Lionis Info

For all you flash-on-the-camera photographers out there, you’ve come a long way but there’s a higher lighting plateau of quality photography called double lighting. Are the benefits of using two lights for your social events worth all the trouble and extra cost? Sure, the flash on the camera is safe, foolproof and convenient, but if you compare the two types of lighting, the difference is striking.

First, the color is more intense. The main light strikes the subject at an angle, sending the reflected, colorless light off axis, away from the lens. Except for highlights, the absorbed and scattered light entering the lens contains only saturated color. The light on the camera serves two purposes: to keep the density level of the shadow areas high enough for good contrast and detail, secondly to evenly light the whole picture area, and thirdly to flatter the faces and remove the bags under the eyes.

In order to achieve the above benefits, a proper ratio must be retained. One easy way is to set the lens on F8, the fill flash on F8 automatic, and the modeling light on F11 automatic. This configuration should produce twice as powerful a light coming from the modeling light as from the fill light no matter what the distance from the lens to the subject. Ideally, a flash meter should be used to verify and fine tune the output. If a
flash meter is not available, a few test exposures will suffice.

A second method sets the fill flash on manual one half power and the modeling light at manual full power. This setting requires the F stop to be changed if the distance from the lens to the subject changes significantly unless OTF (off-the-film) is available in the camera.

While the fill flash can be conveniently kept small, there are several options available for the modeling light. A small silver umbrella reflector (minimum 18 inches in diameter) is the least expensive and does a good job. Better is a soft box (minimum 12 inches in diameter) but requires a more powerful head. Simplest is bare bulb which is soft but not too flattering to faces and requires a lot of power. Four hundred ISO is fast enough to use with 100 WS electronic flash. I recommend the use of a radio slave to trigger the second light for a guaranteed proprietary use. Other flashes in the room will have no effect on your second light, saving the batteries and preventing other photographers from using your light and/or ruining their own pictures.

Though a light stand is sufficient to support your second light, with a little instruction, a live person will save you a lot of running around. The modeling light may be situated to the photographer’s right or left side, producing a thirty degree angle to the subject. If the subject is twenty feet away from the lens, the modeling light should be seven feet to your right or left. An added benefit is that the backgrounds will be softly lit, but will never overpower the subject in importance.

For those photographers working with a digital camera with a built in pop up flash, a small slave flash will do the job. Vivitar makes a slave flash with a guide number of 93.

This is three times more powerful than the flash in the camera but 1/4 or 1/8 power can be set for a better ratio. With the camera ISO set on 200, the Vivitar DF200 is powerful enough to be used as a bounce flash. Aim the slave flash into a corner of the room (half on the ceiling) behind you and to the side. Use full power on the flash and try setting the aperture on F5.6. The camera flash may need to be softened with a piece of translucent plastic. I recommend a few test exposures to verify the ratio. One benefit of bounce flash is the nice modeling you get on the faces. Another is that the same camera settings can be used for any distance from the camera. You will be amazed at the saturated colors and the three dimensional effect of the modeling on the subject.

My experience as a wedding photographer allowed me to compare many styles of shooting. Comments welcome.

There are soooo many choices. With all the styles and features, and prices are all over the map, digital camera comparisons can be mind-boggling. Pixels, memory, optical and digital zoom, camera size and cost are all factors to compare. So how do we sift through all the hype and find the best digital camera?

First step: Identify your primary prerequisites. A camera is normally something we will own and use for several years. To find the best camera for your needs, certain basic decisions need to be made before you start comparing features. These include:

• Suitability - do you want a camera for candid snapshots or serious photography?
• Quality - compare quality of both the camera and the photos it takes.
• Size - models to compare include miniature, compact and full-sized cameras.
• Price - compare cameras in a price range set by your needs and budget.

Second step: Compare specific features…

Compare Pixel Quantity and Quality

In general, more is better. Each pixel is a tiny square of light and color. Digital photos can be compared to mosaics – more pixels mean smaller squares and sharper pictures. But comparing pixel quality is just as important.

Tiny photodiodes in an image sensor is the technology that creates the pixels. The sensor functions as the camera’s eye and some digital camera sensors measure only a few millimeters. Other cameras with larger sensors usually have better quality diodes, resulting in sharper, clearer pictures.

Don’t Skimp on Memory

A single digital photograph can require several megabytes, though file type, compression rate and subject matter all affect file size. Most digital cameras don’t have nearly enough built-in memory, so when doing a digital camera comparison plan on buying more. A general rule of thumb is to have at least 256-512MB of memory – more if taking high resolution or a lot of photographs.

Check memory compatibility when you compare digital cameras. Compact flash is the most universal and cost effective. MultiMedia cards are smaller and also work with other devices. Secure Digital are MultiMedia cards with an added write-protect switch. xD Picture cards are small and adaptable to most compact flash applications. Others such as Memory Sticks, SmartMedia and MicroDrives have limited applications, but may be best for the camera you want.

CCD Compared to CMOS

Charged Coupled Devices (CCD) and Complementary Metal-Oxide Semiconductors (CMOS) are digital camera image sensors. They can be compared to the shutter and film in a traditional camera.

Developed in the mid 1970’s, the CCD is the heart of most digital cameras. With millions of light collecting cells, its image perception can be compared to the human eye. The CCD sensor’s quality makes it the preferred choice for high-end digital cameras.

CMOS sensors were developed in 1998 with technology comparable to processor chips. Advantages are lower cost, less power required and multi-tasking ability. Disadvantages include signal noise and resolution issues. As the technology improves, CMOS sensors will make digital cameras more affordable and be the best choice for entry level cameras.

Beware the Zoom-Zoom

In your comparison of best digital cameras, be aware of the zoom issue. Digital zoom isn’t much more than a marketing gimmick. It crops the image on the sensor, reducing total pixels and degrading resolution. Optical zoom magnifies the image before the sensor reads it, retaining full resolution.

Other important features…

• Shutter lag - how quickly can you take another picture? Should be a second or less.
• Start up time - when turned on, the camera should be ready within a couple of seconds.
• Manual override - allows you to adjust exposure and focus settings.
• Auto-focus - should be nearly instantaneous in most lighting conditions.

Digital camera ratings often discuss other features, but getting these right will enhance the enjoyment of your digital camera experience for years to come. Find more detailed comparisons at our Digital Camera Technology page.

Digital cameras information from A to Z: camera types & features, how they work, accessories, photo printers, comparisons and more – plus digital photo processing tips and info at A-Z Digital Cameras.com, Your Complete A-Z Resource for Digital Cameras, Accessories and Information.

This article may be re-printed in its entirety, with no changes and this resource box included.
© 2005 A-Z Digital Cameras All rights reserved

Infrared photography is sometimes placed on the outside edge of the mainstream photographic world. To the uninitiated observer infrared photography conjures up television images of car thieves speeding away from police helicopters during the dark hours of the night, only to be caught hiding beneath bushes beside a darkened home as their hot bodies light up the camera monitor in the police chopper like Bedouin camel herders atop a Sahara sand dune.

In recent times professional photographers have made use of infrared film predominantly for black and white portraits. However infrared photography is now not out of the realm of possibility for the average amateur photographer. Digital cameras are now providing the clever photographer with the opportunity to create beautiful infrared images at a fraction of the cost when compared to film.

Not all (or more accurately – not many) digital cameras are set up to be able to shoot infrared images.

So how do you know if your digital camera can shoot infrared images?

This is a simple one to answer!

Point your digital camera at a television remote control and take a photograph of the infrared sensor that’s located at one end of the remote while pressing buttons on the control to send out an infrared beam. If your camera can shoot an image of the infrared light being emitted from the LED of the TV remote control then you are on your way to producing an infrared image!

It’s not enough to simply have any old digital camera for shooting infrared images. The type of digital camera that you’ve purchased will determine whether infrared images will be successful. Your camera should be at least a semi-professional digital or digital SLR-type with screw fittings to be able to connect filters to the lens.

The lenses of the cheaper and smaller digital cameras don’t usually support fittings for filters so may not be appropriate for digital infrared imaging. Check your camera’s documentation to see if it will accommodate filters.

Next you will require an infrared filter. The Hoya R70 infrared filter is one of the best and cheapest to buy, however at around US$40 or more it can be out of the price range for most would-be infrared amateurs – especially since you still don’t know if the end-product image will be what you want to achieve! If you’ve got the money to spare (or to blow!) then give it a go.

After purchasing an infrared filter, attach it to your camera, set up a tripod outdoors on a sunny day and shoot away! The first thing you’ll notice is that you can either see nothing or very little through the camera eyepiece.

Your camera will be recording images in the infrared spectrum – not visible light – so you would expect to see very little light through the filter with your own eyes.

Be aware that adding an infrared filter may have serious effects on your camera’s electronics or lens. Consult your camera’s operations manual or manufacturer before fitting any infrared filter to your camera, and never look through an infrared or any other type of filter with your own eyes.

Photo Shop Australia http://www.PhotoShopAustralia.com/ has a large array of infrared example images captured using combinations of shutter speeds, aperture and light sources.

Phill Petrovic is the owner of Photo Shop Australia at: http://www.PhotoShopAustralia.com/

Photo Shop Australia provides unique and amazing Australian nature photography including macro, infrared and landscape images of Australia. Photo Shop Australia also has a page of totally royalty free images available for free download for businesses and personal users.