Basics of Digital Camera Care

Camera Lens

Lens is the most important part of your digital camera; it is the window towards the outside world. A small scratch or spot on the lens will destroy the whole picture. Hence, care should be taken to keep it clean but not by touching with the fingers directly. If there is any dust, first try to blow it up, if it is still there wipe it with a soft lens cleaning tissue or you can use a lens brush or lens blower. You can even find lens cleaners specifically meant for digital camera. Do not forget to cover the lens while the digital camera is not in use.

Delicate Parts of the Camera

Memory card is one of the most delicate components of your digital camera. You may find CompactFlash, SD or MMC cards in your camera. They are small and play a vital role while taking snaps. The other delicate part of your digital camera is camera panel. You need to handle all these delicate components carefully.

Battery

Taking care of the batteries also comes under digital camera care. Getting the right kind of battery will enhance the performance of the digital camera. Clean the battery component and remove the batteries while the camera is not in use for long time.

Storage

Another important thing is to turn off the camera while you are not using it. The care of a digital camera also depends on how you are storing it. Make sure that you are keeping it away from any kind of magnet. Magnet in any form may affect the circuitry of the digital camera. It is also essential to store your camera against condensation. Put the silica gel capsules in the storage box of your digital camera to prevent condensation. If you are storing your digital camera for a long duration, there could be corrosive leaks from the battery over the time. You can take the batteries out of the camera in such case. Temperature is one important aspect of consideration while storing camera. Keep your camera away from extremely cold or hot temperature.

Hard Shell vs Soft Camera Case

The differences between the two are very similar to the differences between traditional hard shell luggage and soft shell luggage. Hard shell camera are made from injection molded hard plastic, while soft camera are usually made from high denier nylon. You can also get leather camera, but these are quickly losing favor in response to the versatility, stain resistance and strength of nylon.

Some photographers favor hard shell cases because they’re virtually indestructible. If you’re traveling around the globe and have to check your camera bag, you’ll probably feel better using a hard shell case. If you’re boating down the Nile River and there’s a danger of your camera falling overboard, a good hard shell camera will float, which can save you thousands of dollars. Who wants to see their camera and gear at the bottom of the river?

That being said, most hard shell camera are heavy, cumbersome and can be difficult to pack. There’s usually not much versatility built into the interior, so you’ll have to stick with the default packing method the manufacturer has designed, even if it doesn’t seem practical or intuitive to you. If you want to carry your gear around in a backpack style case, a hard shell camera won’t win points for comfort. It will tend to dig in at the shoulders and isn’t going to conform to the body at all.

Soft shell camera made from high quality nylon, canvas or leather, with nylon being the overwhelming favorite because it’s water resistant but breathable, almost impossible to tear, and comes in a variety of strengths and colors. Far more photographers use soft shell camera cases than hard shell cases.

Soft side camera are easier to pack and extremely versatile. Most have movable dividers that can be rearranged to suit your needs or removed to give you some extra space. They’re also great for traveling with as carry-on luggage. They will conform more easily to the overhead compartment shape without banging up your gear and are easy to stow almost anywhere.

A soft backpack camera will naturally be more comfortable than a hard shell. It will conform to the shape of your back and will have some give to it as you’re moving around. The lightweight material is a bonus when you’ll be hiking long distances with a backpack camera.

The versatility of soft shell camera extends to their interiors. In addition to movable dividers, most will also have mesh pockets for smaller items such as memory cards and microfiber lens cloths. Some soft camera cases are expandable, so you can fill them to capacity when needed, or partially collapse the bag to make it a smaller, more manageable size if you’re only carrying the essentials. Many of today’s soft side camera are also modular – you can order two different cases that work separately, but can be fastened together to make one larger bag when needed.

Take Good Beach Photos

However, not everyone is good at making all kinds of nice poses in front of the camera. Don’t worry, in below will suggest some very simple but really nice poses to you.

  • You can ask your traveling companion who is holding the camera to capture your turning around moment with a big smile and looking straight at the camera. Capturing the exactly turning moment is the key to make this pose successful, which requires privity between you and the photographer.
  • Back facing the camera, you can fondle your hair with your left hand and take your large brim hat with the right hand. Your should face towards the direction of the wind at beach, so your hair and brim hat will sway like dancing along with the wind. What a beautiful moment that would be!
  • When the sunshine become soft at dusk, you can capture the scene when the sun is sitting in the horizon of the sea. Stand on your toes and ask your partner to squat, with the sunset ornament your body, you would become part of the beautiful sight.
  • You can make a good use of the sands. Sands can be the easiest tool for taking beach photos. Actually it can be very useful for many poses. Today I recommend you this simple one: just fiddle up the sands and shoot the exact moment when they are spreading down, PS with a nostalgic grounding color, your eyes won’t want to leave such a picture in the photo albums.
  • You can also lie down at the beach to let your companion take the photo from your head side. With both of your hands at the wide brim beach hat and kneels stay higher than your head, you can make a lovely photo pose. The hat is better being white, the same color with the clouds, or blue, the same color with the sky and the sea.

Benefits Of 50 Mm Lens

Light Weight

Depending on the brand, a 50 mm lens weighs between 4.3 oz to 6 oz. This means that there’s no reason why you should leave the lens at home. If you are not in the mood of carrying a whole bag of stuff around, you only need to take your camera and the lens and you will be good to go.

Cheap

Lenses from the most popular brands go at a price range of $100-200. This price is too low compared to the quality of images taken. According to expert photographers, the quality of an image taken by the nifty fifty lens is almost the same as that taken by a $600 lens.

Super Sharpness

Since this lens is a fixed lens, you are able to take sharper images as there are less moving parts inside the lens. There are also less lens elements to give you blurred images. The large aperture in the lens greatly contributes in giving you sharper images.

Versatility

Since the lens is neither too wide nor too long, you can use it on a wide range of environments. For example, you can use it on the streets. You can also use it to take portraits. To take portraits, you only need to put the lens on an APS-C sensor.

Normal

The lens is categorised as a normal or standard lens. This means that the lens mimics the human eye. Due to this feature, the lens gives a natural look to the images that you take. This feature is also great for beginners as they won’t feel as if they are looking through a lens.

Peekaboo Photography

A lot of parents sign their children up for peekaboo photography. To make this session more meaningful, you can bring personal items that your photographers can use. Think about the things that can represent love, heritage, and other values. Your selection of accessories may include the following:

  • Your child’s personalized toys. Do you have play items with your child’s name on it? Or any toys that you have customized for the use of your child? Perhaps some stuff toys that he or she keeps and will treasure forever. These makes peekaboo images more personal.
  • Jewellery that has been passed from generation to generation. This represents the continuation of the family line with the youngest members as the new owners. Photographers can easily integrate family jewellery into the setting. Some nice accessories to use are rings, necklaces, timepieces and even brooches.
  • Your family quilt. This can serve as a backdrop or a blanket for your child. A quilt owned by the family can be best showcased in peekaboo photography.
  • A chest that’s been with your family for years. It is so cute and sweet to see images of little ones inside a chest, basket or a bucket. You can always create a story behind such peekaboo photographs.
  • Work equipment of parents. What dream you have for your child can be represented with the work equipment that you have now. Your son can use the ball if Dad is a ball player. This is like saying one day he will take over whatever is left behind. You are creating the story of paving the way towards that future.
  • Family pet. Let your family dog or cat share the limelight with your child. Such peekaboo photographs can represent unique family dynamics and relationships. Your family pet can stand beside your kid or they can look at each other.

Photograph Corporate Photography

Background

The background is of equal importance just as the subject. Textured backgrounds are not recommended, but a simple plain black or white background will be appropriate for corporate purposes. Since these photographs will be used for corporate profiles and business interviews, it is important to keep it simple yet elegant.

Natural light

Examine the environment in which you plan to photograph your subject. If the room has ample natural light, then you will have no need for the flash. Switch off the indoor lights and position your subject with a simple background behind the subject as the light comes from the sides through the window. Use a camera that is good for shooting images without the noise.

Low light

If you have to shoot in a low light environment, go for the flash mode. Even in the studio environment, if The window is right behind your subject, a flash must be used if you want to capture the image of the background as well. Use a strobe with a light diffuser in such cases to light up the light diffuser will not flood the light throughout the room, but focus the required light on the subject to get soft clear images. To handle such situations, use a portable lighting gear which you can assemble and dismantle with ease.

Studio setup

You can set up the studio in different ways to achieve what you or your subject requires. You can use two lights, one is the light diffuser and the other is the backlight above the background focusing the subject’s head. The light diffuser eliminates the shadows. Another method is to use one light diffuser to one side and another backlight from another side to eliminate the shadows and a second backlight above the background focusing the head of the subject. You can also use umbrellas on either side instead of a light diffuser. Try a couple of arrangements to find which mode will be suitable for you.

Outdoor photography

If you shoot your pictures outside the studio with the availability of natural light, don’t use flash. You can use light reflectors to eliminate glare and the shadows. Dawn or dusk will be perfect for outdoor corporate photography if you have properties along with your subjects. Throw flash on the subject to allow the subject to stand alone from the rest of the background.

Group photography

In case of multiple subjects, focus the group from above and lower the shutter speed to shoot image without noise and blur. Use this technique especially to have a cover multiple subjects enclosed in smaller spaces. For larger spaces use a camera and lens with extra length that would give a full frame for a fullcover. These techniques will help resolve the challenges you might face with corporate photography.

Features Canon EOS 70d Camera

Auto focus

A high-quality auto focus system is essential to take sharp pictures. The EOS 70d is installed with the latest Dual Pixel AF technology to make it easier to shot fast-moving objects. This DSLR auto focus system includes a total of 19 focal points. This increases the cameras capabilities to focus on the subject. Also, the 70d comes with a bigger 20.2MP sensor to help improve the contrast and clarity of the picture quality.

Video

A further aspect of the Dual Pixel AF technology is the ability to increase the quality of video recordings. Earlier models of the DSLR cameras had issues with loss of focus as objects moved around. This problem is solved with the 70d due to its ability to swiftly auto focus as the camera is moved from subject to subject. The camera supports standard HD (50 and 60p) and full HD video (24, 25 and 30p) capture.

WiFi

The Canon EOS 70d includes WiFi as standard and a welcome feature for a number of reasons. WiFi access offers complete ease in connecting the camera to a computer, tablet or smart phone. This makes it easy to download and view pictures using the Canon EOS app. Pictures can also be printed to a wireless printer or viewed on a DLNA equipped TV. Another benefit of using the app is the ability to remote control the camera. This is certain to help the photo shots taking place in a studio.

Dome Camera

A dome camera is simply a small board camera that is mounted on the inside of a dome-shaped housing. These cameras are usually mounted on ceilings or under overhangs above doorways and porches. Most dome cameras have a plastic cover for inside use and others have a metal cover for outdoors.

The dome camera is the camera of choice in most circumstances because they are generally less expensive and easiest to install. Also the indoor dome camera in a plastic cover makes it very hard to tell where the camera is pointed, so one camera can effectively deter theft outside of its normal field of view. You can’t duck below the cameras field of view if you don’t know which way the camera is pointing. The mere existence of the dome camera tends to ward off criminals and thieves. The outside dome camera because of its metal housing has an external lens that can be aimed and focused, but it is easy to tell in what direction the camera is pointing.

One big feature for a business or the home with a limited budget is you can expand your area of concern without buying a lot of cameras. The dome camera can be intermingled with dummy cameras or fake cameras. Most security camera suppliers have dummy cameras the look just like a real dome camera, even having a flashing diode to signify it is in operation. Putting real cameras in strategic areas and then a few dummy cameras will really deter theft, and only the owner or manager will know which are real and which cameras are the fake cameras. It’s a proven fact thieves don’t like bright lights, noise and cameras.

Choosing the correct dome camera depends on the owner’s needs. The cheapest would be a daylight camera that is in an area where there is daylight or sufficient lighting so that the camera operates as if in daylight. Most operators have gone to a day/night cameras. These cameras have the ability to take pictures in normal lighting and low light conditions. The day/night infrared LED dome camera can take pictures in darkness. These cameras usually take colored pictures except in low light and darkness then they automatically switch to black and white cameras, for better resolution. The PTZ dome or speed dome camera is the most expensive, but has additional features such as pan, tilt and the ability to zoom in on objects. The pan/tilt/zoom features are controlled by a security DVR and a remote controller. With heaters and automatic light sensing these cameras are great for outdoors with a 360 degree view and all-weather operation. These cameras are used mainly for factory floors, parking lots, streets and monitoring business buildings.

One concern of business owners is how much video you can store for review or evidence. Early security camera systems used security VCRs, which had tape as a media that took a lot of time re-winding the tape and the tape did not hold up well over time. These tapes usually recorded 1 to 4 hours of video, so the operator was changing tapes quite often. Today the security DVR uses a hard drive with the average size of 500 gigabytes, which can give us days of recording instead of hours. We can instantly go from one time to another to review the events as the DVR time stamps the video. To save hard drive space the security DVR creates motion sensing so recording is only done when there is motion in the area. The DVR can also disseminate between normal motion such as a fan and irregular motion as a person entering. The indoor dome camera in its plastic enclosure is good for a distance of approximately 300 feet.

I mentioned the PTZ dome camera before, but this is the most sophisticated security camera of them all. With its pan/tilt/zoom capabilities and its ability to be programmed the camera it is truly a fine surveillance tool. The camera can be programmed to pan and zoom into specific areas at preset times or intervals. A high-speed PTZ camera can be set to sense a door contact opening and turn and zoom in on the door. The zoom capabilities are amazing using a combination of optical and digital zoom. If a particular target or persons peaks your interest, you can take control of the PTZ camera with a remote keyboard or controller to follow and zoom in on the subject. The PTZ camera has some of the best lenses available with light sensing, LEDs and auto focus capabilities. With metal enclosures and internal heating units these cameras are built for real all-weather operation. The price is expensive, but no other camera will give you the field of view, definition, night capabilities and other features that this camera will provide.

When you are building your security camera systems or setting up your home security cameras, review your camera options. The dome camera may not fulfill all your camera needs in all cases, but my bet is down that you will want some dome cameras in your system. Don’t overlook the advantages of the fake cameras to supplement your system. Remember there is no better evidence in court then a time stamped security video of the crime, and the best way to handle criminals, is by deterring them, rather than confronting them.

Collecting Classic Cameras

The first thing we budding photographers had to learn was a sequence of f-stops (aperture sizes) – f2.8, f4, f5.6, f8, f11, f16, etc – and that each was twice/half the size of its neighbour, with f2.8 being the largest, and f16 the smallest. Similarly, the shutter speeds were 30th, 60th, 125th, and 250th (on my camera anyway), and each was twice/half the speed of its neighbour. The final bit of information came with the film; a slip of paper that said something like this (for 100 ASA film):

1/125th and f/16 on a sunny day with distinct shadows
1/125th and f/11 on a slightly overcast day with soft shadows
1/125th and f/8 on an overcast day with shadows barely visible
1/125th and f/5.6 on a heavily overcast day with no shadows
1/125th and f/4 on in open shade or at sunset

All the camera settings were guesswork, and some shots would inevitably be incorrectly exposed, or blurry. The solution was to learn from mistakes (give it a bit more/less exposure in certain conditions) and gain more knowledge via and understanding of aperture/shutter speed combinations, and depth of field.

The correct exposure setting can be maintained by corresponding adjustments of shutter speed and aperture choices. For example 1/125th at f/8 is the same as 1/60th at f/16, and the same as 1/250th at f/5.6, and so on. The most obvious application is using a higher shutter speed with a larger aperture is elimination of motion blur.

Depth of field (hyper-focus) is the distance over which all objects are acceptably sharply in focus. Many cameras had a handy scale of the lens that illustrated the depth of field for each aperture setting. The concept to be grasped was that large apertures have a small depth of field (only the subject might be in focus), while small apertures have a large depth of field (the foreground, subject and background could also be in focus). As distances had to be guessed, the best method of ensuring good focus was to use smaller apertures. However, good photography demands that differing apertures should be deliberately selected to expand or compress depth of field, so that backgrounds can be intentionally sharp, or blurred.

This was the point at which I moved up to a new camera to eliminate some of the guesswork: an accurately focus-able SLR, which dispensed with the need to hyper-focus, and allowed a more creative use of shutter speed/aperture combinations and depth of field. My camera didn’t have a built-in exposure meter, so I had to get a hand-held.

Taking a picture took a long time (composition aside). You had to take a light reading and transfer settings to the camera, think about the relative importance of freezing action and controlling depth of field, and adjust accordingly. Then the sun would go behind a cloud and you’d have to start over again.

Life was much easier when I moved-up to a camera with an integrated exposure meter. One of the joys of a simple viewfinder match needle metering system was that you could continually monitor the quality of the light, and easily make exposure compensations to over or under expose when necessary by not matching the needle pointer (when you knew better than the meter).

Better yet, the next development was shutter or aperture priority auto exposure (most cameras featured one or the other, but not both), where the user had to make one selection, and the other would follow automatically. While you still had to apply the same thought processes, there were a lot less knobs to twiddle, and most systems could be made to work backwards (e.g. manually changing a shutter speed would force a preferred aperture selection).

Automation started to get a grip on camera design, and not all of it was good. For example, exposure compensation might require changing the ASA setting to force a different exposure, or twiddling a dedicated exposure compensation dial. It wasn’t really progress, and it didn’t make operation easier. I was just a different way of doing things.

I guess increasing camera automation was largely aimed at new photographers. It allowed them to use the tool without knowing about shutter speeds, apertures, and depth of field, but for those of us who had started with a simple wholly mechanical camera, it felt like creative control was being lost.

The next big development was auto-focus. This was a very attractive proposition, since a necessary task could be performed by the camera freeing-up concentration on creative control. However, auto-focus came with auto everything else. Cameras had become the high-tech version of the point and shoot I started with in the 1960s.

My first auto-focus camera was a Pentax MZ-5n. This camera had various program modes, which essential addressed set-up decisions for the type of subject I was trying to photograph. Instead of thinking about shutter speed, aperture, and depth of field, I had to think about navigating menus to tell the camera what I was photographing so it could affect an appropriate set-up on my behalf. It wasn’t easier to use; it wasn’t better; it was just a different way of doing things.

My interest in photography (as opposed to operating a camera in the same way one might operate a washing machine or any other bit of electrical equipment) faded once I’d acquired the MZ-5n. I think it only ever had one film passed through it. More than that, film photography was dealt a death sentence shortly after when digital cameras came of age.

My next camera was actually a digital, and I easily acclimatized to the fact that it does everything for me, but I use it in a very different way. The digital camera is a tool in a multimedia age. I use it to captures images in a way that is factual, and unemotional. To be creative, I still reach for one of my old film cameras, and put some effort into capturing the moment.

ISO Sensitivity

The exposure is controlled by 3 (three) adjustments we make in the camera: shutter speed, aperture and sensitivity. Shutter speed and aperture ultimately control how much light comes into the camera (we can compare this to a water tap – how much you open the valve and for how long will dictate the amount of water that will flow)… and how much light is needed for a certain exposure is determined by the sensitivity of the medium used (today it has been expressed as ISO numbers – and as ASA not so long ago).

In the digital cameras world today, we can find ISO ranges from as low as 50 up to 204,800, being the normal range placed somewhere between 200 and 1600. These numbers have some qualities associated with them: it sets the amount of light needed for a good exposure, and the lower the number, the more light is required, and as a consequence for a fixed aperture, a slow shutter speed will have to be used; and will influence the amount of noise in the image.

So, if you have lots of light (or have the camera mounted on a tripod), the lower the numbers you can set, and on the other hand, when you do not have lots of it or you need a faster shutter speed (for action and sports shots, for example), you will need to raise the ISO (and this is what the AUTOISO settings in your camera do: adjusts the ISO settings so you end up with the correct camera measured exposure for a given situation. You normally set the minimum and maximum range you want the camera to automatically adjust the ISO based on your acceptable quality and speed requirements).

It is worth knowing that each time you double the ISO (for example, from 100 to 200 or from 400 to 800), half of the light is needed for the same exposure, and vice-versa.

As we mentioned above, noise levels will also be influenced by the ISO settings, and the higher the number is, the more noise and visible grain an image will have. We normallywant the images to have the least amount of noise as possible.

Today, most digital cameras can make good quality images at ISOs up to 800 or 1600 and above, but several aspects affect this, from the sensor type a camera uses (for example, the size of the pixels used on the camera’s sensor, which are larger in SLRs compared to the compact ones. Larger pixels result in less noise and SLRs have larger sensors with larger pixels) to the amount and type of noise reduction algorithms and systems used in the cameras.