There are some important things in photography that can affect the
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Maybe some of these things can inspire you to create on the photography,
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Before we delve into that subject that seems to be the source of considerable
perplexity among even some very experienced photographers, a warning. 
Beware of that newfangled information source called the Wide World Internet or
something like that.  There are many web sites that purport to be expert
sources of information that are in fact pages filled with text and photos who's
main intent is to sell advertising!  In doing my research to see what
others have said on this subject, I found two of the first three sites I visited
had depth of field (DOF) information that was dead wrong.  It was, as many
experienced photographers will have already guessed, that old chestnut that
"Wide angle lenses have greater depth of field than telephoto lenses."  Or,
the shorter the lens, the greater the depth of field.  Dead wrong.  So
let's get a few things straight first.  Armed with the information below,
you'll changed DOF Mystery into DOF Mastery.
First, as Benny Hill would say, "What's this thing called, love?"  In order
to understand DOF, we need some kind of definition.  It's basically defined
as the area in the photo that appears sharp.  Manufacturers have come up
with exact figures based on the Circles of Confusion (COF) size and how many
lines per millimeter appear sharp.  But in practical terms, and since DOF
scales on camera lenses are practically nonexistent nowadays, you can use you
your eyeball, your knowledge, and experience to determine what will remain
sharp, and what will appear out of focus.  For exacting work there are
tables you can use and even software you can download that will give you the
specs you need.  Landscape photographers looking for maximum depth by using
hyperfocal distance should have this information.  With all that in mind,
let's separate fact from fiction and see how we can use this information in
practical usage.  Since I'm a portrait photographer, we'll see how to use
this information while doing portraits.
TRUE:  The smaller the f/stop, the greater the depth of field.
FALSE:  Shorter lenses have greater depth of field than longer lenses.
TRUE:  Image size, not lens length, is a factor in depth of field. 
The larger the image size, the less the depth of field.
TRUE:  Depth of field extends about 1/3rd in front and 2/3rds behind the
point of focus, or twice as much behind as in front.
FALSE:  To change perspective, change lenses.
There, got all that? And since we're talking portraits here, let's look at the
'typical' portrait.  It's usually done with a long lens and a wide to
moderate f/stop (f/1.8 to f/5.6).  Why?  Because we usually want our
subject sharp, our background 'soft', a narrow angle of view, and a comfortable
working distance from our subject.  People don't like lenses shoved in
their faces.  Of course, I use lenses from 17mm to 300mm for
portraits.  But that's another story.

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Panning is a technique that can produce extraordinary results,
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Wide-angle lens is made the object becomes smaller.But with the benefits
of wide-angel lens,we can create images with great impact by using it
correctly. Read more at http://photography-shoot.blogspot.com/
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When taking a picture of natural landscape,sometimes we ask why the
result is not as beautiful as the natural itself.Don't blame the camera,
because a sophisticated camera equipment can not be guaranteed a person
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photographic images of attractive landscape. Read more at
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By focusing the lens of camera on herself, the American feminist photographer,
model, and filmmaker Cindy Sherman has booked her name among the most cherished
photographers of the late twentieth century. Cindy is most renowned for her
"Untitled Film Stills" series (1977-80) that comprised of her black-and-white
photographs, posing in an array of clich'd feminine roles. Though the bulk of
her photographs are self-pictures, yet these snaps are undeniably 'not'
self-portraits. Sherman used herself as a medium for interpreting a variety of
modern worldly issues, such as the role of a woman and the responsibility of an
artist, to mention a couple. Her ambiguous and diverse photographic style helped
her develop a discrete signature style.
Sherman's life began on January 19, 1954, in Glen Ridge, New Jersey, a suburb of
New York City, as the youngest of five children in the family. Contrary to all
her contemporaries, Sherman was never involved in art as a young child. Her
exploration of art began at the State University College at Buffalo. Annoyed
with the restrictions of painting and identifying her limit reached, she gave it
up. She realized she could use a camera better and that she was unable to relate
to painting anymore. Devoid of the compassion required for painting, Sherman
turned to photography and delivered her masterpiece "The Untitled Film Stills."
On graduating in 1976, Cindy moved to the New York City to start her career in
photography. After taking an attic on Fulton Street in lower Manhattan, Sherman
started clicking photographs of self, known as "The Untitled Film Stills," in
1977. Her art always addressed 'Abstract' concepts with political and social
significance, intensified with the required colors and color contrasts. In "The
Untitled Film Stills," she portrayed herself as B-movie actresses clad in wigs,
dresses, hats, costume unlike her own, playing the roles of characters. The
roles in "The Untitled Film Stills" series had an array of characters from an
adolescent student to an attractive seducer and from a glamour diva to a
compassionate homemaker. The series instigates a sense of self-reflection in the
viewer's mind.
Mistaken for self-portraits, these photographs only comply with the rudiments of
self-portraiture. Sherman plays a category and not a real person. She presented
a self-fabricated imaginary figure, which includes a classic homemaker, a woman
in distress, a prostitute, a woman in tears, an actor, and a dancer. By titling
the photographs "Untitled" and numbering them, Sherman depersonalizes the
images. Each snap is so exclusive and ambiguous that the onlooker is left more
confused than clear over Sherman's nature. "The Untitled Film Stills," when
displayed in 1980, fetched Cindy instant fame and critical approval. She had her
opening solo show at the nonprofit space, the Kitchen, in New York City.
Cindy's life and work have been populated by more than just photography. Married
to a video artist Michel Auder for over 16 years, she even worked in motion
pictures. In 1997, Sherman's directorial debut, Office Killer, starring Jeanne
Tripplehorn, was released. She also made an appearance in the front of camera,
making a cameo playing self in John Waters' 1998 comedy Pecker. Cindy Sherman
continues her career in the New York City, where she lives and works presently.

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When we are traveling to nature tourism, especially in upland areas of
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Hasselblad marks the beginning of a new chapter in the history of medium format
DSLRs. The H4D-60 will feature True Focus with APL (Absolute Position Lock),
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Given the current state of technology, a case could be made that a photographer
could exist today with only two lenses - a wide angle to moderate zoom, and a
short tele to long tele zoom. That would be a mistake. For as good and flexible
as today's zoom lenses are, there are some compelling reasons to choose fixed
focal length lenses on occasion. I'll admit, 90 percent of the time I've got a
zoom strapped onto my rig, but while researching and shooting the images for
this story I once again found the joy in shooting with fixed focal length
lenses, for the reasons stated below. Follow along with me to see why you should
consider adding a couple of more lenses to your arsenal. For many of you, you
already own them!
First, let me state that this article is aimed at those of us who do not own
full frame digital cameras. While the debate about that is beyond the scope of
this column, the fact is that the 1.5 conversion factor of many cameras make
them ideal for portrait photographers who enjoy the look of long lenses and fast
apertures. And they can achieve the look for a price unheard of in medium format
days.
So here's what I'm suggesting as an unbeatable, inexpensive, butt kicking combo
- a 50mm f/1.8 or faster lens, and an 80 - 105mm f/2.8 or faster lens. On my
Nikon D300 camera, that figures out to a 75mm lens, and about a 120 - 160mm
lens, when compared to 35mm or full frame. You can do a lot of damage with this
combo. Let's see why you should consider this dynamic duo for yourself.
One: Results. Let's start at the heart of the matter. If you can't cook the
bacon, the stove ain't no good! And the combination of a short to medium length
telephoto with a wide opening is a sure fire recipe for super results in the
hands of a skilled shooter. One of the cornerstones of professional outdoor
portraiture is the ability to separate the subject from the background. By
shooting with these lenses wide open or close to it, throwing backgrounds and
foregrounds out of focus is almost automatic.
The longer lens partner is obviously easier because of the larger image size at
any given distance and narrower angle of view. Remember, all lenses have the
same perspective, to change perspective, you must change distance. Also
remember, two images taken with two different lenses at the same distance with
the same f/stop will have the same depth of field, one will just have a larger
image size. That's why we love long lenses - to get further away from our
subject for great perspective and have an image we don't have to crop!
Two: Price: Here's the best part - these lenses are free! OK, maybe not for
everyone or someone who's new to the game. But for those of us who have been
shooting 35mm for years, we may already have these lenses! I know I did. I still
have a Nikon 50mm f/1.8 lens (used to have a 1.4, darn) that came with one of
several Nikons I used to own. And I bought a Tamron 90mm f/2.8 Macro lens that
gets me to 1:1 years ago for shooting flowers and wedding detail shots. Both
lenses are excellent performers. I'd guess the Nikon 1.8 glass is better than
the 1.4 version, slower lenses usually are, and the Tamron 90 is known for it's
sharpness, so this is a great combo.
A little checking found used Nikon 1.8's for about $60 and new ones for about
$115. The Tamron lens can be had for about $400 new and $250 used. Nikon also
makes an 85mm lens in 1.8 and 1.4 varieties. The fast version is about $750 new,
the slower only about $400. For portraits, I'd say the 1.8 is plenty fast, only
buy the 1.4 if you do weddings in low light. It's not a price issue, these
prices are peanuts compared to medium format, but the super fast lenses usually
make sacrifices in quality to attain the speed. Buy new or do some checking
around on SHUTTERBUG, KEH, and other sources to find the combo that's right for
your shooting needs and equipment.
Three: Availability. Since these lenses I described were originally designed for
35mm film cameras, there are plenty of them around. I found some in the camera
store across the street. Other professional will have them laying around, be
smart and go buy them cheap off them! As mentioned above check SHUTTERBUG, KEH,
EBAY, and others for used lenses, or buy them new from your local camera store
(you won't find them at Best Buy!) or one of the SHUTTERBUG advertisers. An
important point here. If buying a new zoom lens, it pays to get one designed for
digital, I've done my own testing and there is a difference. The fixed focal
length lenses I'm discussing here have all performed admirably for me, so don't
hesitate to buy them.
Four: Focal Length: As discussed above, this lens combo is ideal for the digital
cameras that have a conversion factor of about 1.5. The 85mm focal length will
of course be fine with a full frame cameras, but one lens does not a combo make!
Full frame shooters may want to consider finding an 85 and 135 lens to
approximate the results we're describing here. But those of us with the smaller
sensors are able to find great inexpensive lenses in ideal focal lengths for
portraiture. The 50 (75) length is great for shooting where space is at a
premium and the 90 (135) length is about the ideal combination in terms of
length, price, weight and performance.
Five: Weight. Weight is the enemy of pictures taken. Think about it. If you're
like me, the thought of hanging a big, heavy zoom around your neck all day
doesn't sound like fun. If I ain't having fun, I don't want to take many photos.
In the studio is one thing, but running around at a park or beach with heavy
lenses and a tripod doesn't appeal to me. I usually shoot with a bare minimum of
equipment and rarely use a tripod, so weight is important to me. Will an
80-200mm f/2.8 lens take care of most of my shooting needs? Absolutely! But at
over 2.5 pounds, it's an albatross around my neck! Compare that to the 5.5 oz.
of the 50mm lens, or the 13.2 oz of the Nikon 85mm f/1.8 lens. Remembering that
you must carry backup gear, that allows me to carry a pretty small bag and shoot
pretty freely with my subject. See the smile on my face?
Six: Maximum Aperture. Here's one of the best parts - that big old f/stop.
Working at f/1.8 was only a dream in medium format and f/2.8 was only on the
'normal' lens. There are of course two big reasons we love the fast lenses - the
shallow depth of field and the ability to shoot in low light, even at slower
ISO's. The shallow depth creates a great look that sends sharp backgrounds and
foregrounds packing. The speed extends my shooting day into the time where the
light is usually at it's best - the tail end of the day around and even after
sunset.
I prefer not to use flash on my outdoor portraits and beach portraits are very
popular in my area (East Coast). The only way I can hold detail in both my
subject and the water and sky in the background without a flash is to wait until
the brightness range is lowered at the end of the day. (That again is beyond the
scope of this article, I'll address it later.) In many cases I'll shoot with my
f/2.8 lenses until it's so dark I'll grab the 1.8 and finish the shoot with
that. I'll usually start shooting at ISO 100 and end up at ISO 400. When I hit
about a 30/th of a second at f/1.8, I'm done, remember I'm not using a tripod
unless it's a group. Any darker than that and I'll probably wander into the
ocean anyway!
Conclusion: While full frame shooters can play in this group with a few
different rules, the cameras with the smaller sensors are a bonanza for portrait
shooters who want to be able to assemble a collection of lightweight, fast, and
inexpensive lenses capable of producing fantastic results. The two lens combo
described above should be capable of handling just about any portrait assignment
that doesn't call for a wide angle lens, and most traditional portraits don't.
Put together your own combo and have some fun!

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Twilight photography technique - Photographer Delly Carr and Sony Europe have
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Hubble's new camera takes first images - A series of remarkable images show The
Hubble Telescope's camera is working successfully.The Hubble Telescope maybe
coming to the end of its observation duties but for now, it's working better
than ever. Read more at http://photography-shoot.blogspot.com/





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Photography revolution - An open-source camera could change the way we take
photographs.Photo scientists from Stanford University want to "reinvent digital
photography" with their open-source digital camera. Read more
athttp://photography-shoot.blogspot.com/





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A simple lighting set-up that gives great result - Chris Burfoot AMPA ASWPP
shows us a simple lighting set-up that really works. Read more
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Create composite moving images - Casio releases Exilim digital cameras that
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If you are fairly new and want some digital camera help, then let's cover some
of the more common things to help you get started.
The Basics
A digital camera captures the image when the light from an object is focused and
falls on a light sensitive sensor within the camera. Each camera's sensor has
tiny little pixels on the surface and the number of pixels determines the
highest quality of the resultant image, and also the class of the camera. So a
camera that has 4million pixels is known as a 4megapixel camera, and so on.
How many pixels do I need?.
As the number of pixels increases, normally so does the price, and sometimes the
size of the camera, so choosing wisely will save you both money and effort in
carrying. If you want to print standard photo size prints then a camera of 3-4
mp will be adequate, but if you want to print large A3 prints at a good quality,
then you really need a camera of about 6mp+. Remember you can adjust the quality
down but you can't use pixels you haven't got.
Bells and Whistles
?LCD Screen -Normally on a digital camera you will be framing the shot and
reviewing the shot on a small screen at the back of the camera, make sure it is
of a decent size and you can view it in sunlight.
?Scene Mode - Allows the camera to set optimum settings for a selected type of
shot.
?Focus Points - You have the ability to select a point or area that the camera
uses to focus, invaluable when shooting small objects against a bright
background.
?Zoom - Optical zoom is better than Digital Zoom so try to get a camera with the
highest optical zoom.
?Macro - To enable you to get really close focus, and try for those real 'Arty'
shots.
?White Balance - Adjusts the camera to compensate for color-cast when shooting
under artificial lights.
To give you the best digital camera help, these are fundamental to your
enjoyment and results . So take care in selecting. Remember price alone does not
guarantee results.

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How do you find the lighthouses to photograph? Do you do a lot of research? If
you fancy a drive to the coast to take some photographs of lighthouses then Mike
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