The most important part of buying a digital camera is making sure that the one you select meets all of your needs.

Digital Camera 101

Better digital cameras uses a chip called a “Charged Coupled Device” (CCD) instead of film. Light enters the camera, through the open shutter, and strikes the CCD where it is converted to digital data before being stored in the camera’s memory.

While that is the simple description, things can get pretty complicated from there.

Megapixels & Resolution

Resolution is a measure of how many pixels are used to make a digital copy of an image. Pixels are tiny dots of light that make up a digital image.

The quality of a digital camera’s image is usually measured in ‘Megapixels’ where each megapixel represents one million pixels.

Here’s how to determine how many megapixels you’ll need depending upon the type of photos you will be taking and what you intend to do with them.

1 megapixel

Almost obsolete, you might still find these in cell phones, PDAs, and desktop “web” cameras. They’re OK if you only intend to email pictures to other people and those people aren’t going to be printing them.

1.1 to 2 megapixels

Only slightly better than the 1.0, this resolution is OK for an average 4×6 snapshot, but it isn’t going to be a production quality image.

2.1 to 3 megapixels

This is the beginning of the decent camera range. You get very good 4×6 images and reasonably good 5×7 images. These cameras are low cost and provide a good platform for beginners.

3.1 to 4 megapixels

You are qualified to say that you have a “pretty good” camera. You get professional quality 4×6 images, real good 5×7 and 6×9 shots, and somewhat decent, but not great 8×10 images.

4.1 to 5 megapixels and up

People will be saying “Hey, great pictures!”. You can count on professional images all the way up to 8×10’s. Of course, as the megapixel count goes up, so does the price.

If you are only going to be viewing your pictures online, such as posting them at a photo site or using them on your web pages, keep your money in your pocket and pick yourself up something in the 1.5 megapixel range.

If you will be shooting pictures that will be printed at a print house, such as for brochures, postcards, etc, then you will need at least a 5 megapixel camera if not higher. Of course, you’ll also need to have a fat wallet or a lot of open to buy on your credit card because, even thought prices are steadily falling, these puppies aren’t cheap!

Once you’ve solved the megapixel puzzle, the rest of a digital camera’s features, such as lens types, storage capacity and shutter speed are pretty routine and easy to understand. You shouldn’t have a problem deciding on those features.

About The Author

Warren Lynch http://www.wlynch.com has been shooting commercial photography since 1979 in Louisville, Kentucky. Clients include Makers Mark Bourbon, Heaven Hill, Yum Brands, GE, Fruit of The Loom and many more highly recognizable brands. Have him make your product more recognizable too.

Sign-up for Photopheed’s Daily Syndicated Newsletter, the Daily Digital Dose and also receive Bi-Weekly Digital Photography Tips and Techniques from Warren Lynch an award-winning commercial photographer . http://www.photopheed.com

Visit his website or call him at 1-502-587-7722.

Did you ever put your flash unit in manual mode? Did you ever manually turn on the flash when taking a day time outdoor photo? For many the answer to both questions is “no”. For most amateur photographers flash is just a solution for taking photos when there is not enough natural light. Although a legitimate use of flash photography there is much more ways to efficiently use flash. In this article we will cover the various types of flash units available, the different scenarios under which they can be used, the advantages of using flash to achieve better photos and the common mistakes people do when using flash photography.

As with any other technology knowing how it works behind the scenes and what your options are can help in better utilizing it for your advantage. Flash photography has been around for more than a hundred years. It started with a dangerous and manually controlled technology that used a powder that was lit by either fire or electrical current. These flash solutions were both dangerous and hard to use since the flash was not automatically synchronized to the camera’s shutter. Modern flash units use an electronic flash tube that is synchronized with the camera’s shutter. When turning the flash on the photographer does not need to worry about flash timing - the camera takes care of it automatically.

There are two types of flash units: Internal and External. The internal flash unit is built-in to your camera. It can be controlled through the camera’s menus. Some low end cameras only allow the use of their built-in units. Some low end cameras and all high end cameras also allow the attachment of an external flash unit. External flash units are either attached to the camera’s body through a dedicated slide-in slot or are connected to the camera using a cable. They vary in strength - how much light can they generate for how long - and in mechanical characteristics - can they be tilted or skewed or are they fixed in relation to the camera’s body. Regardless of the connection type external flash units are electronically connected to the camera and are synchronized with the shutter.

When setting your flash unit to automatic mode the camera fires the flash in scenarios where not enough light is available. Many times the camera will make a wrong judgment and will either fire or not fire the flash when the opposite was needed. Also in some scenarios the camera will not be able to tell that firing the flash will actually result in a better photo. One problem when using a flash is washed out photos. When the flash is too strong or the object is too close to the camera the result is a washed out photo there are not enough details and the object appears to be too white or too bright. Another problem is a photo with too many details: in some scenarios the flash can create artificial shadows and lights which result in a photo that includes details that are exaggerated relative to their appearance in real life. For example when taking a photo of an older person skin wrinkles and imperfections can look much worse than they really are in real life.

It is important to know the limitations of the flash unit. Any flash unit has a certain amount of light that it can generate. Usually this amount can be translated to an effective range for using the flash. When trying to take a photo with the object too far - more than the flash unit range - the object will appear dark. When trying to take a photo with the object too close to the camera the object will be washed out or too white. It is important to know your flash range and make sure that your object is within that range.

If you need to take a photo with your objects not within your flash unit range it is better to turn off the flash completely and use a tripod with long exposure. Using the flash in such scenarios can fool the camera into setting a high shutter speed which results in a photo darker than a photo taken without using the flash at all.

In some scenarios the camera will not automatically fire the flash although using the flash would have resulted in a much better photo. One such scenario is taking a photo during day time when the object is shadowed. For example if the object is wearing a hat the hat can block the light from the object’s face or when the object is lit from the side the object’s nose can block the light creating a shadow. In such scenarios the flash unit can be set to “fill in” mode. The flash will be fired to fill-in those shadowed areas but it will not be fired strong enough to wash out the photo.

Another scenario is when the sun is behind the object. One example is taking a photo on the beach against a sunset. If taken without a fill-in flash the result will most likely be a silhouette of the object. If taken with a fill-in flash and the object in range the result will be a clear photo of the object against a sunset.

In conclusion your flash unit can be a great tool. Although for many using the flash in automatic mode is enough for the more sophisticated photographer who wants to achieve higher quality photos understanding and experimenting with the flash unit can yield great results. Following some simple rules such as making sure objects are within the flash unit range and using fill-in flash when shadows can appear on the objects is easy and significantly improves your photos.

Ziv Haparnas is a technology veteran and writes about practical technology and science issues. This article can be reprinted and used as long as the resource box including the backlink is included. You can find more information about photo album printing and photography in general on http://www.printrates.com - a site dedicated to photo printing.

Have a look through your photographic equipment. Have a good look. Check through your cameras. Check through your lenses. Now the tripods, filters and flashguns. Check everything.

I’ll bet there’s things there you don’t use. But more - I’ll bet there’s things there that you have never used - apart from when you first bought it.

Or worse - was “given” it. For the equipment we are the least likely to use is the equipment we are given. People mean well, and you should never look a gift horse in the mouth. But they don’t understand photography like you do. And they understand digital photography even less.

This year, I was given a lovely book on landscapes. beautifully illustrated and written by someone that is respected throughout the world in landscape photography. The problem was, it was exactly the same as the copy sitting on my bookshelf. I also got some cheap lens wipes and a few other trinket accessories. I will never use them.

And don’t go thinking that it’s what “others” buy us that goes unused. I have plenty of stuff that has laid pretty much idle since the day I bough it all. Fisheye converters, extension tubes. I own three flashguns, only one of which I ever use. I have several tripods and several cheap lenses. I don’t kniow why I don’t part with them.

I’ll bet you have stuff that you never get out let alone use. Can you part with it? Possibly, but for me, having this equipment tells me something about how I graduated in photography and how I have developed. But like an old favourite teddy bear, some things just have to be kept.

…. apart from my latest gifts from Aunt Audrey.

Eric Hartwell runs the photography resource site http://www.theshutter.co.uk and the associated discussion forums as well as the regular weblog at http://thephotographysite.blogspot.com

You will need an underwater camera housing to keep your valuable camera dry. This is a very important piece of equipment.

When shopping for underwater camera housings, you may choose from single lens reflex (SLR) housings and digital housings. As a general rule, most underwater housings for compact digital cameras use externally mounted wide-angle lenses. These lenses are actually quite good for their low price and offer 100 degree wide-angle coverage and macro down to 1:1 (life-size) reproduction. Since these cameras have built-in zoom lenses, they are quite flexible and can be used for a large variety of subjects. Most of these lenses can be added or removed while underwater and therefore allow you to be ready for anything.

Check your underwater camera housing to see how many feet it is rated (its maximum working depth underwater). Will the camera be adequately and safely protected during use in rugged environments? Does it have injection-molded plastic? Is it constructed to take the rigorous environments that underwater photographers and outdoor photographer’s experience, and will it protect digital cameras in these demanding activities?

Just as most underwater video manufacturers limit their design efforts to Sony cameras, the majority of still housing systems are built around the Nikon line. Although Canon has increased in popularity with topside professionals, few underwater housings are offered for Canon systems.

For your underwater camera housing, you will want something durable. It should be made from machined aluminum, black type III ‘hard’ anodize finish, and sealed with a nickel-acetate process, have no sticking buttons or faulty electronic controls, use quality optics with clarity, sharpness and no vignetting (cutoff dark corners) to spoil your images. It should allow you to change lenses underwater from wide to macro with a MultiPort and include lighting options.

Underwater Cameras Info provides detailed information on underwater cameras, including underwater digital cameras, underwater video cameras, and underwater fishing cameras, as well as underwater camera housing and cases. Underwater Cameras Info is the sister site of Disposable Cameras Web.

Understanding light is one of the very basic principles of learning to be a photographer. When you have a group of people in front of you with smiling faces ready for you to say ‘cheese’ or if you are taking a shot of a scenic area, the most important consideration is the light factor. Light controls the type of exposure and therefore the quality of the photo is dependent on the quality of the light on your subject and the amount of light that impacts on the film or digital sensor when you click. Controlling the amount of light is a good pre-occupation in the mind of a photographer keen to get a good shot. It should be one of the key considerations.

The word ‘exposure’ is a very important word in the lexicon of both amateur and professional photographers and is based on the understanding of light in creating good photographs.

–If there is too much light, the photo will look overly bright and over exposed.

–A happy group of people will not look as vibrant if there was inadequate light when you took the picture.

–Bright sunlight can create shadows under the eyes.

–Poor lighting may not bring out the colors in the scene to maximum effect

There are a few basics that you can apply to circumvent poor picture quality due to unfavorable light conditions:

–Change the position from which you take the shot

–Change the light if clicking indoors

–Use the flash

The use of the flash can be a boon when you operate in different light conditions. If you have an overcast sky, the flash in your camera will serve the purpose of letting some light into the image that you are trying to capture and brightening it up. The flash also works to your advantage when your subject is not too close but slightly away from you. But you have to check the ‘flash range’ of your camera in your manual. The flash works best when your subject is within a recommended range that is usually at least 4 ft and generally not more than 10 ft.

Most simple cameras have an automatic flash. Slightly better models will have settings for fill-flash. The concept of fill flash revolves around filling light in areas of a picture that may turn out dark or shadowed. Fill-flash has the ability to balance the amount of light on different parts of a subject to ensure that the exposure is adequately bright. For instance, a portion of a person’s face may appear shadowed and the fill-flash setting can help iron out this problem.

The angle of light is another important consideration. You have to pay attention to the direction from which light falls on your subject and there are several approaches in manipulating the angle of light to improve the visual appeal of a picture.

Sideways lighting: Light from the side is used to creates depth in the picture and is considered one of the best ways to use light if you are taking a portrait photograph.

Light from the top: This is a method used to brighten up most of the scene but does not work as well when you take a photograph of a person. It tends to create shadows on the lower half of the face when the lighting is high.

Light from behind your subject: This strategy is sometimes used by photographers to amplify the impact of the picture. It can create a halo like effect; it can add artistic shadows and can also create a striking contrast between the subject and the background if used effectively. When you use a ‘back light’ it is recommended that the fill-flash settings on your camera are also adjusted in order to avoid shadows in your photograph.

The second issue in photography is the aesthetics of the picture. Aesthetics is the creativity and attention to detail that you bring to your photograph. It is the most interesting part of photography since it is almost like a visual equivalent of composing a poem or writing a story. Aesthetics requires the use of visual skills to compose and deliver a pleasing, eye-catching and captivating image. It is a type of vision that you have for your photograph in terms of look and appeal.

Aesthetics requires a good eye for detail. The following factors have to borne in mind in creating an aesthetically appealing photograph:

Background

–Periphery

–Distance from subject

–Changing the direction of your camera based on picture dimensions

–Objects impinging on the picture

–Avoiding too many elements

Each of these factors that go into aesthetics are described and explained below-

–>Background

The background in a photograph requires much consideration. It influences the manner in which your subject is portrayed in the photograph. Depending on your choice of background, your subject will be shown to effect or may be overshadowed. The background also makes the difference between a boring and an interesting photograph. The colors, the type of background and the context add to the vibrancy of the photo.

–>Perphery

A common problem among beginners in photography is not paying attention to whether the image is being captured fully. When you view your subject through the viewfinder, you may think you have clicked a person from head to shoulder or from head to toe in a full shot. But when the actual photograph is processed, the top of your subject’s head or part of the hair may be missing! Or, if you did not center your subject when you composed the shot through your viewfinder, a part of the shoulder or hand may be lost into the edges of the photo. You need to concentrate when you view your subject through your camera before you click, in order to get the picture exactly the way you want it.

–>Distance from Subject

The distance from a subject is another critical aspect in getting a good picture. You want to see facial expression, not a mass of faces when you take a photograph. To do this, you have to be at a suitable close distance from your subject. On the other hand, when you click pictures of a campus, the distance that you click from can give you a wide view and take in a lot more of the scene. To take close up pictures of flowers or crystal or any decorative item, you have to move into close range and use suitable lenses to achieve the right magnification.

–>Changing the Direction of Your Camera Based on the Picture

Many a time you may not be able to capture the subject in it’s entirety in the conventional horizontal position in which the camera is usually held. You can easily change the direction. Hold the camera vertically and then view your subject. You will be able to capture more of a longish subject like a tall monument, a full-length picture of a child, and so on.

–>Objects Impinging on the Picture

At times there are certain objects in a scene that seem to almost invade into the picture. For instance, if you take a picture of a group of your friends on a street, chances are that a street sign may gain prominence in the photograph unbidden and may seem to sprout out of the head of one of your friends in the photograph. Or the light fixtures in your living room may find a place in the picture and appear in the form an unseemly blob in your photo. And the tough part is, when you take the shot you may not be aware of this because the eye is focused on the people in the picture.

–>Avoiding Too Many Elements

A picture cluttered with too many objects may detract from the actual subject. For instance, a wide view of a room in which your subject is sitting may create a photo in which too many objects vie for attention. If the person in the picture is your main target then narrow down and concentrate mostly on clicking the subject. While a good background adds value to a picture, too much paraphernalia could take the attention away from the main subject. Your picture may be focused and the lighting may be good but there is so much going on in the picture that it becomes aesthetically lacking and maybe even a little jarring.

Besides Light and Aesthetics, the third issue in photography basics refers to ‘focusing’ the picture. Getting the right focus is the difference between a blurred image and a sharp image. If you have an auto focus camera, the camera will do the job for you. This is available in most basic models. You can also achieve focus manually in other cameras using the mechanism to adjust the focus and to lock the focus on the subject before you click.

To achieve the right focus, it is important to decide on the artistic elements of the final picture. There are areas of a scene that you may want sharper and clearer. For instance, when you photograph a famous monument, you may want the building as well as the blue sky against which it is silhouetted to be crystal clear. If you are photographing a camel in a desert, you might want the camel to be clear and a slightly hazy/blurred effect of the surrounding sand. If you are taking a shot of a room containing a priceless vase, when you look through your viewfinder, you want the finer details of the intricate patterns on the vase to be clearer than other objects in its vicinity. So, it’s also a question of the portion or key part of your picture your focus is really on.

This area that you identify for your focus is referred to as the ‘depth of field’. You can lock the focus on the depth of field that you choose. You can control the focus and depth of field depending on your objectives for different shots.

The basics of photography are better applied when you put into perspective the capabilities of the camera model that you use or plan to purchase. Simple point and shoot cameras require minimal knowledge in operating them. They are easy to use and have the bare minimum controls. The user has to just compose and aim the shot on the subject and presses the shutter button. ‘Click’ and the job is done. The camera handles its functions automatically.

For those of you who want to work with a slightly more sophisticated camera, you have the option of a Single Lens Reflex camera popularly called the SLR system. This type of camera is available in both 35mm film format as well as digital format. Digital cameras have no film but the image is captured on an image sensor and stored in photo memory. Digital cameras in general provide superior picture quality. The internal system of the SLR camera is made up of angled prisms and mirrors that actually work like a lens when you click. But you have a few things to learn about this camera system before you can achieve better light exposure, sharpness and good focus. While it is imperative that you study the instruction manual of your SLR camera system thoroughly to understand the features and functioning, given here are some of the features and a brief explanation on how these features can help you in achieving the right exposure.

–>Additional Lenses for Close Up Shots

An additional feature in an SLR camera that makes it far superior to a simple ‘point and shoot’ camera is the ability to use add-on lenses. When you attempt to take a close up shot of objects in nature like a flower or a butterfly, you might want a very high level of clarity. You can add power to your camera by attaching an additional lens onto your camera lens for greater magnification of your subject. These supplementary lenses are available at reasonable prices in different powers like +2, +3 and so on.

You can also look for a model with an optical zoom lens that gives you the flexibility of variable focal length and a range of lens options within a single zoom lens.

–>Shutter Speed

The shutter in your camera lets light in during a shot and keeps light out at other times. When the shutter opens for an exposure, light is allowed to impact on the film or image sensor. If you set a slow shutter speed, more light impacts on the sensor and affects the type of exposure. When you use a faster shutter speeds your picture is sharper and clearer. There is a maximum shutter speed that is available to you in your camera system. The shutter speed is set at a fraction of a second- for instance, 1/1000th of a second. It could also be 1/2000th or even the much-preferred higher speed of 1/4000th of a second that is available in certain models. Professional use models boast of even higher shutter speed of 1/6000th or 1/8000th of a second. If you want to freeze action such as in sports, you require fast shutter speeds.

There are many more features that when used effectively can add value to the impact of your photographs. Most 35mm SLR cameras have a TTL viewfinder. TTL stands for ‘through the lens’ metering system. This device has the ability to measure (on a scale) the amount of light impacting the film. Using this device is the key to control the exposure and get the right amount of light in order to capture a proper image. You can also use a tripod with your SLR camera. A tripod is your answer to achieving the right exposure in a close up shot and in low light conditions. It holds the camera steady, helps in focusing and ensures a sharper picture even when shutter speed is slow.

The guidelines discussed here on the basics of photography and the additional features of the SLR system, will not only get you started but also help you avoid the common mistakes that many budding photographers make. Study your manual thoroughly for insights and ideas. Learning photography requires patience and the ability to constantly experiment and teach yourself through a process of trial and error.

The author, Chris Haslego, is founder of http://www.cameramanualstore.com, the internet’s foremost source of camera manuals. With over 4000+ camera manuals available from all major manufacturers.

It doesn’t matter what age you are, what you do or where you live. It doesn’t matter what camera you had or how much it cost. Never mind if it was a SLR, compact or Box Brownie.

You will always remember your first shots.

Getting your first camera is one of the most exciting feelings in this world. Suddenly you have the ability to capture images from around you - images that are your sole creation. And you can show them off to anyone who cares to see them.

Although it was many years ago, I still remember my first camera: a Zenit E - built like a tank and with an exposure meter build from spare car parts. But it was, for me, a dream to own my own camera at last. The touch, the feel, the smell …..

Loading the first film was such an exciting moment. Shaking with anticipation, and with the instruction manual lying unused on the floor, the color film was eventually loaded and I was ready to go.

For me, my initial images were taken within but a few feet. The house cat became a supermodel and the tabby was snapped from all angles - at least until the 36 exposures were completed.

Five days from that heady time witnessed the delivery of the fruits of my labour. Thirty six cats - many unfocussed, most poorly exposed, yet all treasured even to this day.

Do you also remember your first time? It may have been your cat, dog, loved one. Or perhaps your home, street or the nearest flower. You wouldn’t share the images today - they would be criticised and ridiculed. But those early shots began your photographic journey which will have continued till this day.

No, you won’t share the images. But you might share the memory

Eric Hartwell is an enthusiastic photographer. He owns and runs the photography resource site http://www.theshutter.co.uk and the associated discussion forums http://www.theshutter.co.uk/forums as well as the regular weblog at http://thephotographysite.blogspot.com Anyone interested in getting involved contact him at shutter@theshutter.co.uk

Unless trying to produce a mood of stillness, include action in your pictures. Far too many photographs are static and lifeless. Even though you are making still pictures, that does not mean your subjects have to be still when you photograph them. Informal pictures of people are always better if your subjects are doing something. Candid shots are superior to posed pictures because they are lifelike and reveal natural expressions and action. If someone sees you taking his photograph and stops to pose, ask him to continue his activity so the picture will appear more spontaneous.

Even if you have to organize your subjects for a picture, don’t let them become stiff or appear too posed. Make sure they are relaxed. Don’t tire them out by making them wait for you to get your equipment ready and the exposure reading made. Plan as much in advance as possible and be set to shoot when your subject flashes the expression you want. Don’t ask him to “hold it”; the result too often seems unnatural. With portraits of babies, children, or pets give them something to keep them occupied and their attention off you. A toy or snack treat works well.

There are several ways to photograph action. And shutter speed is a key factor. You can shoot at a fast speed to stop the action, or at a slow speed to let the action blur in your picture. Stop-action is very common and the purpose is to freeze the subject so the viewer can see it clearly. Stop action is effective only when the viewer realizes that the subject was moving when the picture was made. A pole-vaulter frozen in mid air or a diver doing a back flip into a swimming pool are examples. Be sure to include a point of reference so the viewer knows who the subject is and what he is doing.

The easiest way to stop action is with a Fast Shutter Speed. How fast a shutter speed depends on three interrelated factors, how fast the subject is moving, how far the subject is from the camera and the direction of the subject’s movement in relation to the camera.

Another way to stop action is to trip your shutter at the peak of action. Shoot when the basketball players are at the highest point of their jump. Make your exposure the instant the action is suspended.

Action can also be captured by panning with the subject. This is one of the most effective techniques for portraying the feeling of motion in your photographs. To pan, follow the moving subject with your camera, carefully keeping it in your viewfinder. When you decide the moment is right, press the shutter release. Since the camera was keeping pace with the moving subject, the subject will be sharp and the background blurred, which gives the feeling of speed. Slower than normal shutter speeds usually produce a very action packed effect.

Another way to stop action is by using the flash. Instead of the camera’s shutter speed, it’s the brief burst of light from the flash unit that freezes the action.

Slow shutter speeds can be used effectively with many subjects to show action. Experiment at various shutter speeds with flowers or leaves blowing in a breeze, children riding a merry-go-round, or a grandfather clock with its pendulum swinging. Always look around for subjects whose motion will enhance your pictures. The decision you’ll need to make is how to suggest action to your viewers: stop it, blur it, or both.

Michael Russell Your Independent guide to Photography

It is often the simple things that spoil an image. Using simple techniques and a little care, you can easily give you images the attention that will do them justice. The materials used in printing your images play an important factor in the quality of the finished print.

Printer: When buying a printer think about the materials that you’ll be using. If your are going to be printing your images in large format buy a printer that can handle rolls of photographic paper. These printers are usually more expensive, but great savings can be made when buying paper.

Paper: Photographic paper comes in many different sizes and textures. It doesn’t do any harm to test a few different papers from different manufacturers to see which one suits your needs.

Ink: When buying inks for your printer I would strongly recommend that you buy from your printer’s manufactures. Third party inks will give you great savings but may not be suited for your printer.

When buying a printer, photographic paper or inks, it is advisable to plan well in advance. If you are only going to print a small amount of images it may be better using your local photo lab. If you’re planning to sell a large amount of images, your own printer will be very valuable. Having your own printer will ensure that you can process orders immediately after getting them.

In today’s world, offering a speedy delivery can be the difference in making a sale. Using a third party to print your images may take a week or more before you’ll get your images back. This will not be good for your business.

Presentation.

When you are happy with the quality of your printer you now need to consider presentation. Placing an image in to a cheap frame will not do anything for your prints. Presentation is all about giving your images the impact they truly deserve. Before you print your images start thinking about presentation.

It is often very effective to add a white border in Photoshop before printing. If you decide against Photoshop I would recommend that you mount your image before framing.

When finished printing match your prints to your computer screen. If you think you have a problem with your final print you may need to calibrate your computer. This is a common problem with a lot of people printing at home. Most advance photographic software comes with a basic calibration program, which can be simply used in improving results.

Printing Tips:

Before you print your images do a final check to make sure colours are perfect and that there are no marks on your image.
Make sure that you have the right quality settings on your printer.
Always use the best printing options available on your printer.
If you are using heavyweight paper - load the paper one sheet at a time. This will avoid clogging.
Once you are happy with your printing, allow your prints to rest for 24 hours, place a sheet of plain paper between each print when storing your images.

Other printing tips: Most ink and paper companies claim that their product dry instantly - this means that they are dry to touch. If you print you own images there are a few important points to follow before framing.

1 - allow your prints to rest for 15 minutes after printing.

2 - after 15 minutes place a sheet of white paper over the print - use standard paper - don’t use photographic paper. The paper acts as a sponge absorbing the outgoing gases from the printing process. Allow this process to continue for twenty-four hours.

3 - if the plain paper is crimped once removed, repeat the process for another twenty-four hours. If not, your image is ready for framing.

TJ Tierney. Award winning Irish Landscape photographer. If you are looking for more photo tips visit www.goldenirishlight.com/photographytips.html To view some of his images visit his on line gallery @ www.goldenirishlight.com

Though most quality prints are printed on Archival papers, such as Fuji Crystal Archive Papers or Kodak Endura Professional Papers, it is essential to consider a few important aspects to maximize the life of any print you are planning to display.

Things to Avoid

* Avoid placing your Fine Art Prints in direct exposure to sunlight.
* Avoid places with high levels of moisture or humidity.
* Close to a source of direct heat, like near a wall heater, or a furnace.

Consider the Sun

If you are going to frame the print, and are planning on hanging it on the wall, you should consider the placement first of all. We recommend placing your print on a wall which does not receive direct sunlight. What’s wrong with sunlight? Well, sunlight is a full spectrum light, which means it packs many different frequencies of light, including UV (ultra-violet). The problem with UV is its effect on photographic papers. UV causes fading, simply put, regardless of the quality of paper used to produce the print. This does not mean that all prints, regardless of the paper, or method used to produce them, fade at the same rate.

Archival papers are meant to last. Special chemicals are used to protect these papers from long-term effects of UV, moisture and other factors. However, even archival prints are not immortal. While Archival papers are meant to last, over time they will also show signs of age. The good news? They will likely outlive you.

Print Comparison

If you were to compare a print produced on a high-end inkjet printer using standard inks to a Fine Art Print produced in a Lab on Archival paper, initially they may appear of equal quality. But many inks are water based, and are not rated for archival usage. Such a print, if displayed properly, will perhaps last 3 to 5 years before any fading becomes visible. On the other hand, an archival print, also displayed properly, will last 50 or more years. Back to Top.

To Summarize

Place your prints into a quality frame, and hang it somewhere out of sun’s direct rays. There’s nothing wrong with light falling on the prints. After all, full spectrum light means your photos are going to shine. Indirect light is best, because it will not accelerate natural aging of your prints, and will provide soft even illumination. In today’s hi-tech world you may be able to purchase a frame with UV shielded glass, which is ideal, if your prints are going to receive quite a bit of direct sun light.

Try to hang you photos away from sources of heat and moisture, because both cause materials such as paper, and glues or tapes used to mount photos into mats to warp. The last thing you want to see is your print rippling in its frame.

Owner of a small photography marketing company. If interested in learning more about me, visit http://www.worldonpaper.com.

A photographer setting up a portrait studio for the first time always includes a tripod for the camera. A better solution is to use a camera stand.

A camera stand rolls around on three lockable wheels for complete freedom in positioning. In addition, internal weights allow easy movement up or down for a proper camera angle. These free movements of camera position add immensely to the freedom of photographic expression.

The camera bar will hold two cameras, one for everyday use and the other for backup or other specific use. The second camera is mounted in the reverse position so that a simple twirl of the stand will bring the second camera into position for photographing. It is important that a backup camera be ready to go so as not to interrupt the flow of a portrait session. There are many things that can go wrong, like batteries dying, a memory lockup, a misaligned flash memory card or the frequent complaint, ‘Why won’t these *&%$# buttons work?”

For complete freedom of movement I recommend a wireless trigger for setting off the lights. Remote radio units are to be preferred over infrared triggers even though both are effective. The internal weights can be adjusted to balance the weight of the two cameras for easy raising and lowering of the cameras. Some friction can be introduced via the screw adjustment so that the cameras remain steady without sideways motion. The wheels can be left free with the brake toward the photographer when many shots from one position is needed. The light bar offers a convenient perch for squeaky toys or puppets. My favorite attention getter was a baby Big Bird who enjoyed jumping off the stand. Check out the camera stand from Bogen. You will be glad you did.

Retired portrait photographer. Questions welcome kchoffman71@juno.com