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Digital Photography - All Its Many Secrets
By Dan FeildmanTake Spectacular Nighttime Photos with your Digital Camera - Part I
Digital Photography - All Its Many Secrets It is important to realize that there is no such thing as a perfect camera, one that will be the best for everyone. Although we sometimes talk about 'cameras of the year' or 'top picks', such lists and awards are really of little consequence. The camera that wins most accolades may not be the one that is most suitable for you. The important thing you need to do is to think about what you want from a camera; you need to know what the various specifications mean, and to work out which is the best for you. Even those aspects that can easily be quantified - such as the number of pixels the sensor records - are not always straightforward. For some people a 2 mega pixel (Mp) camera may be a better choice than a 4 Mp model. Even where image quality is important, you cannot assume that a 5 Mp camera will necessarily give better results than a 3 Mp model. As in life, other things are seldom equal.
During photography's entire history, the amateur and the professional have represented distinct and often contrary approaches to photography, each battling for supremacy. Has the digital revolution tilted the field of battle irrevocably in the amateur's favor? Or has it swept this traditional rivalry into the dustbin? Can anyone say? For the 19th-century practitioner, photography was fraught with personal and technical adversity. The darkroom environment was equally challenging: space was constrained, and in smaller field tents the photographer had to kneel or lie down to work. Ventilation was poor or non-existent, and light proofing faulty. Digital photography is starting to become accessible to the average consumer. Camera prices are falling and image quality is improving. Compared to conventional 35-mm photography, there is no film or processing costs, and results are immediately viewable so a re-shoot can be made quickly if needed. Plus there are more and more applications where digital images are more convenient and cost effective.
White balance (WB) is the process of removing unrealistic color casts, so that objects which appear white in person are rendered white in your photo. Proper camera white balance has to take into account the "color temperature" of a light source, which refers to the relative warmth or coolness of white light. Our eyes are very good at judging what is white under different light sources, however digital cameras often have great difficulty with auto white balance (AWB). An incorrect WB can create unsightly blue, orange, or even green color casts, which are unrealistic and particularly damaging to portraits. Performing WB in traditional film photography requires attaching a different cast-removing filter for each lighting condition, whereas with digital this is no longer required. Understanding digital white balance can help you avoid color casts created by your camera's AWB, thereby improving your photos under a wider range of lighting conditions. A digital camera's auto white balance is often more effective when the photo contains at least one white or bright colorless element. Of course, do not try to change your composition to include a colorless object, but just be aware that its absence may cause problems with the auto white balance.
You may have already noticed that when you're outside on a sunny day using the Sports/Action mode to take pictures of your child playing soccer or your pet catching a Frisbee, that you get these great action images that are worthy of submission to Sports Illustrated Magazine. But when you go inside and take photos of a basketball game with the same camera in the same "sports mode", you get images that are only worthy of being erased before anyone else sees them. The main ingredient that's missing in the indoor photos is "light". The light inside a gym during a basketball game is minimal just as it is during a football game or soccer game after the sun goes down. Most of your sports/action photographs will be taken in available light. Flash isn't always allowed and there's also an effective range of your built-in flash (10 to 15 feet) that isn't conducive to taking action shots from the stands. Taking a photograph of a moving subject without a flash under low light conditions can result in blurry pictures. The problem lies in the way that exposure works; the lower the light, the slower the shutter speed that the camera needs to make a correct exposure. The slower the shudder speed, the more chance that the picture will be "blurry" because of camera movement or subject movement.
JPEG (pronounced "jay-peg") is a standardized image compression mechanism. JPEG stands for Joint Photographic Experts Group, the original name of the committee that wrote the standard. JPEG is designed for compressing either full-color or gray-scale images of natural, real-world scenes. It works well on photographs, naturalistic artwork, and similar material; not so well on lettering, simple cartoons, or line drawings. JPEG is "lousy," meaning that the decompressed image isn't quite the same as the one you started with. (There are lossless image compression algorithms, but JPEG achieves much greater compression than is possible with lossless methods.) Making image files smaller is a win for transmitting files across networks and for archiving libraries of images. The real disadvantage of lousy compression is that if you repeatedly compress and decompress an image, you lose a little more quality each time. This is a serious objection for some applications but matters not at all for many others.
We've all see photographs where the people in the picture have spooky red eyes. These are photos taken at night with a flash. Where do the red eyes come from? The red color comes from light that reflects off of the retinas in our eyes. If you shine a flashlight in a person's eyes at night, you don't see any sort of reflection. The flash on a camera is bright enough, however, to cause a reflection off of the retina -- what you see is the red color from the blood vessels nourishing the eye. Many cameras have a "red eye reduction" feature. In these cameras, the flash goes off twice -- once right before the picture is taken, and then again to actually take the picture. The first flash causes people's pupils to contract, reducing "red eye" significantly. Another trick is to turn on all the lights in the room, which also contracts the pupil.
Good photos result from the following elements: always having your camera with you; being in the frame of mind that you THINK about taking pictures when a good opportunity presents itself; experience in knowing what the camera can do and can't do, such as how to adjust your camera to compensate for poor lighting conditions or anything else that doesn't happen to be just right; have patience; taking lots and lots and lots of photos-- the average professional photographer takes around 120 shots for every ONE that he/she actually uses and gets paid for; and finally, luck.
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