3 Online Camera Simulators For Photography Beginners It’s like a chicken and egg quandary. What do I do? Should I buy an expensive Digital SLR (single-lens reflex) camera first and hit the ground running, or do I learn the basics of photography before I plonk down the serious cash. Photography is an expensive hobby in some parts of the world, including mine because a good DSLR camera does not come cheap. It’s quite a steep jump in terms of cost and skills from ordinary point-and-shot cameras. Learning the basics of photography makes sense, because it helps not only in photography but also in understanding the type of camera one eventually buys. The SLR Camera Simulator (CameraSim) The SLR Camera Simulator is probably the best online camera simulator of them all. The DSLR Camera Simulator is a virtual camera where you can twiddle around with the different settings and combos. CameraSim is also available for purchase on iTunes. Camera Simulator The depth of focus is very difficult to replicate in virtual apps like these. SimCam
13 tips for better pictures of babies, toddlers and teenagers All images copyright Brett Harkness Babies, toddlers and teenagers (oh my!). They might just be one of the most challenging portrait photography subjects you will shoot. Below we’ve spoken to leading lifestyle and portrait photographer, Brett Harkness, who does this day in and day out. Tip 1: Shoot when baby’s happy Babies make few demands, but those they do are important: food and sleep. Tip 2: Be patient Babies are best shot once they can support their own body weight. Tip 3: Let teens choose their wardrobe When you photograph a teenager, you should pay careful attention to what they’re wearing. people at this age are very self-conscious, so to make them comfortable, treat it like a mini fashion shoot. encourage them to bring as much of their wardrobe as they’d like. Tip 4: Get teens away from their parents Adolescents always behave differently when their parents aren’t around. Tip 5: Don’t use flash It seems obvious in retrospect, but we never think about it until we’ve done it.
How & When to Use Aperture Priority Mode » Expert Photography It dawned on me yesterday that I’ve written about shooting modes, and I’ve written about exposure, but I’ve never written about how and when you might use certain modes. Treat this topic as if you’ve just moved from full-auto or program mode, into aperture priority, and I’ll walk you through everything you need to know. Full-auto mode allows you to change only the image format, and the burst fire mode. It will even use the pop-up flash if it thinks it needs to. Program mode is similar to a priority mode, in that you can change the likes of metering, white balance, etc., but you can’t change the shutter speed or aperture (you can change the ISO). OK, now we’ve seen the difference, lets have a look at what it can do. When you switch to aperture priority, it does exactly what it says on the tin. As you can see, there would be plenty of situations where you might want to use aperture priority over shutter or even manual. When you should use Aperture Priority Mode Situation 2 – Portraits
Corso di fotografia e cultura dell'immagine Luce naturale, luce artificiale ed esposizione Federico Salzani OTTURATORE Al momento dello scatto l’otturatore si apre, lascia scoperto il materiale sensibile per il tempo prescelto e quindi si richiude. Gli otturatori più diffusi sono: centrale, montato all’interno dell’obiettivo in prossimità del diaframma; a tendina (fig. 1), montato nel corpo macchina il più vicino possibile al materiale sensibile. L’otturatore a tendina è costituito da due tendine che possono aprirsi completamente lasciando scoperto tutto il formato del fotogramma: per i tempi lunghi oppure parzialmente, come una fessura che scorre sulla pellicola per i tempi brevi L’otturatore a tendina è tipico degli apparecchi reflex piccolo formato ed è presente su alcuni apparecchi di medio formato; ha il vantaggio di consentire tempi di posa molto rapidi (1/8000) ma limita l’uso del flash ai tempi più lunghi. LEGGE DI RECIPROCITÀ, CORRISPONDENZA FRA TEMPI E DIAFRAMMI La legge di reciprocità dice che:
How To Use Hyperfocal DistanceInspiring Photography I have noticed that more and more photographers purchase prime or as otherwise called standard or non zoom lenses lately. The obvious reason for this is the superior image quality these lenses offer in comparison to the zoom ones. Some photographers actually buy older (manual focus) prime lenses as they can be purchased for really low prices and their quality is still of high standards. I own one of those lenses, the Canon 24mm f/2.8 and I paid less than £150 for it on ebay – the results are superb, image quality is of high standard. The majority of those lenses have markings to assist you with focusing and hyperfocal distance. The Book Inspirations of a landscape photographer – Dimitri Vasileiou The long awaited Book by Dimitri Vasileiou, with foreword by Pulitzer Prize winner and internationally acclaimed photographer Jack Dykinga is out now in pdf eBook format and available for immediate download. For further details and to purchase Dimitri’s book click here.
Aperture and Shutter Priority Modes Over the last few weeks we’ve been looking at different elements of exposure and how to move out of the ‘Auto’ mode on your digital camera. We’ve looked at Aperture, Shutter Speed and ISO and have discovered what each of them is and what impact changing them will have on your images. Now that we’ve looked at the theory of how changing these elements impacts an image I’d like to move into how to use them by examining two shooting modes that many digital have on them that allow you to take a step away from the automatic settings that you might be spending a lot of time in. The two shooting modes are Aperture Priority Mode and Shutter Priority Mode. A Quick Reviser We’re looked at how the three elements of the exposure triangle impact one another. Priority Modes Aperture and Shutter Priority modes are really semi-manual (or semi-automatic) modes. Aperture Priority Mode (often it has a symbol of ‘A’ or Av’ to indicate it’s selected) When would you use Aperture Priority Mode? Shutter Priority Mode
Il glossario di Binomania | BINOMANIA Premessa: Consigliamo al lettore, prima di intraprendere la lettura delle recensioni, di leggere questo breve glossario, affinché possa prendere confidenza con la terminologia presente fra le pagine di questo sito. Angolato: Uno spotting scopes (cannocchiale) può essere venduto in visione dritta o angolata. Questa caratteristica dipende dall’uso di prismi differenti. Asferica-che. Aberrazione cromatica: I binocoli dotati di ottiche semplicemente acromatiche mostrano , osservando i dettagli con molto contrast,o dei colori spuri. Aberrazione sferica: Si evidenzia quando i raggi distanti dall’asse ottico sono focalizzati ad una distanza differente dalla lente rispetto a quelli che attraversano il centro del campo. Astigmatismo : Provoca una sfasatura della focalizzazione delle linee orizzontali rispetto a quelle verticali. Accomodamento visivo o adattamento visivo: E’ la capacità del sistema occhio-cervello di focalizzare a varie distanze. Binocoli con bussola: Tipici nel settore nautico.
digital-photography-school A Post By: Lynsey Mattingly Pose - verb: to present oneself insincerely - noun: a deliberate pretense or exaggerated display I’m not a fan of posed portraits. I’m not even a fan of the word. I use a couple tried and true set-ups every time I do a family shoot. Secrets don’t make Friends But they do make for good pictures. Line ‘Em Up Like crows on a clothesline. Surprise Attack Kids take great delight in getting to run up behind their unknowing big people and surprise hug/tackle them. Kid Sandwich Grown-ups are bread, kids are peanut butter and jelly. Giant Hug Now is probably a good time to mention that I get laughed at a lot. Randomness My goal for each shoot is to do something random that I have never done before. Now you know to never try that again and hopefully no one was sent to the emergency room in the process. These ideas, as with any type of lifestyle photography posing are about the reaction, not the concept itself.
Photography - ISO, What it Means and What it Does | ATP ISO or ASA in Photography – Sensitivities in Camera Sensors ISO (I.S.O.) is the abbreviation for the International Organization of Standardization, a governing body based in Europe that provides the standards for a wide variety of subjects. For photographers the key standard is Film Speed ratings. In the past this was known as ASA or the American Standards Association (Now discontinued and replaced by the American National Standards Institute or ANSI), and you could buy your films in ASA 50, 100, 200, 400, 800 and 1600. Most decent cameras now have interchangeable ISO settings which is especially useful for digital photography because, as discussed in the previous chapter, you can change the ISO setting for every shot you take without the need to change film. So what ARE the settings and how do they affect your photos? The standard I.S.O that most people use everyday, giving accurate colour rendition and “clean” noise-free images is 100 I.S.O. 50 I.S.O or less Standard I.S.O – 100 Quality
Binocolo Da Wikipedia, l'enciclopedia libera. Un binocolo (dal latino bi-, due, e oculus, occhio) è uno strumento usato per ingrandire oggetti distanti, grazie al passaggio dell'immagine prima attraverso due adiacenti serie di lenti, poi attraverso dei prismi, che raddrizzano l'immagine stessa. Nel binocolo, le immagini sono visibili con entrambi gli occhi. Caratteristiche ottiche[modifica | modifica wikitesto] Prismi[modifica | modifica wikitesto] Binocolo con prismi a porro (sinistra) e a tetto (destra) I prismi restituiscono l'immagine della luce con il principio della riflessione totale interna. I prismi sono in genere di due tipi: - a prisma di Porro - sviluppati da Ignazio Porro e che hanno dato vita alla configurazione tradizionale usata in molti binocoli (nella foto, a sinistra). Parametri tecnici principali[modifica | modifica wikitesto] Schema ottico del binocolo a Porro1 - Obiettivo2-3 - Prisma di Porro4 - Oculare Altri parametri[modifica | modifica wikitesto]
digital-photography-school A Post By: Darlene Hildebrandt Over the last few years here at dPS, w e’ve run some incredibly popular competitions with one of our partners – the New York Institute of Photography – to give away to lucky dPS readers some of their great photographic teaching. Due to popular demand – we’re doing it again this week. For this competition, NYIP is giving away THREE prizes. Each will be won by a different dPS reader. Complete Course in Professional Photography – worth $1,499 This is NYIP’s most popular course. All courses include comprehensive and illustrated lesson books, CD audio guides, DVD video training, photo projects, professional evaluation and personal student advisers. How to Win To win this competition you’ll need to: Watch the video belowLeave a comment below and tell us why you’d like to enrol in New York Institute of Photography. Deadline is June 11th, Midnight PDT.
Light as Waves Unlike water waves, light waves follow more complicated paths, and they don't need a medium to travel through. When the 19th century dawned, no real evidence had accumulated to prove the wave theory of light. That changed in 1801 when Thomas Young, an English physician and physicist, designed and ran one of the most famous experiments in the history of science. It's known today as the double-slit experiment and requires simple equipment -- a light source, a thin card with two holes cut side by side and a screen. To run the experiment, Young allowed a beam of light to pass through a pinhole and strike the card. If light contained particles or simple straight-line rays, he reasoned, light not blocked by the opaque card would pass through the slits and travel in a straight line to the screen, where it would form two bright spots. Young's work sparked a new way of thinking about light.
Scegliere il binocolo: guida completa Il binocolo L’invenzione del binocolo è dovuta all’italiano Porro, che lo costruì nel 1850 riunendo due cannocchiali a prismi.I binocoli sono contraddistinti da due numeri (per esempio 8 x 30, 10 x 50, ecc…) che indicano il primo il numero di ingrandimenti (cioè la potenza dell’ingrandimento) e il secondo il diametro dell’obiettivo espresso in millimetri. Facciamo un esempio: se ho acquistato uno strumento marchiato 10 x 50 significa che il esso possiede 10 ingrandimenti (e quindi l’oggetto che si sta osservando appare come se fosse 10 volte più vicino) e che l’obiettivo (cioè la lente anteriore) possiede un diametro di 50 millimetri. Solitamente in commercio si trovano ingrandimenti che vanno da 4 a 25 x e diametri che vanno da 20 a 100 millimetri. Quelli che permettono ingrandimenti maggiori, e hanno quindi obiettivi più grandi, sono spesso troppo pesanti per essere utilizzati senza l’ausilio di un treppiede come supporto. Come scegliere il binocolo Caratteristiche tecniche del binocolo
digital-photography-school A Guest Post by Nick Rains. Warning – the following is quite advanced (even geeky) and I must assume the reader has a working knowledge of channels, levels, curves, blending modes, tools etc as well as how the main color models work (RGB, Lab, HSB). Much has been written about converting colour to Black and White: we all know that there are a great many different ways to do this, some more effective than others. Differences between the various methods are usually explained in terms of visual appeal or the ability to blend the various colour channels to emulate traditional B+W filters. This last point seems quite contradictory; what has greyscale conversion got to do with colour adjustments? How we see Luminosity Photoshop very rarely uses the term Luminosity. Luminosity is the perceived brightness of a colour, not it’s numerical or measured value under the above colour models. Here is the same image converted to B+W using Image > Adjust > Desaturate. 71%G 21%R and 8%B. So why the fuss?