a camera with you. You'll take some of your best pictures during your normal daily routines.

- Know the laws. You don't need to get into a big hassle with the police when they stop you from taking pictures in a place where you know it's legal to take pictures; but it's important to know your rights.

- Do not ask for permission or a model release, unless you are doing "portrait" work on the streets. Do not expect that you're images will be usable for print ads unless the subject is not recognizable (profile, shot from the back etc.)

- If you are afraid to put the camera to your eye - try to imagine that this is your last day on earth, and that the shot you see before you will be great. In other words, you may need to psych yourself into taking the shot. But there is a balance and if it really is too scary - then don't force yourself. Your own fear will come across to the subject. When to shoot, and when not to push it, is something you'll learn with time.

- Never use a lens cap (have an UV filter on the lens instead)

- Remember that no matter how many of these techniques you use, you are still invading someone's privacy. There is no way around that. So you must feel that what you are photographing is worth the effort.

And finally, give yourself time to get used to the experience. Expect to be nervous in the beginning. Also expect that after you've been at it for a few years these techniques will become second nature. I think that being nervous is actually a good sign. Anyone with some degree of empathy will be uncomfortable doing street photography in the beginning. If you are the type of photographer that begins by sticking your camera in the faces of strangers, it is doubtful whether you are sensitive enough to be a good street photographer.

http://www.beckermanphoto.com (The black and white photography store of Dave Beckerman)

http://dbeckerman.wordpress.com (Dave Beckerman's New York photography blog)

Event Photography - If You Enjoy Parties and Photography, Here's a Free Guide to Earning From It!

If you are considering becoming an Event Photographer this guide may be useful. I spent a long time researching all the kit needed to be a successful Event photographer, testing and costing carefully. It's all current gear available now so it's up to date unlike some of the guides I read.

I've been on training courses and I've done quite a few different Events now, so this is to help others avoid some of the common mistakes. This guide to Event photography is based on my personal experience and you are welcome to reproduce it as long as you credit this article with the website address

I do recommend anyone interested in Event photography going on the excellent training course supplied by Systems Insight, speak to Mike Orr, Stuart or Darren at systems insight. I've also found the Event Photographers Society really useful.

It is divided into sections as follows:

1, Camera Equipment needed for Event Photographers;

2. Lighting equipment for Event Photography;

3. Printers for Instant Event Photos;

4. Mitsubishi Click system for Event Photography;

5. Green Screen Event Photography;

6. Starting an Event Photography Business.

1. Camera Equipment for Event Photographers.

You don't NEED the latest high-end professional DSLR with pro glass lenses to shoot an event! It's nice to have good kit but that should be a given for any Pro Photographer. In reality the customer at a football tournament, school prom or black tie event doesn't care what kit you have as long as the results are good, and you don't want to be carrying a heavy camera with fragile glass in an environment that is often boisterous and busy!

You don't need to shoot huge resolution RAW files and won't have time to post process or mess about with hundreds of settings.You are aiming to get a sharp, vibrant and well lit photograph of enough resolution to print at your final output size. Concentrate on making the people look great!

I do recommend a wireless work flow which I cover later, and again you need the files to be small enough to send quickly. I use a Nikon D700 but that's only because I have one for Property photography as I need the full frame and low light capabilities.

I shoot jpg at just medium resolution for most events, and use a Sigma 24-70mm HSM lens so I can quickly zoom between individuals and groups. A Nikon D40 with a kit lens will do just as well. and I always carry one as a backup. It also takes my Nikon flashguns and is much lighter than a D700.

It is important to have a backup camera, I've even made do with a Nikon Coolpix P6000 when my D700 was being used pitch side at a Cricket Event. With proper lighting (see lighting section) I got almost identical results shooting people in front of a green screen. You must have at least one fully charged spare battery for each camera at an event, a couple of spare and preformatted memory cards, and spare batteries for your flashguns. I use the new Duracell rechargeables for the flashguns as they stay

So don't go mad on the camera kit, it will get bashed around at an event! As for settings, indoors I shoot at around f7.1 to f8 for groups so I get good depth of field, I use shutter speeds of around 125 to get sharp shots as I don't like a tripod, too restrictive, and I use ISO 400 to get enough sensitivity. White balance is easy on a Nikon, see lighting but the flash setting will do. For individuals and couples I open up to around f5 and shoot full length, head and shoulders and a close-up. Outdoors events are more dependent on the available light and the lens.

One tip, using a wireless transmitter to send the images straight to your PC, Mac or Click system avoids the pitfall of people (the ladies mainly) wanting to see each shot on the back of the camera as you take it! That gets them through quicker and lets your team at the workstation show the images properly at full size. I do actually keep the images stored in the camera as a backup though in case the wireless system stops working.

Another tip, if you are shooting groups at a School Prom or Corporate event, take a stepladder! If you get above them and shoot down it changes the angles and stops the people at the front looking much larger than those at the back! This lets you squeeze bigger groups in as well, especially useful if you are shooting in front of a green screen at an event.

Also, if you ever get a large group of girls at a School Prom or Sweet Sixteen event, take LOTS of shots! It is very hard to get a single photo where every girl is happy with how she looks, guys really are not as fussy. The girls will buy the photo that they look best in.

We tend to charge the standard rate £10 per shoot including a 6x9 mounted photograph, but do offer incentives for groups such as discounting copies of the same photograph, or offering 3 for the price of 2 if they are different shots that need processing.

2. Lighting Equipment for Event Photography

I don't use studio lighting for indoor events! Initially I used the standard large softbox above the camera and shot in front of a grey, back or white backdrop. But that's boring and old hat nowadays, the lighting is very flat and there is always the risk of people tripping over cables and the hassle of finding a nearby power socket.

At School proms, Bar-Mitzvahs and especially Sweet Sixteen parties it gets very busy and although we carry full insurance I don't want a heavy studio light falling on a guest. It's the same at Corporate events and Black Tie dinners, there's usually a huge rush after dinner for photos and even a taped down light can get pulled over by an inebriated partygoer!

So now I use a Nikon SB-900 on the camera with the wide-angle flap down and the soft diffuser fitted. This controls two other Nikon SB-600's also with the wide-angle flaps down using Nikon's excellent CLS lighting system. The two SB-600's are mounted on sturdy but portable stands and shoot through white umbrellas for lovely soft lighting.

At an Event you don't want to be messing around changing lighting when you have queues, but this setup is flexible and light enough to be safe to move quickly if you need to. The Nikon system lets me control the brightness of each flash directly from the camera without having to touch the lights.

As we use Green Screen backdrops at most events to add effects and digital backgrounds, I have to ensure the backdrop is evenly lit to avoid problems when chromakeying out the green. By mounting the umbrellas high up at either side and shooting through them, the green (or blue) backdrop gets evenly lit where it matters. The guests get a nice flattering lighting setup which I can easily adjust for large groups or closeups. I

I shoot on full manual with the on camera flash at about 1/32 power to give a little fill light, but mainly to trigger the two mounted lights. These are usually on about 1/8th power which is plenty! Recyling is very fast and I've never had to change batteries yet at an event, although I have charged spares on hand.

If I get a large group like a football or cricket team at a sporting event I can quickly move the two sidelights back and up the power.If it quietens down and we get a guest who wants some special shots, the lights can be moved so one acts as a keylight and one as a fill for classic Rembrandt lighting. We have professional makeover software running on the workstations so can enhance pictures quickly if someone wants portfolio shots.

The SB-900 on the camera can also be removed and used as a slave for hair lighting or other effects, triggered by the on canera flash. So we can do a three light setup easily! White balance is crucial, on Nikon cameras just stand where the subjects will be, set the white balance to "pre" then hold down the wb button for three seconds. When the display flashes, point the camera back between the lights and shoot. If it says "good" in the display, you are set to go. If not, try shooting again straight at one of the sb600, it will work!

The real beauty of this system is that it all fits in one calumet rolling case and is easily portable! It is very flexible for other types of photography. These flashguns are just as powerful as studio lights, and we even carry Fong diffusers and softboxes just in case we get a chance to do some glamour photography. (and yes, you can book us for private shoots!)

3. Printers for Instant Event Photos.

I used to to run a large independent company selling calibrated colour printers, scanners and displays into the corporate design market and previously worked with Canon, Xerox, Mitsubishi and Tektronix as a colour consultant. So choosing the best Event printers was an interesting exercise!

Inkjets and colour lasers were instantly dismissed as I needed portability, reliability and photographic quality. Plus I needed to know exactly what each print would cost. An inkjet will produce the quality with a bit of tweaking but will never match the quality, speed or durability of a dedicated dye-sublimation printer.

I don't believe in compatible inks as I've seen first hand the amount of R&D that goes into a manufacturers own ink. So ink-jet prints are going to be too expensive for event printing. Lasers are fast but lacking in colour quality, and extremely tricky to transport. After testing all the current offerings I decided on the Mitsubishi 9550 DW linked to the Mitsubishi Click system as our basic workhorse for producing large 9 x 6 inch photographs.

As I use a full frame camera this is exactly the size the camera shoots at, so no cropping needed! The photographs are fast and very accurate thanks to the dedicated colour profiling we use supplied by Systems Insight and fine-tuned by me!

The dye-sub process basically involves heating the ink on a ribbon until it turns into a gas and sublimates into the special paper. This is a true continuous tone process so the colour gamut is much wider than other processes, giving smooth and accurate skin tones with no dot patterns.

You can actually roll a photograph up and stand it in a pint of coke, leave it for hours and then wipe dry without any signs of running or fading, as demonstrated on the training course by Stuart! These photographs really won't fade and are fingerprint proof thanks to the special coating. They will last longer than any other photograph!

The fixed cost per photograph allows us to offer discounted pricing for pre-paid events like weddings or school proms as we know exactly what our costs will be per photo regardless of how much of each colour is used.

But we also offer a unique digital make-over service for events using a very special PC with professional retouching software so needed a printer we could connect directly. And we wanted to be able to offer instant 12" x 10" photos and other large sizes for Sporting Events like football and cricket events where team shots are popular.

So we decided on the larger format Mitsubishi as well as we have now found out it also works on the Click! Consumables for the Mitsubishi Event printers are readily available and therefore discounted prices help bring the costs down. Some of the more obscure brands like Shinko and Olmec are often tricky to source.

We are happy with the speed, quality and reliability of our printers, but more importantly, our customers love the results.

4. Mitsubishi Click System for Event Photographers.

My background is in colour technology as mentioned, but prior to that I was a DEC system manager, I have a HND in Computer Science and am a qualified programmer. Yes, I'm old enough to have done all that and spent 7 years in the Army controlling Artlillery fire by computers and by slide rules and log books when those systems were taken out.

So I'm probably more of a technical geek than most photographers. So why did I choose a dedicated turnkey solution for producing event photographs rather than use my expertise in PC and Mac solutions?

Laziness really, why re-invent the wheel! I quickly realised that to make any money at all in Event Photography you have to produce very good photographs to a very high standard very quickly! Work flow is very important. Initially I was either going to use a big 27" Mac with a studio display for quality to handle all the incoming pictures, or go down the Windows 7 route with a couple of fast Sony Vaio AW notebooks with their gorgeous Adobe RGB 18" monitors, with either system linked to a dye-sub or two.

But once I started looking at the workflow and software required I realised the Mitsubishi Click would cover all the bases. Yes, I could run either system quickly and use dedicated green screen software and professional retouching software to produce stunning results. But then who would take the photos? I needed a system that was streamlined and simple to use so I could train others to use it.

My first event was a corporate Xmas dinner and the only person available to do the green screen effects, printing, mounting and sales was my wife! The Click system is very straightforward, you set up a new event and pictures are sent wirelessly from the photographer. Selecting them by just touching the screen allows for full screen previews, once the customers have decided which photographs they want it is quite easy to drop in a green screen background and print, all by touch!

Camera cards and CD's can be easily read or burnt, multiple printers are supported and the whole system runs smoothly and look very professional. We've even had customers connect their own cameras or mobile phones by bluetooth and print their own photos! My wife managed well on our first event, and we had over thirty satisfied customers that evening, in a very short period of about 2 hours from when the meal ended to going home.

Many purchased multiple photos, with different backdrops and effects, but she handled it all while I took the shots. Now we have more trained assistants as it did wear her out a bit:) But I still wanted the flexibility and power to use more specialised green screen software to drop in overlays and fine tune some of the more tricky effects.

So with a bit of help from the techies at System Insight I worked out how to access the system directly, and underneath the smooth software front end is a powerful windows PC. So now if we get a really special request (like "put me in the Oval Office with President Obama") I can jump in and alt tab to Photokey or Portrait pro running in the background! And yes, you can print directy to the dedicated 9550DW by dropping jobs straight into the queue, email for details:)

You can also boost the processor speed, add more RAM, put in a HDMI graphics card to support external displays, even change out the motherboard if you are brave enough and don't mind voiding your warranty!

I'd recommend this system to anyone starting out, and would also recommend you buy it from Stuart or Darren at Systems Insight as they know the system well!

5. Green Screen Event Photography

To be successful in Event Photography as in any business you need a key differentiator, something to make you unique. We all provide basically the same service, photographing people having a good time and offering prints or downloads. Some specialise in niche markets like weddings or school photographs, or certain types of events like Equestrian or Motorcycling. I chose Green Screen Event Photography for a variety of reasons.

I like the portability of our lighting system and didn't want to spoil that by having to carry around various huge coloured backdrops for different occasions. I find it boring having dozens of people shot the same way, and I'm sure most people who go to events are getting fed up of the same bluey grey backdrop, or the "ultra modern" white or black high or low key shoot.

I want to have fun at an event and want the guests to experience something new. So we shoot everyone in front of a blue or more usually a green screen and then our special software can replace that colour with any of our 2500 digital backgrounds! This gives us the flexibility to add classy studio backdrops to Black Tie and Corporate Events, and lets us choose appropraite colours to enhance what the guests are wearing.

For School proms and Sweet Sixteens we can get the guests flying through space, on stage with their favourite rock bands or in the latest movies. Bar and Bat-Mitzvahs are great fun as we can transport the guests anywhere in the world, and for all events we offer free personalised overlays and designs so the event is memorable and unique.

The secret to Chromakey Event Photography is keeping the workflow fast! If you offer a guest 2500 choices, expect a huge queue or a lot of disapointed people. We tend to design 10 choices for each event and will print an example of each so they can decide before we shoot. That way if they are going to be posing alongside a Twilight Vampire or on the dance floor with John Travolta, they can strike an appropriate pose! It does slow things down having to add backdrops but we prefer the interaction and the guests enjoy the experience.

It's not all about getting them shot and printed to us, some event companies work like a slaughterhouse concentrating on quantity rather than quality, that's what the auto cameras at theme parks are for, we would rather spend a little time earning our money!

We prefer green screens to blue screens as less people wear the actual shade of green we use. Blue clothing, eyes and jewellery are more common and can cause probems unless you know how to mask out those areas. We use very special green screen material now, direct from the film studios. This is a special white backed material that absorbs light and glows evenly. Ordinary green muslin will reflect light and cause problems especially with very blonde hair. Contact me for details, it's twice the price but worth it!

Don't worry about evenly lighting the backdrop as many claim, that will just cause more spill and you need more lights power and cabling! You can't get your guests the recommended 10-12 feet away at an event, which you need to if you light the backdrop! Imagine if you were shooting a group and they all had to be 12 feet in front of the cloth!, how big would it need to be! Using pro software lets you quickly adjust for spill and reflected green light.

The trick is to light the people not the backdrop, that should only appear in the gaps anyway and if you have a light enough green it will work. Less is more, light from the sides and above so any shadows are still green and they will disappear.We use overlays and backgrounds to get realistic Magazine covers and special effects.

People don't notice that usually the models on magazines go in front of the title heading but behind the informative text! And watch out for copyrights, design your own magazine covers that are similar but not identical, you can buy these from the USA as overlays..PNG files are best but won't work on the Click, you need to do what we do and switch.

The President Obama shot is a good example, He is in the background, the guests are dropped in on top, then the desk is added as an overlay in front.

6. Starting an Event Photography Business.

Don't believe some of the salesmen out there who claim it's a licence to print money! That is their job and they do it well, but like any business you need to really work at it. Most pro photographers woudn't dream of doing a photoshoot AND supplying a framed large photograph for a tenner! And don't think just because you get a booking at a black tie event for example with 100 people that you are going to sell 100 photos!

30% of those people won't even want a photo taken! That's just the way it is. There won't be many single people wanting a photo on their own, and there's always a large group who want just one shot of all of them, but will buy additional copies at a discounted rate. That leaves the couples, so that brings you down to around five singles, a large group and twenty couples.

You will earn about £300 at an event of this size. Ok, that's a small event but just about possible for two people to cover so that's only one assistant to pay. Then there is the cost of the prints, mounts and bags, travelling costs, insurance costs not to mention an hour to setup and an hour to pack down plus sometimes many hours of waiting for a dinner speech to end.

Don't forget the website you need, the adverts to get bookings, the expense of all the gear, marketing your website, the admin and post production work to get the images online. The usual business costs of stationery, phone bills, promotional gear and all the insurance.

Also remember there are a lot of excellent photographers out there, and anyone can buy a good camera, lens, and a fast printer and go out and do this. The big companies will already have the big events sewn up, So you need to use your contacts, ask around, advertise and promote. Offer to do some small events free for the practice, but still charge the going rate. Even if you only sell 10 shoots in a night, the experience is invaluable before you tackle a busy event.

Once you get a booking, splash out on some pop up banners showing what you do, flyers and business cards. When you get there and setup, take a few test shots of the bar staff, waitresses and event organisers to test everything. Frame these up and give them out as gifts, asking them to show the guests! Great advertising! Get the DJ to tell guests where you are and what you are doing. Work the tables if it's quiet. Above all enjoy it and be polite and professional as you are representing us all!

That's enough secrets revealed for now, if anyone wants to ask any questions feel free. This is just my opinions and experience so far, I'll add more as I get time. If you find this at all useful, please tell others, I'm not charging to write all this, nor am I selling anything, but links to my site will really be appreciated, or a mention in any blogs etc. Cheers, Paul Harrison

I've been a keen photographer for many years, but at the age of 50 decided to go pro. Great excuse to buy the best gear! After a lot of research I brought a new Nikon D700, a Sigma 24-70 HSM lens, a Nikon SB-900 main flashgun with two SB-600 flashguns to use as slaves.

Then I went for the Mitsubishi Click system with 9550 dedicated photo printer churning out nine inch by six inch photographs really fast! I've since handled quite a few events, especially over Xmas, and have earned well from them. More importantly to me, the event organisers have loved what we do, and the guests have been amazed by our green screen effects and very happy to buy what we've produced.

I've now got a website http://www.fullframeevents.co.uk where you can see examples of what we do. It's great fun, hard work, but very rewarding and I love it!. It's all going well so i decided to share some of what I've learned. Hope it's helpful, Paul.

Vintage Wedding Photography

Retro is in. Just browse the pages of fashion magazines or look at the high street chains to see how much vintage 70s fashion is back in. Bands like Florence and the Machine and Mumford and Sons have also had a big influence on vintage mix and match fashion so it's now cool to wear a 70s patterned dress again or your grandad's flat cap. And although it not might be an obvious connection, this has also made it's way into the way people are planning their weddings.

Some couples are now opting to dress in a vintage style with a DIY feel which is a far cry from the traditional meringue wedding dress and top and tails! Anything goes, from brides in vintage lace wedding dresses and flower head garlands to grooms in tweed and bow ties.

The retro theme doesn't stop at fashion either. Couples spend time meticulously planning the details of their wedding and will often choose an unconventional location and decorate it in funky home made details and favours. The quirkier the better! I've seen outdoor shoots which have used props like Victorian bird cages, retro cameras, sheets strung between trees and balloons in pastel shades to complement the vintage feel. Using props in photography is nothing new and is actually a great tip if you want to make your couple feel at ease in front of the camera as it gives them something to focus on and worry less about the photographer in front of them!

From a photographic point of view, a wedding with carefully thought out details and outfits is gift from above! Not only does it mean that the couple and their chosen location look great, it also provides the photographer with great creative freedom when processing the pictures. Vintage processing is very popular at the moment, where the photographer emulates the look of print films and techniques from the 70s. One of the best known is cross processing, which although discovered by mistake, has been used to great effect for decades. Its style is easily recognised as there is a colour shift in the shadows and highlights which gives the photo its trade mark retro look. Other popular techniques at the moment include giving the pictures a polaroid look which is typified by creamy tones in the highlights and blues in the shadows. Who would have thought cheap 70s technology would now be emulated by photographers with expensive modern DSLRs? There are many photographers out there who think modern digital images are too clean and lack the character of old film.

It's an exciting time to be a wedding photographer as current trends and the demands of modern couples is making it more of an artform than it's ever been. The days of uncreative, staid wedding photography are numbered.

Need more information about shooting a vintage wedding. Contact one of London's leading Wedding Photographer 's. Rik Pennington is reportage wedding photographer in the UK. He can be contacted at Rik Pennington Wedding Photography, 28 Banning Street, Greenwich, London, SE10 9PH - You can call him on Tel: 020 7255 2527.

Alternatively visit his website and browse a Vintage Wedding Photographer 's blog.

Re-Discover the Great Hobby Known As Photography

Photography as a hobby used to be a dedicated person's hobby. There were so many factors involved that meant to capture the really worthwhile shots would involve spending an absolute fortune on batteries for flash guns etc, as well as the films, development and enlargements should you require them.

To get a decent shot of an instant event meant having the camera fully operational and ready to go in an instant at any time. This was neither practical nor easy to manage. Nine times out of ten the event could happen or be taking place and the camera picked up raised for the shot, only to find that the flash batteries had gone dead or that the film inside did not have enough pictures left on it or worse it had expired (out of date) or even gone off.

The stresses that were involved in photography were enough to put anybody off, so it was mainly a professional past time or instamatics that were used for the family events such as Christmas and Holidays.

With the aid of technology things have certainly moved forward from those days. So much so that photography in this day and age is a real joy. Today's DSLR (Digital Single Lens Reflex) cameras can perform some amazing feats as well as deliver the user professional quality photographs every time.

Most come with a viewing screen on the back that can be used for real time viewing or review of the photograph just taken. The flash tends to be an integral part of the camera as opposed to a separate item that needs to be fitted every time.

With a re-chargeable battery pack the costs for extensive use have been radically reduced, but the real saving comes from the memory cards that simply slot straight into the camera and depending on memory can size can offer anything up to 1600 pictures per memory card, so the need for more than one is rare.

Most also come with interchangeable lenses with great zoom and auto focus. What could possibly be better and of course easier. Now to take a decent shot of an instant event means simply picking up the camera pointing and shoot... The camera does the rest and your left with an amazing result.

In today's market the value certainly reflects the quality and it certainly pays to buy a decent DSLR Camera as the additional expense will be minimal, unlike the older cameras which constantly required new batteries ,film and of course development.

Modern day DSLR Cameras simply require the facility to either plug straight into the computer or in some cases the printer itself. What could be any easier or more straightforward.

Modern day photography is light-years ahead of what it used to be, making it fun, interesting and a good hobby or past-time to enjoy alone or with others in groups or associations.

There are a wide selection of DSLR Digital Cameras to choose from, but only a few that are worthwhile when it comes to the DSLR Camera Range. Other digital cameras simply don't offer the benefits or flexibility that can be gained from owning a Digital Camera.

Kind Regards

Clive Anderson
FirstForIncome.com

XcessRize Designs X DSLR Camera Bag Review on Etsy

Jackie of XcessRize Designs shop on Etsy has a sleek and modern DSLR camera bag for sale. It has all the extra features you needed with no unnecessary space.

With their slogan of "Life is too short to carry an ugly bag", you are definitely sure that their products are beautiful. It is available in different fabrics exhibited on her store. This DSLR bag is also available in dark grey and other solid colors.

Its dimensions are 15" x 7" x 6" and it is well cushioned and durable with the center area designed for your DSLR camera. It also comes with a number of different pockets, namely - three (3) well-padded lens pockets, wallet compartment, cell phone pocket, lens cap storage and flash drive space.

XcessRize Designs camera bag also has a key clip in place and has a 60" long flexible webbing strap which allows you to wear it in two (2) styles via messenger or shoulder type. The side release buckles which are adjustable as well are located below the flap for quick access. The bottom base of the bag is tough and the color of the interior is matched with the color of the underside of the flap.

After you purchase a bag through her Etsy shop, then the item is just handcrafted and is normally completed and ready for shipment in 10-15 business days. They do accept rush orders as well though it is limited.

This trusted seller on Etsy has 1,145 feedbacks and all are positive. You can buy the DSLR camera bag on her shop for only $85.

Patrick Garde is the co-founder of DSLR Bag Store which writes camera bag reviews weekly to help photo enthusiasts find the right DSLR bag.

Tamrac 3537 Express 7 Camera Bag Kit Review

If you want to get accessories for your DSLR for a bargain price, Tamrac 3537 Express 7 Camera Bag Kit may come in handy as it also comes with a tripod, carrying case, 6-piece lens and a cleaning kit.

The fashionable camera bag complements well the chic and modern designs with form and function that usually comes with a Tamrac DSLR bag. The stylish messenger-type of bag provides easy access to your camera and offers enough protection for your gadget even with 6" long attached or extra lenses, a number of accessories and a flash.

It also comes with adjustable, foam-cushioned dividers which protects your camera and other items inside and offers a custom fit to your equipments. It features many pockets for you to store your other accessories which include: a front compartment, zippered Speed Pocket located on the flap, another zippered pocket strategically place on the back and a side pocket is used best for your phone or music player.

Depending on your preference, you can carry the Tamrac Express 7 camera bag via the carrying handle or the removable, stuffed shoulder strap. This bag can be used by everyone as it fits every lifestyle. It is also tinted with ultra suede highlight in subtle black on black or trendy desert gold on khaki.

The complete kit includes all brand new products with accessories and warranties. Aside from the Tamrac Camera Bag, it also comes with Precision Design Deluxe 57-inch Camera Tripod with its own fitted case. The third item is a Precision Design Deluxe 6-Piece Lens and DSLR Camera Cleaning Kit.

You can buy this under-priced kit on Amazon for only $49.95!

Patrick Garde is the co-founder of DSLR Bag Store which writes camera bag reviews weekly to help photo enthusiasts find the right DSLR bag.