Sensor Gel Stick

First of all, you should get the sensor exposed. Once the whole sensor becomes visible, you should clean the lens with the gel stick. Then you should clean the dust off the gel using the adhesive paper that comes with the gel stick. Remember: don’t make a rush when cleaning the camera. You don’t want to drop the camera accidentally.

You can use the gel several times repeating the process over and over again. Once you are done, you should turn the camera off, install the lens and set the aperture to f/32. Now, take a photo of a white wall or a white piece of paper. If the picture is free of any spots, the lens is clean.

Usually, sensor gel sticks should not be used in a room with a temperature lower than 40F. The ideal temperature is 70F if you want the best performance. Using the product in too low or too high temperatures will not give you the best performance. In worse cases, you may end up reducing the shine of the sensor, which will adversely affect the image quality. Therefore, you may want to check the temperature of the room first.

Since the stickiness of the gel varies based on the coating technologies applied on the sensor filters, we suggest that you don’t use one sensor gel stick for cleaning the lens of different cameras, as one shoe can’t fit everyone.

Normally, the cleaning product can be used on all digital cameras that come with interchangeable lenses. The good news is that most camera manufacturers have cameras that have interchangeable lens.

Some mirrorless cameras feature a coating technology that allows the gel sticks to leave behind some residue on the sensor filter surface. As a result, you will need to clean the sensor thoroughly. You should use the right type of sensor gel stick for cleaning these cameras.

Cameras that don’t come with a mirror are not easy to clean. Therefore, it’s a lot better to go for a camera that can be easily cleaned. A lens that is not clean won’t allow you to take high-quality pictures, as the quality of the pictures depends largely on the clarity of the lens or sensor. Therefore, cleaning the lens with a quality cleaner is highly recommended.

Nikon D3400 Autofocus

There are a couple of occasions when you might want to use manual. If, for example, you are shooting video and you have somebody who is fairly static, then I would recommend that you first of all use autofocus to ensure that the subject is sharp, and then switch it over to manual. That is just to prevent the possibility of, when the subject moves in or out of the frame or in and out of focus, it stops the camera trying to track. The other time might be if I am shooting landscapes. Now, again, I might well use the cameras autofocus system in order to make sure that I have everything in focus and then switch it off. That is really just to ensure that whilst I am either setting up or composing or while I am actually taking the picture itself which, remember, could be on quite a long shutter speed for 5 perhaps 10 seconds (perhaps more if it is a night-time shot) that the camera will not be distracted by something moving across the frame. It is a safeguard. The camera should not be distracted, but it is to ensure that nothing untoward does happen it is worth sometimes switching over to manual focus.

When you are in manual focus and you are looking through the viewfinder you have an option to help you here, which is called the rangefinder, and if you go into the menu and you go into the SETUP MENU then about halfway down just below BUTTONS you have an option for rangefinder. You also have the option below that to ensure that the MANUAL FOCUS RING is on, which of course is what you want. You switch that on when you are looking through the semi-automatic settings which are A, S and P, and you are looking through the viewfinder. You will see that there is a levels gauge at the bottom and it will move and will help you to discern when the subject that you are looking at is sharp. When it is sharp there will be a little green dot in the bottom left hand of the frame. When you are in MANUAL MODE that gauge is not there. It is an exposure levels gauge but the green dot will still appear when the subject is sharp. You do not get that when you are looking through the back screen and you are on manual. When you are looking through the back screen in MANUAL MODE, the best thing to do is to use the magnifying glass to magnify the image that you are looking at and so work on manually focusing by getting what you are looking at and what you are trying to focus on as large as possible on the back screen and that is fairly easily done through the magnifying glass + to go in and you can use the magnifying – to come back out again.

However in most cases, you will want to use the Nikon D3400 autofocus systems. The Nikon D3400 has two autofocus systems. The system that operates through the viewfinder is called PHASE DETECTION what that means essentially is that the beam that comes in through the lens is split and bounces around the back of the camera onto the sensor and at that point the camera tries to join the two images together again and in doing so it work out the length for the lens. It is very quick it is quite accurate and it is much quicker and far more accurate than the naked eye. For Liveview, it does not have the opportunity to split the beam coming through because the light goes straight through to the back of the camera. So the system used here is called CONTRAST DETECTION. Now actually this is pretty good too, because it gets right down to individual pixels where it can detect a contrast between different shades. However it can also be quite easily confused and that is more often than not when the illustrative light comes on here just to help the camera get a better idea of what it is looking at so that it can focus more accurately.

The Nikon D3400 DSLR camera essentially splits the focusing function, or the D3400 autofocus function, into two. It splits it into FOCUS MODE which essentially allows you to tell the camera whether the subject is static or moving, and then it also splits it into AUTO FOCUS AREA MODE, When you can tell the D3400 which part of the frame, or how much of the frame, the camera should be scanning in order to focus on the subject. That changes depending on whether you are looking through the viewfinder or whether you are looking through the back screen.

So lets take a look at them. Now, in this instance we are looking through the viewfinder. Of course, you can go in to the SHOOTING MENU and find FOCUS MODE and AREA FOCUS MODE on the back screen here, and make the changes accordingly, but that would be very complicated when you are trying to shoot things live, so fortunately they are on the back screen with the i button. So if I just come out of that and press i then I will find them on the bottom line. The very bottom left is the FOCUSING MODE, so if we go into that one you find there are three options outside of manual. The three options are SINGLE SERVO which basically means that when you press the shutter button the camera will focus and it will remain focused until you either take your finger off the shutter button or you completely take the picture by pressing it all the way down. That can be quite useful because if you focus on the subject in the middle of your frame and yet you do not want the subject in the middle then you can move the camera so that the subject is off to one side and take the picture and the subject will still be sharp. The other option is AF-C which is CONTINUOUS. That is for things which are moving around, so again if you press the shutter button halfway down then you focus on the subject and if the subject moves then the focus will try to keep up with the subject and keep the subject in focus before you press the shutter. The third one is called AF – AUTO and that is kind of a mixture between the two. If your subject is static then it will just focus as if it is static and if your subject moves around it will effectively move on to continuous. However I do not recommend that last option because it is the Nikon D3400 making this decision, not you. I think you should make the decision so I would recommend that you either stick to single or continuous when you are looking through the viewfinder because you then have control over how the autofocus is working.

When you are looking through the back view screen there are two choices for this D3400 autofocus. They are SINGLE SERVO and FULL-TIME SERVO. Single servo just focuses when you press the shutter button, and is ideal for static subjects. Full-time servo will try continually to focus. Now this is quite interesting because unlike with looking through the viewfinder, when you have to keep the button pressed down, here it has a little green square on it and whatever is in the square the camera will attempt to keep in focus. That could be quite useful for when you are shooting video, for example, because it will try to keep whatever the subject is in the middle of the screen in focus. However it is quite slow and it does have to search sometimes, so it can be quite distracting. It is not as immediate or quick as you would hope and if you are shooting video then I go back to my original point. If it was me, shoot on single or shoot on manual. But it is not too bad. It does try its best and if you are going to shoot video where frankly the moving in and out does not really matter, then it can be very useful because of course it maintains that subject in focus.

So now lets take a look at the AUTO FOCUS AREA MODES for both systems on the Nikon D3400 DSLR. So if we look at the viewfinder first then again we go into the i button and this option is right next to the auto focus mode. If we, when we are looking through the viewfinder, look at AUTO FOCUS SINGLE, then there are two options options. The first one is SINGLE POINT AF and you will see the diamond of 11 points which are the 11 autofocus points that the camera uses and when it is on single point it will select the one in the middle, initially, to focus on the subject – and that will flash when you press the shutter button. If you want to change the point to one of the other 11 points then use the multi-selector to move that focus point around the diamond. That can be quite useful, particularly if you are on a tripod or you can not move the camera easily, because it means that you can then select a different part of the picture, a different subject perhaps, to be the focus point and to be sharp. So that is quite useful.

The next one then we get on to is AUTO AREA AUTO FOCUS and that essentially means that the camera tries to do everything for you – so it will use those 11 points in the frame to try and select the subject that it thinks should be sharp and in focus. It will very often be the one that is closest to the camera and that can be useful when you are trying to shoot things and you are not entirely sure what it is you are looking at. One of the disadvantages, of course, of looking through the viewfinder is that your vision is quite restricted. So if there are lots of things moving around or there are lots of things in the frame and you are not really sure what should be sharp on what should not, then this option can be quite useful.

Lets come out of autofocus single and look at D3400 autofocus continuous and see what the options are for the auto focus area modes there when you are looking through the viewfinder, because they are different. You get two which are the same: you get the single point and you get the auto area focus but you get two others, which are actually pretty interesting. The first one is DYNAMIC AREA AUTO FOCUS. What that does is that it tries to predict where the subject is going in the frame, so in other words, if the subject is moving diagonally through the frame so it is not just crossing the frame as on a single focal plane, if you like, it is moving in or out then the camera will try to predict that by gauging the movement that it has been doing between the focal points. So if it is moving towards you then obviously one focal point will have it so it 10 feet away another may have it at 8 feet away so it will predict that by the time it gets to this focal point it should be 6 feet away and that is what it means by trying to dynamically predict where the subject is going to be and that can be quite useful for obvious reasons because it means that it is trying to predict the focal length and the sharpness for you which is quite useful. The other one is 3D TRACKING. Now 3d tracking kind of does the same thing in that it does try to predict where the subject is going to be but it also allows you to move the camera at the same time so this is very useful for panning because it means that the camera does not get distracted by the background it just focuses on what it thinks is the subject of the frame and that can be very useful. Also bear in mind this is through the viewfinder so it is the faster of the two autofocus systems and so as a consequence of that it could be useful for things like sport or action photography. Now lets take a look at the autofocus area modes through the Liveview screen which is the contrast detection system. The difference here is that it does not actually matter in terms of your D3400 autofocus mode whether you are on continuous or whether you are on single, because the options are both same. So if we go in here then you have four choices and the two choices which you are going to come across most frequently are WIDE and NORMAL. Now if you click on wide and accept that then when you come into the back frame here you will see that there is a red square in the middle of the frame. That is your focus point and if you press the shutter button down halfway then it will focus and turn green – if you have got the beep on it will go beep – and that is essentially the limit of what it does. Now you can move that square by using the multi-selector you can move it to the right or up and down or left and if you want to return it to the center quickly you just press the OK button and it will return to the center, but that is your focal point within that square so if you go back into the i button and then back into AF area mode then coming out of wide and going into normal you will see that it is pretty much the same but that square is a lot smaller. In other words you can be far more specific when you are trying to choose your focus point and of course in either of those two settings you can press the magnifying glass to go further into the picture just to see whether you are actually pin sharp or just to check really that you are focusing on that thing that you wanted to focus upon. So those are the two more normal ones, those are the ones that you are going to use probably most frequently.

The D3400 autofocus option to the right is called SUBJECT TRACKING AUTOFOCUS and in some ways it is very similar to DYNAMIC autofocus for the system that is used through the viewfinder. But please bear in mind that you are looking through the back screen here and this system is much slower. So whilst it will also try to predict where the subject is going in the frame, it is not going to be as quick and it is not going to be as efficient as when you do it through the viewfinder. Then finally, and this actually is very useful, is FACE PRIORITY AUTOFOCUS. Now this is useful because it will automatically focus on and prioritize faces. It will detect faces in the frame automatically it will focus on one and if there are more than one face and you want to go to the other one you just use a multi-selector to push that on to another face. It is a really useful option particularly of course when you are taking group shots etc and it means that you can choose who to focus on and and it can actually do it quite efficiently. It is quite impressive if there is no face in the frame it just returns really to the wide option in other words you get a square in the middle of the frame that you can move around the frame as you would if you were in wide or normal. So those are your autofocus options with this camera there is quite a variety. You should be able to take pretty much any picture really and the autofocus options here would be able to help you take better pictures in almost any discipline. I would say as a rule of thumb that for normal everyday pictures I would be on – when looking through the viewfinder – on autofocus single and probably on single point. However if I was again using the viewfinder to shoot on continuous and to shoot something a bit more like action or sport, I might well go into dynamic area AF or even 3d tracking. But I tend to favor dynamic area because I am just more comfortable with that. If we go into the Liveview options then I would again tend to favor shooting on AF SINGLE just because it just makes it a bit more a bit more straightforward for me and also I think AF FULL TIME on the back is not as fast as CONTINUOUS through the viewfinder but on single again and here on the back I would be tempted to shoot probably on normal. I would not tend to use subject tracking on the back screen because it is easier to shoot that kind of stuff through the viewfinder but what I would say is FACE PRIORITY, when you are shooting group shots through the backscreen, is excellent and is well worth experimenting with. So those are the autofocus settings. Bear in mind that in autofocus settings it will not actually let you take a picture until it deems the subject to be sharp and so that could slow you down on occasion if you’re not careful. Also remember though that if you are on manual focus, this camera has no such control and if you press the button it will take the picture even if it is not sharp, because it has no control over focus you are then responsible for the focus. If you press the button at the wrong time then I am afraid if it is soft then that is your fault.

Digital vs Film Cameras

At their most basic level, Cameras, both the Single Lens Reflex Camera and Digital Camera simply involve using a curved piece of glass or plastic (lens) to conduct a beam of light bouncing off an object, and to redirect this light in such a way that a real image is formed-an image that looks exactly like the object in front of the lens. The only difference between manual or conventional film cameras and digital cameras lies in how these basic processes are accomplished.

In film cameras, after the lens has formed an image of the object, the image is then focused on and recorded by a chemically-coated piece of plastic, the film. Then the film is chemically processed, after which the image is printed onto a photographic paper, and then we have pictures that can then be stored in our photo album or distributed to friends as desired. But digital cameras take a shorter route to achieve the same result stated above.

Digital cameras are a part of a larger breakthrough that we’ve witnessed in consumer electronics over the past twenty years-the wholesale conversion of analog information into digital information. When we really get down to it, CDs, HDTV, DVDs, MP3s, DVR, etc are all built around the principle of converting fluctuating waves into bits of ones and zeros. Conventional cameras depend fully on chemical and mechanical processes-you can actually operate them without electricity! But the digital camera presents a paradigm shift here: it has a built-in computer that records images electronically, and must thus be powered by electricity.

Just like manual cameras, digital cameras also use the lens-actually series of lenses-to focus the light from an object to form an image. But unlike the manual camera, the image formed by the lens in a digital camera is not focused onto a piece of film to be recorded. Instead, the image is focused onto a semiconductor device that is capable of recording light electronically. A computer is then used to break down this electronically-recorded information into digital bits of data. Let’s now take a closer look into the inner workings of a digital camera.

Included in a digital camera’s built-in computer is a sensor that converts light into electrons, or electrical charges. Depending on the camera’s manufacturer, this image sensor may be either a Charge Coupled Device, (CCD), or Complementary Metal Oxide Semiconductor (CMOS). To be honest, notable differences exist between these two types of sensors (i.e. CCD and CMOS). But they perform the same basic function in a digital camera-converting light into electricity. Hence, for the purpose of understanding how a digital camera works, we’re going to think of them as identical devices.

And somewhat like the film cameras, a digital camera also has to control the amount of light that reaches the sensor. Yes, it also makes use of the Aperture and Shutter Speed. But these are mostly automatic and can be reset electronically. Now, a digital image is just a long string of 0s and 1s. It is the sensor that reads and interprets the values of these digits as contained in the cells of each recorded image.

Next, another device known as Analog -to-Digital Converter (ADC) turns each recorded pattern of light (pixel values) into digital value by measuring the amount of charge at each cell, and converting that measurement to binary form. Remember we stated earlier that every digital camera has an in-built computer? Now, a processor therein interpolates the data from the different pixels to form natural color. For the majority of digital cameras equipped with LCDs, it is possible at this stage to see the image that has just been photographed before deciding to print it.

At this stage the information is stored in some form of memory within the camera-all digital cameras are equipped with a number of storage systems, most of it removable storage devices. We can consider these as forms of reusable, digital films. And because pictures take up lots of storage space, most digital cameras use some sort of data compression to make the files smaller. A card reader can then be used to transfer the information stored therein (i.e. photographic images) to a computer for further usage.

The processes described above sure sound complicated, right? Don’t worry. In practice, it all happens so effortlessly that we barely take note of anything while using a digital camera-which is what makes it fun to use: the ease and the speed. Imagine that you want to e-mail a picture to a friend. With conventional cameras, you’ll first have to capture the image, process the film, print the picture, and then use a scanner to capture the picture again and record it as pixel values for onward e-mailing to your loved one. But with a digital camera, the picture is automatically broken down and recorded as pixels ready for e-mailing. That’s the fun. Plus, you also get to view the image, live, before setting to print!

Old School Flash

The main problem with film flash photography is that the lighting effect cannot be seen until a print has been made. Additionally, the position in which the flashgun is mounted to the camera is less than ideal for some types of photography, portraiture for example, since it produces a very flat light, and casts disagreeable shadows. Good results therefore require the photographer to understand how they can manipulate this set-up, and knowledge stems from careful experimentation and experience.

There are two ingredients to successful film flash photography. The first is correct exposure. Every flashgun has a “guide number” for every speed of film (although the number for 100 ASA/ISO is most frequently used), and that number is based on the flash firing at the subject directly. The higher the guide number, the more powerful the flashgun is, although some manufacture’s tended to overstate the capabilities of their products. It’s important to know the guide number for your flash.

The second piece of information required to calculate the correct exposure is the subject’s distance from the camera. If using direct flash with an SLR or rangefinder camera, this measurement will be easy to establish. The exposure calculation is the guide number, divided by distance, and the result equals the required aperture.

Guide Number = Aperture


So if a flashgun has a guide number of 80, and the subject is 10 feet away, the required aperture is f/8 (80, 10). The shutter speed should be inconsequential, due to the flash synchronisation requirements of focal plane shutters (i.e. commonly 1/60th of a second). With leaf shutters, anything is possible, so long as the camera’s speed doesn’t exceed that of the flash duration (but with typical electronic flash duration at around 1/1000th of a second, this shouldn’t be a problem).

Some flashguns have a small exposure guide table printed on their casing, which shows the appropriate f-stop for a range of distances (the calculations have been done for you). Others have a “calculator wheel” where distances (and film speeds) are dialled-in and a suggested aperture setting revealed (in the manner of a hand-held exposure meter). Additionally, some flashguns require the user to work in metres rather than feet.

Anyone serious about flash photography might wish to experiment with his or her flash, and take a series of bracketed exposures of a test image (i.e. with variations to the f-stop used), allowing re-calculation of the true guide number for their gun based on the best exposures in their experimental prints (i.e. distance x aperture = guide number).

Further exposure calculations are necessary when the flashgun is used off the camera, or the light output is modified in other ways. Both these techniques can improve the performance of a basic flashgun.

Some of the better (yet still simple) flashguns have an articulation to the light-producing window. This generally either tilts by about 90° (i.e. points at the subject or straight up, and any angle in between), or rotates from side to side (and sometimes they can do both). This allows light to be bounced off a nearby reflective surface on to the subject. Bounced light has a more diffused nature, and will cast softer shadows. Its direction (from above/one side) can better resemble natural ambient light. Suitable reflective surfaces should be white, so as to avoid introducing a colour cast to the lighting: ceilings are often a good bet. The photographer needs to aim the flash at an estimated point where light will reflect back on to the front of the subject (somewhere between the camera and the subject).

Adding the total distance from the camera-to-reflector to the distance from the reflector-to-subject, and dividing the guide number will roughly determine the aperture size required. Some illumination will be lost, so the aperture needs to be increased by one or two f-stops: exactly how much extra exposure is given is a matter of judgment borne of experience.

If a flashgun does not have swivel or tilt capabilities, then it can be used off the camera. This set-up has a few inconveniences. The flash needs to be mounted on a tripod (cold shoes with a tripod bush are available), plus there is a requirement to connect the flash to the camera via a longer trailing lead. Improved illumination is often achieved when the light source is away from the camera and at an angle to the subject (with or without bouncing). As with bounced flash, something important to recognise here is that flash photography isn’t necessarily done at very low light levels, and there will often be ambient light. Moving a flashgun off-camera allows it to be placed in a position where it will not cast shadows that conflict with the natural light source. Sometimes, a very powerful flashgun is not the most useful tool.

Some flashes come with a white semi-transparent diffuser. If your buying second-hand equipment, these accessories are often missing, but it’s easy enough to produce a home made alternative using something similar: paper tissues held on with an elastic band can have the same effect. This diffuses the light, and reduces the intensity of the flash, thereby minimising hard shadows.

As before, exposure determination starts with dividing the guide number by the distance, to derive the requisite aperture setting and then adding an additional f-stop (or two) based on the thickness of the diffuser, and experience. It’s also possible to simultaneously diffuse and bounce flash.

I’ll just touch on this here, because the subject is big enough to fill another article, but there are many other ways in which a straightforward flashgun can be used (rather than simply mounting it on the camera, and pointing it directly at the subject). These include outdoor flash, fill-in flash, and using more than one flashgun.

Benefits Compact Digital Camera

Lower cost

Compared to film photographs where film processing fee is required and film prices have risen recently as supply diminishes, users only have to spend minimal ongoing costs on compact cameras since images can be stored in computer devices without printing. If you have a few photos you really like, you can print them out yourselves or get them professionally printed at photography store without wasting money on printing the unwanted images.

Many digital cameras are highly affordable to those who want to shoot good quality images, for around $150 you can get a pretty respectable camera without sacrificing image quality and features.

Transferring photos

If you want to preserve and share some old film photos on the Internet, you need to scan and convert them into digital format first. Nowadays with a USB cable, users can connect camera directly to their computer, enabling them to perform other elementary image editing in convenience such as resizing images, adding special effects, etc. Another popular alternative is the use of card reader which allows putting images back on a memory card or downloading images to a computer easily.

Ease of use

Compact digital camera allows users to take and print photographs quickly and cheaply without waiting to develop an entire roll of film. These cameras enable you to see the images on the camera screen immediately after it is recorded, so you don’t need a professional photographer to take a great shot. Moreover, compact digital cameras have a variety of scene modes, which automatically select the focus and exposure so that anybody can take superb photos with ease. They are usually small in size and portable, which are extremely easy to use and convenient for travelers.

LCD display

The screen on the back of digital cameras, known as LCD (Liquid Crystal Display) monitor, is used primarily to preview photo and monitor setting changes. Once you snap a photo, it is ready to be displayed on the camera’s LCD screen within a few second, and the cost of processing rolls of film into negatives disappears. If someone blinked or you have taken blurry photos, you will know immediately and retake the photo easily.

Recently, Samsung introduced Samsung ST600 camera featuring double LCD screens, with one at the front which is very convenient when you want to get a picture for yourself.

Capture video and still images

Traditionally, a digital camera only records and stores images. It was only a few years ago that you need to look for a separate camcorder alongside your still camera to capture video. In recent years, many camera companies combine a professional grade still camera with a HD video camera, which is very useful to record the most memorable events of one’s life.

Waterproof Digital Cameras on Budget

Olympus Stylus Tough 6000

This first camera is made by Olympus, one of the leaders in the waterproof digital cameras field, and has qualities that live up to the name. The Stylus Tough 6000 is waterproof up to 10 feet, is shock resistant (capable of withstanding falls up to five feet), and is freeze resistant – which is perfect if you like the frozen outdoors. Anywhere you want to go, this waterproof camera can handle it. And with 10 megapixels, the picture resolution is pretty good, too.

Canon Powershot D10

Canon, another big name in the camera industry, has become known for making high-quality waterproof digital cameras.  The Powershot D10 is no exception. With 12.1 megapixels, this waterproof camera has great resolution.  It also is waterproof up to 10 meters (30 feet), which means you can take this diving with you easily. This camera also comes with image stabilization, a wide variety of shooting modes, a 3x optical zoom, and great color effects built into the camera.

Pentax Optio W-30

This final waterproof digital camera, the Pentax Optio W-30, is great for when you are around a pool hanging out with friends or in the woods or outdoors enjoying nature. This is because the Optio W-30 will operate for 30 minutes in depths of five feet – perfect for a pool. It is also dust resistant for those dusty mountain trails. This waterproof camera also comes with a very fast auto-focus mechanism that lets you take quality pictures quickly, 25 shooting modes, and a super easy, one touch automatic feature that lets the camera do all the work for you.

The three waterproof digital cameras above are magnificent choices for those who are on a budget, and offer high quality performance for an affordable price. There are others out there with similar capabilities, but these three will serve you well no matter what your purpose may be. Now all you have to do is go out and get your own waterproof digital camera – and start taking pictures!

Selecting Digital Scouting Camera


Digital scouting cameras which include an external battery jack are excellent choices. A typical digital camera battery used in a hunting territory may last ten days or less. A large external rechargeable battery can function for five or six months in a hunting area. They save money over the long term and save hunters from spending the time to continually access the deer camera. Less trips also makes it less likely a hunter will scare away the deer with human scent.

Trigger Time

This is basically a measurement of the amount of time that elapses from the detection of motion by the camera until the picture is taken. Some deer cameras react immediately while other can take five seconds. If the camera is taking images at a food plot then a quick trigger time is not necessary.

Flash Types

Infrared flashes have advantages over incandescent flashes such as requiring substantially less energy, they don’t scare the deer and they react quicker. However, the incandescent variety produces better photographs.

Flash Range

The distance the digital scouting camera’s flash can capture the image of a deer is important. Some cameras can work up to 80 feet or more while others did not work properly at over 15 feet.

Picture Resolution

The picture resolution varies depending on the number of pixels the digital scouting camera has. The basic range for deer cameras is from 1 to 4 pixels and the higher the number the better the resolution. However, if a digital camera claims to have 4 pixels you may not get 4 pixel photographs since the camera’s software is an important factor for the quality of the image. Some digital scouting cameras are capable of producing better photographs than cameras with a higher pixel number.

Time/Date Stamp

When hunters are attempting to figure out the movements of the bucks the time and date stamps are essential. Some of the lower priced digital scouting cameras do not have this feature.

Detection Range

Deer cameras have various detection ranges. Hunters can purchase cameras with ranges from 25 feet to more than 100 feet.


The internal memory for a digital scouting camera is typically not very important. If you choose to use the internal memory you will have to take the camera home to download the pictures into your computer or take a laptop with you to the camera site. An external memory card is the preferred choice.

History Behind Cameras

It is understood that Ibn al-Haytham, the man who invented the camera was certainly gifted. Another gifted man by the name Daniello Barbaro adjusted the camera obscura. He added a lens as well as a changeable opening with the intention of sharpening the cameras. All this time the camera was not portable. It is because it was constructed from heavy material. It could not be fitted into a bag or the pocket, which is possible with most modern cameras. It was not until the 1660s that the first moveable camera was invented.

So who invented the camera that one might carry from place to place? The reply, two folks by the names Robert Boyle and Robert Hooke. They had been English scientists. They in all probability simply got pissed off with being unable to take their camera along to seize vital scientific images. Every other camera that has been manufactured since then has been portable. It might be correct to state that had the moveable camera not been invented photography as we all know it today would be non-existent. You’d be stuck with mundane portraits of your self, as it would be inconceivable to seize your environment with heavy stationary cameras.

In 1685, one more moveable camera was invented. This time Johann Zhan invented the camera. What was distinctive about this camera is that it was more refined and was ample for general photographs. It could be argued that people found what a wonderful piece of apparatus the camera was because in 1724, Vincent Chavalier invented a new camera. This was a sliding wood-box camera. It is what Johann Heinrich Schultz used to take a picture in 1826. The primary camera, which could take colour footage, was also invented in the 1800s.

Choosing a Digital Point and Shoot Camera

It happens all the time – I see it almost every day. People come and see me with faulty point and shoot digital cameras, which have self induced faults. The good news is, that most of these expensive problems could have been avoided, when you had chosen the right camera type, which fits your lifestyle, and had taken the right precautions of course. The bad news is, these faults are not covered under warranty and are often uneconomical to repair!

What is a self induced fault? Sand -, liquid- and shock damage

  • Sand damage can easily happen at the beach without realising it straight away. A couple of sand grains in the right spot can malfunction an extendable lens mechanism.
  • The most common liquid damaged cameras we have seen are affected by rainwater, beach and swimming pool and believe it or not, drink bottles stored in the camera bag.
  • Shock damage is a tricky subject, in particular when the camera is handled by multiple users. Often it is not realised, as there are hardly any signs of damage on the outside housing of the camera, but the damage is done inside.

The most common symptoms, or let us say parts, which brake, are LCD displays and extendable lenses. LCD’s are made of glass and exposed often without any protection. Lenses are in most cases none serviceable items and need to be replaced as a whole unit, which is extremely expensive. Spare part prices can make up to 50% and more of the price you payed, when the camera was new! Given the price decline and the improved performance of new cameras, you can work out by yourself, were you want to spend your money.

To get the most out of your investment, choose the type which suits your lifestyle best. Let’s put the earlier paragraph about self induced faults into consideration and assume we distinguish between 3 types of point and shoot cameras. Cameras with…
• extendable lenses
• inbuilt lenses
• water and shockproof

If you have a personal preference for a camera with an extendable lens, you must take special care of it, to avoid any damage to the lens. In case you have kids and multiple users, who might be a little rough with the handling of the camera, the best return on the investment is given with a water and shockproof camera. Personally I use a camera with an inbuilt lens, which hasn’t given me any problems whatsoever.

Do you want to upgrade your camera with a newer model of the same brand and hoping to use your old accessories like battery or memory card? In most cases you can’t. Different physical shapes and electrical specifications make it impossible.

Now, we are talking purchase price. More megapixels and optical zoom is not all! Often specifications are pushed to the limit and performance is sacrificed. Let me explain: to take a good shot with a high megapixel and let’s say 10x optical zoom camera without tripod requires a lot computer power. Often it can take a few seconds of shutter lag and the results are still not satisfying. What I am saying is, to have a good performance/specification camera you have to pay the price and go for a semi-professional or DSLR camera. However, the most shots indoors are taken in wide-angle lens setting and outdoors you use the same, most cameras handle these shots without any issues. The best insurance from disappointments is to test the camera by yourself under different light conditions and zoom settings.

Make sure, the cameras tested are readily available and the test topics make sense and are relevant for you. See it as a guideline only.

This is hard to say from a repairers point of view, we only see the faulty ones. When looking underneath the brand badge and housing, it is almost impossible to see if a ‘brand name’ stands out with better workmanship. All I can see is, that mechanical components seemed to be done more out of plastics and the way they have been put together looks and feels cheaper as it used to. All the improvements, which lead to better specifications, go into more powerful electronics and computer chips. Therefore manufacturer costs can be reduced to a minimum. Today, it is not as expensive as it used to be to manufacture a relative good new camera or release new models, which explains the ever increasing flood of new cameras.

What the reliability of the different brands concerns, I couldn’t recommend one or the other, as long as you compare cameras in the same price bracket. A lot of spare parts have Chinese writing on the boxes, which makes me wonder, where there are coming from and where the cameras are manufactured.

Canon Powershot A560

If you’re looking for a good camera with a great megapixel ratio, you’re in luck. The canon powershot a560 digital camera comes with four times optical zoom, face detection technology, expandable storage and overall high marks from existing consumers that have purchased this fine camera. If that’s not cool enough, you can connect the camera to a Canon CP photo printer or any PictBridge compatible photo printer. That’s right, you can print high quality photographs with the touch of a button and this camera makes it even easier. That’s right, no longer are you trapped by lesser camera equipment or print outs, you get top quality prints easier and higher quality than ever before.

One of the best features of the canon powershot a560 digital camera, is the expandable memory slots. You can utilize the SD and MMC memory card slots to take your camera to the limit. You can take as many photos as you want without having to stop what you’re doing and switch cards or download photos to your computer in between shoots. Just point, click, and you’re on your way. No need to complicate things at all, just simply use the slots to your advantage and have fun putting in thousands upon thousands of memories with your powerful camera.

This camera also comes with settings that will allow you to take photos indoors, outdoors, in low lighting situations, high contrast situations, in every single type of weather condition you can imagine. Not only that, it also is light weight, weighing in at only 5.82 ounces. The camera body is durable and the dimensions make this camera one of the top contenders for cameras that are super portable. Take this one the go, on vacation, or simply carry it with you with throughout your adventures. Whether you use the camera to take photos of inanimate objects, people, or products, you’re going to find that the canon powershot a560 digital camera is perfect for any occasion.

Experienced users are going to enjoy the overall power of this camera. Novices will also enjoy learning the various features that this camera has, and enjoy the ease of use and price tag that goes along with the canon powershot a560 digital camera. That’s right, an easy to use on screen menu, expandable memory, and low cost makes this camera the top camera to buy to capture your events, and memories forever. There are a lot of cameras on the market right now, however, there is only one canon powershot, and this is the best of the best.