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The trend is definitely underway for many serious photographers to make the switch from film to digital SLR cameras instead. There are lots of reasons for this, but there are also some things that you should be aware of before making the switch that could be an unpleasant surprise too.

Perhaps the main advantage that digital SLR cameras have over their film counterparts is that digital cameras give you instant feedback on your photographs as they are taken, allowing the photographer to see if the image they wanted was indeed captured as planned or not. If it didn’t come out as expected for any reason, the bad photo can be just erased and the photographer can keep trying until the best results are achieved. This is a big advantage over film cameras as photographers have always had to take many extra shots of important scenes to help ensure that they get the right image, but they would never know for sure until the film was developed hours or days later. And by then the shot opportunity could already be lost forever.

Another great advantage that digital SLR cameras offer over film SLRs is the ability to put plenty of image editing control in the hands of the photographer. With film, most image adjustments and edits would have to be made at the photo lab instead. Digital images though can be edited and adjusted in an almost endless number of ways in digital photo editing software that is widely available. This lets the photographer have total creative control over the finished product, a very appealing feature of digital SLRs for most advanced photographers.

But one major concern that film SLR camera owners should know about before buying their first digital SLR is that the lenses that are used for film photography will provide a completely different angle of view when used on a digital camera instead. This is due to the reduced size of the digital sensor that captures the image information as opposed to the 35mm frame size. Since the sensor is only about 2/3 the size of the 35mm film frame, the images produced by a particular focal length lens tend to be magnified by about 1.5 times.

So this means that a normal 50mm lens will produce images that more closely resemble those made by a 75mm film camera lens, and this same magnification factor holds true for all other lenses used as well. This makes it especially hard to get a wide angle lens to work well with a digital SLR as most 24mm wide angle lenses will make an image that is in the 36mm range instead.

There are some high end digital SLRs that reduce this problem with larger sensor sizes, but expect to pay for that feature.

All in all, digital SLR cameras still offer a lot of great advantages over film though that the serious hobbyist or pro will want to consider to get the best results possible on each shot.

Thad Pickering writes on many consumer related topics including digital photography. You can find digital slr camera reviews and digital camera comparisons by visiting our Digital Photography website.

Addressing a D2X Digital SLRCoolpix 8800 search, this article provides a quick comparison of the Nikon D2X digital SLR and Coolpix 8800 cameras.

Nikon D2X Professional Digital SLR

Check out a Nikon D2X review or two and quickly realize this is a world class professional digital SLR. Instantaneous response and fast 37ms shutter lag allow the photographer to compose and take the photo instead of waiting for camera start-up, shutter or processing time.

The D2X sports a 12.4 megapixel DX format CMOS sensor capable of 5 FPS. Continuous mode can be increased to 8 FPS with a cropped field of view using 6.8 megapixels. The D2X SLR’s 4-channel color readout and advanced image processing algorithms deliver truer color and higher processing speeds.

Additional features such as i-TTL Speedlight technology, sYCC color profiling, and Advanced 3D-Color Matrix Metering II make the D2X digital SLR a professional photographer’s dream.

Nikon Coolpix 8800 Long-Zoom Digital Camera

An 8800 camera digital Nikon review search reveals a surprisingly compact mid-sized digital camera. With 8.0 effective megapixels and 10X optical zoom, this camera ranks at the top of Nikon’s Coolpix line. Vibration Reduction circuitry compensates for camera movement, allowing shutter speeds up to 3 stops slower without image blur.

The 8800 offers a choice of built-in flash or external hot-shoe. Nikon’s i-TTL flash technology delivers full flash zoom control with the SB-600 and SB-800 Speedlight units. In addition to fisheye, wide angle and telephoto converters, and other adaptors, Nikon 8800 filter options include neutral color, neutral density and polarizing filters.

Other Coolpix 8800 features include: 15 automated scene modes, 5 movie modes, and continuous shot modes up to 30 FPS. For the serious digital photography enthusiast the 8800 offers quality and features comparable to, but at a lower cost than digital SLR’s.

How Do These Cameras Compare?

Unlike many digital camera comparisons, comparing the D2X and Coolpix 8800 is not a true “apples-to-apples” comparison. Both models have a rugged but lightweight magnesium alloy body and high quality Nikkor lenses. And both feature i-TTL flash technology, multiple AF, scene, shot and exposure metering modes, plus aperture and shutter-priority settings.

The Coolpix 8800’s rechargeable lithium-ion battery will take up to 240 shots per charge, while the D2X’s (also lithium-ion) will take up to 2,000 photos on a single charge. DX Nikkor lenses for the D2X offer wide-angle views up to 180°, and the camera also accepts all conventional AF Nikkor lenses. The D2X also supports both WT-1A and WT-2A transmitters for wireless image transfer and full remote camera control from a computer.

But there’s a huge difference in cost. The Coolpix 8800 is available from about $550 to $900, while the Nikon D2X price is closer to $4,000. For the professional who earns a living with his camera, the D2X digital SLR is one of the best and most reliable cameras available. But for the serious photographer that can’t justify the D2X’s cost, the Coolpix 8800 offers professional quality photos at an affordable price.

For more information, see Digital Camera Comparisons

Digital cameras information from A to Z: camera types & features, how they work, accessories, photo printers, comparisons and more - plus digital photo processing tips and info at A-Z Digital Cameras.com, Your Complete A-Z Resource for Digital Cameras, Accessories and Information.

This article may be re-printed in its entirety, with no changes and this resource box included.
© 2005 A-Z Digital Cameras All rights reserved

So you recently bought a digital camera or perhaps your thinking about it. And perhaps you may be wondering how many pictures will your computer hold? First you need to answer a few questions to come to an accurate conclusion. First, how big is your hard drive and how much free space does it currently have? You can find the answer to that question by first left-clicking on “My Computer:” Right-click on “C drive.” A menu should appear. Left-click on “Properties.” A pie chart should be displayed that will show you the size of the hard drive and how much of the disk drive is free. Your next step is too know how many mega pixels does your camera have? A pixel is a light sensing cell on the image pickup device.

The higher number of pixels, the higher the resolution or picture quality of the camera. A higher pixel number will also require more storage space in your camera and computer for a picture. How much storage does each picture need? If you have a 2M pixel camera, a high resolution picture will require storage in the range of 500kb. Two 500 kb pictures would occupy 1 MB. If that one picture requires 500kB of storage, you should be able to store 2000 pictures of that size in 1 gigabyte of disk space. I usually store my pictures in one folder in my computer called “Camera Pics” and then create sub-folders within that folder with different names depending on the occasion the pictures were taken at for easy reference later on.

Most camera manufacturers will provide software to allow you to transfer and edit pictures from your camera. But some of that software is not the easiest to install and operate. There are a few ways to do the transfer without the camera software. If your camera has a memory card, you can buy a memory card reader and use it to read the pictures from your camera. The memory card reader plugs into a free USB connector on your computer. When you plug a memory card into the memory reader, you should notice a new hard drive on “My Computer.”

Your computer will consider the memory device to be a hard drive and will allow you to manage pictures as if they were files on a hard drive. Many new cameras are directly supported by Microsoft XP If you plug a USB cable into the camera and a USB slot on the computer, you might discover that your computer knows how to read the pictures off the camera. Digital cameras offer an economical way to get into photography. After you pay for the camera, it doesn’t cost anything to take pictures. You just need a computer to allow you to view and save your pictures. After you have saved a bunch of pictures in your computer, I suggest you to transfer them to a CD or DVD. If you do not, someday you may lose all your pictures if your computer ever crashes.

One other thing you need to be aware of is that older computers will have a hard time working the large megapixel cameras that are being produced today. If you have an older computer and go out and buy yourself a 8 or 10 megapixel camera, you may suddenly find you that you may have to buy a new computer too, or at least upgrade the one you have. The hefty picture files that are created by these large megapixel cameras use a tremendous amount of computer memory and can cause an incompatible computer a lot of problems.

The average needs of most people really do not require a large megapixel digital camera unless you plan on printing large photos. So it is best to keep this general rule in mind when considering a digital camera. A typical 2-megapixel camera will produce a very good 4 x 6 inch image using a typical desktop color inkjet printer. With a 4 -megapixel camera, you can turn out a very good 8 x 10 print, which is the largest print anyone who is not a professional is likely to need.

Doug Rogers has worked as a freelance photographer for the past 25 years in various fields of photography. In the past two years he has become an avid and devoted fan of digital and video photography and a life long lover of new technology. For tips on better digital photography and the latest reviews on the newest digital equipment that hits the market, Subscribe to his monthly Newsletter “The View Finder” at http://www.best-digital-cameas-review.com

“Always remember the importance of detail”. I can still clearly hear these words that were repeatedly drummed home by my college lecturer. Whilst they seemed unimportant and irrelevant to me at the time, they have over the years taken on a much greater significance and have become ingrained in my philosophy and nature photography.

This attention to detail undoubtedly brings wonder and is certainly worth taking a little time for a closer look. Indeed when this attention is applied to even the most commonplace of nature subjects there is clearly an extraordinary display of beauty and orderliness to be found. These combine to create patterns in nature that require only an observant and discerning eye to behold. This vision instils a lasting appreciation of the simplicity and beauty of the natural world and with this understanding and harmony there is everlasting enjoyment.

The natural world in all its glory has a myriad of examples for us to photograph but we can start with the common things that we tend to overlook. Simply because of their familiarity they offer the very best opportunity for observation. Here we can find patterns in nature that can be circular, linear and random or indeed a combination of all three. Sometimes they are obvious and sometimes they require a little effort and imagination to search out. Nature is full of patterns that interact and play off of each other that are well worth seeing. They offer a different view on our world, that if we are honest, with our ever-increasing hectic lifestyle we often take for granted. With a discerning eye for detail, pattern and colour we can look at any natural object as simply a series of shapes composed of lines, curves and circles. Then consider ways in which these shapes and patterns relate with one another. Often it is this interaction that provides such a rich and diverse array of patterns that can satisfy even the most inquisitive amongst us and provide the opportunity for unique photo subjects.

Finding patterns in nature is not all that difficult. Though to derive the most pleasure it requires an open mind, an almost childlike curiosity and imagination. Let us take for example the ubiquitous nasturtium that is so common in our summer gardens. It is such an attractive plant and yet one that is so often taken for granted. Why not find a little time to take a closer look and consider some of the intriguing patterns that are revealed. In the case of the nasturtium leaf I see it resembling a wheel with the raised leaf veins representing the spokes radiating from the centre. It portrays a solid and unified structure. One that is not dissimilar to the mechanics of a spider’s web with all the components working together for each other. Furthermore the interplay of light can create further patterns, accentuating textures and other intricacies within the leaf adding more definition to the subtleties and nuances contained therein.

A similar pattern can also be found in a single rose. The rose has long been recognised as an emblem of simplicity and one of our most loved and beautiful flowers. The pattern emerges as the petals radiate spirally outwards from the centre and one is almost drawn into its glorious depths. With this power it is little wonder it is the flower of love.

Very often natural objects contain patterns within patterns that are only revealed by looking further and further into the subject. Indeed, nature is very generous and only too pleased to welcome us in to see all her glory. You can be assured that she will allow the very closest of inspections and will not disappoint.

With this renewed awareness a simple nature photography walk takes on new meaning. Just recently whilst walking on the beach I was attracted to the patterns of sand left behind as the water retreated down the beach with each wave. The patterns that were created suggest energy and motion reflecting both the fluidity and continuity of the ebbing tide. This happens twice a day and has been doing so for countless years in the natural world but it is interesting that almost identical patterns can be found after each tide. I find this repetition intriguing as it shows a consistency throughout the ages. However, even though the patterns in nature may reoccur, the colours and reflections change dramatically with the changing light, time of day and weather conditions. So even a visit to the same place will always provide something new and fresh to contemplate and challenge the mind.

Patterns are not only confined to small objects but are also there to be found in the grand scenic view and again it is the ability to really see that is all that is required. The juxtaposition of harsh and soft, light and dark or straight and irregular are all combinations that reveal patterns. It is possible to find patterns in nature by simply isolating part of a larger scene. For example a lonely section of mountainside adorned with the golden flames of a single autumn tree can offer a very simple and often starkly dramatic pattern. Or it may be the randomly fallen leaves that decorate the woodland floor creating an abstract pattern whilst golden shafts of sunlight penetrate through the wooded canopy above to enhance their beauty.

There are also many patterns within the world’s fauna; a giraffe or zebra for example clearly exhibit very striking patterns. In these examples they are patterns with a purpose namely for camouflage and defence. Closer to home, however, a simple feather can show wonderful linear patterns with the shaft, barb and barbules and their interlocking hooks combining together to provide both strength and flexibility. In particular the feathers of the much-maligned magpie have an iridescent sheen and offer wonderful colours to enhance the strong diagonal pattern.

So, with renewed vision and childlike wonder the natural world is without doubt a beautiful place that only requires time and an inquisitive mind to fully appreciate. With all the negatives that abound it is reassuring to know that satisfaction and contentment can be provided by the most simple of things.

Redstart Photography

Redstart photography by Phil McDermott based on the Isle of Mull in the west of Scotland specialising in nature and environmental photography.

http://www.redstartphotography.com

Your daughter is poised to take her first steps.

She’s sitting in the middle of the living room, and rolls forward onto her hands and knees. She tentatively assumes a standing position.

It’s suddenly clear to you that she is about to wobble across the room. You grab your compact digital camera and turn it on.

By the time the camera has powered up, she has already taken a few steps. You point the camera at her, but it can’t focus in the dim living room light.

The moment is over - she’s sitting down again, and you’re left without a photo to show for it.

If you hate missing moments like this, you need an alternative to your compact digital camera. Let me tell you about the benefits of a digital SLR.

SLR Defined

SLR stands for Single Lens Reflex, and there are two big differences between SLRs and compacts.

First, the image that you see in an SLR viewfinder is the image that the camera will take. Second, you can take the lens off the camera and put a different lens in its place.

Besides these two differences, there are many other features that make an SLR ideal for a family photographer.

Instantly Available

You don’t have to wait for a digital SLR to warm up.

Flick on the power switch and the camera is ready to go. You can even leave the camera on all the time if you want to.

Digital SLRs have a “sleep” mode to preserve battery life. Just press a button, and the camera is “awake” and ready to take the next photo.

Even fleeting moments won’t be missed waiting for the camera to start up.

Fast Accurate Autofocus

Digital SLRs have advanced autofocus systems.

They include multiple autofocus points, and they can use any one of these points to quickly focus on your child, regardless of how much he or she is moving around.

There is also a mode called predictive autofocus, which tracks your child’s motion and continuously adjusts to keep the focus sharp.

Larger Sensors

Digital SLR cameras are much larger than compact cameras.

This provides a unique advantage: the photo-sensitive sensor inside a digital SLR is physically larger than the sensor inside a compact camera.

The larger sensors are more capable of producing high-quality images even in low-light conditions.

If you spend a lot of time taking pictures of your child indoors, then you’ll really benefit from the larger sensor size of a digital SLR.

No More Red-Eye

You’ve probably dealt with a lot of red-eye when you’ve used the flash on you compact digital camera.

This is because the flash on a compact camera is close to the lens, and the light from the flash is reflecting off your child’s retina.

Every digital SLR flash pops up far away from the camera’s lens, virtually eliminating red-eye.

Even though it’s easy to fix red eye with today’s photo editing software, is that really how you want to spend your time?

In Summary

If you’re a parent and have been thinking about upgrading your 3-year-old compact digital camera, I urge you to take a good look at the digital SLR models available.

The have come down in price significantly in the past two years, and are now competitive with the cost of compact cameras.

Think about it this way: it’s probably worth the extra money to know that you will never again miss an important milestone in your child’s life because your camera wasn’t ready.

Chris Roberts dispenses practical plain-English advice and information about digital SLR cameras at the Digital SLR Guide. His 5-week ecourse in digital SLR technique helps beginners get the most out of their digital SLR cameras.

How do you find a Los Angeles Photographer for that special occasion at a price I can afford? As if moving to Los Angeles isn’t difficult enough in and of itself, there is always the hassle of getting things done when you don’t know anyone to cope with. So to find a Los Angeles Photographer, or any other service for that matter, in the town, there are some steps I always take to make sure I get what I want at the price I want.

When it comes to service providers, like a Los Angeles photographer, the first step you should do is to figure out exactly what you want. In the case of a Los Angeles photographer, you will need to determine whether you are going to have portraits done, candid photos as a party, or formal pictures and portraits at an event like a wedding or graduation. Once you determine what exactly you need out of a Los Angeles photographer, you will have an easier time looking for someone who fits your specific needs.

Next, you need to do your homework. Get out your yellow pages and look up photographers. It seems like an elementary way of locating a good Los Angeles photographer, but it is a necessity to get started. Find a few that look good to you based on the ad and what it looks like they specialize in. Once you have scoured your yellow pages thoroughly, check out the internet. Look up Los Angeles photographers in a search engine or business directory and look for more places you can check out. Also, you may want to look up the ones you have chosen from the yellow pages to see if they have a website. Often the sites have sample photos, portfolios, and the like which can help you to make an informed decision about the photographer that will work best for you.

Last comes the calls. Once you have narrowed your list of Los Angeles photographers down, you should start making calls. Talk to the photographer, find out about availability, find out about prices, and get a feel for the business. You want someone you feel comfortable with, so it is okay to just go a little bit on gut feeling. In addition, you should ask about additional services, like video or album creation. Once you have talked to all of the photographers on your list you will likely have a fairly easy time making your decision. Choose someone you have confidence in and feel comfortable with and you won’t go wrong.

Moving to a new city can be incredibly difficult. Having to find a service provider in that city, then, can be equally as daunting. However, finding a Los Angeles photographer or any other services provider doesn’t have to be that bad. By taking three simple steps, you will have done your homework and be able to book a photographer that meets your needs at the price you are looking for. Take your time and work with confidence and you will find your Los Angeles photographer in no time.

If you would like to find more of my personal articles on california photographers please check out my website on photographers!

Want To Improve your Photo Sales? Here Are Seven Marketing Mistakes To Avoid.

“Why Do I See Others Photos Published –
Yet Mine Are Better?”

My cousin in Texas told me she wanted to get into stock photography and hoped to start selling to magazine and book publishers. When I visited her a couple of years ago, she brought out an album of her outdoor and travel photography. “People have told me these pictures are as good as the ones they see published in magazines and books. What do you think ?”

“Before I look at the pictures, let me see your marketing methods,” I said.

“My what?”

If you are interested in seeing your credit line in national magazines and books, and you can produce excellent images, the following will be helpful to you.

We all know that trying to sell excellent umbrellas on a dry day is difficult. Even the inferior ones will sell during a downpour.

The engine that drives the selling process for stock photographers is fueled by effective marketing methods.

Over the years, I’ve looked at dozens of collections of superb photos gathering dust in a shoe box. One important element stood between those pictures being published and remaining in the shoe box: skillful marketing techniques.

I’ve noticed that the photographers who succeed at selling to the book and magazine industry are those that have developed a strategy for selling, which today we call, marketing.

We’ve heard of the photographer who hit the jackpot with the sale of one photo for use on a billboard or an advertising campaign. This is rare. Your best bet to break into the stock photo field is the book and magazine industry.

The photography budget for a medium-size publishing house is between $20,000 and $40,000 monthly. For a major publisher, it’s twice that amount. Stock photographers who are consistent at selling their photos have learned to identify certain markets that match their own areas of interest. Once they become a “regular” at the publishing house, they receive a steady stream of photo requests and assignments.

Want to improve your marketing methods? Here are seven marketing mistakes to avoid.

CREATE FIRST THEN FIND A MARKET
Number one is probably the most oft-repeated marketing mistake. Creative people tend to produce their product first and then attempt to find a market for it. This is a recipe for disaster. The Boulevard of Broken Dreams is strewn with bodies of creative people who never learned: “Find the market first, and then create for that market.”
Most entry level stock photographers fail because they go after the “photos that sell”, not necessarily the ones they love photographing.

SPECIALIZE
When you try to be all things to all people in the publishing world, the photobuyer’s reaction is: “No one can be that good!” Discover your photographic strength areas, and go for them. Most entry-level stock photographers go have the whole pie rather than the piece of the pie.
Become a specialist. don’t photograph everything you see. you’ll burn out. Stay within a “segment” and become an expert in your area(s) of interest. Learn to speak the language of your interest areas. You’ll become a valuable resource to a certain group of photobuyers out there. If wild horses can’t pull you away from your goals, you’ll succeed. You’ll fail or get bored if you aim for only those markets that ‘pay well’.

FOR SOUL NOT FOR SALE
Writer’s rarely publish their poetry and even rarer is getting paid for it. In the stock photography field, don’t expect your ‘artsy’ pictures to sell. Consider them your poetry. Ask yourself next time you’re taking (making) a picture, “Is this for sale or is it for soul?”
Spend Sundays to take pictures that feed your soul, take the marketable pictures during the week to feed the family.

PASSING THROUGH
Give the appearance that you are a ‘permanent’ resident. Most creative people have a tendency to change their address once every five or six years. Photobuyers have a tendency to shy away from the vagabond, the wanderers, no matter how talented they might be. Buying photos is a business and they want you to be businesslike in their dealings with you, and that means being ‘reachable’ five days before deadline. Get an e-mail address and stick with it.

LOOKING LIKE A BEGINNER
If you appear to be ‘just starting out’ photobuyers will pass you on by. They don’t have the time to hold your hand or “train” you. They’d rather spend their time with someone who is “hassle-free”. You should give the appearance of looking like a pro. Build a quality website. Correspond on quality stationery, labels, and envelopes. The photobuyer will put you on her/his “white list.”
Don’t use the Internet to send a catalog of your pictures to a prospective editor. Instead, ask for permission first.

TECHNICAL FAILINGS
The automatic controls on digital cameras today make it nearly impossible not to get a technically good photo. Photobuyers expect technical excellence from you. No matter how excellent your image may be, if it does not meet the reproduction quality for the publishing industry, you’ll fail.

A 1D meg picture may be resolution enough for magazine and book markets, however, a 50 meg image is often the minimum requirement of many of your markets. Use this as a guideline when buying your next camera.

HOMEWORKLESS
Do your homework. Know what your strengths are, and then begin photographing in the areas that you love best, where you ’speak the language’ of the photobuyer. Do your homework on the web or at the reference library. You’ll find scores of powerful directories awaiting you, plus photobuyers who, at this moment, are searching for your talent and know-how. They will recognize your mini-expertise that matches the special interest of their magazine or publishing house audience.

ROHN ENGH published a book back in 1981 called, “Sell & ReSell your Photos. (Writer’s Digest Books. It’s now in its fifth printing and has become a bible for photographers just entering the field of stock photography. Rohn also publishes photo needs of national publications in three market letters ranging from a monthly to a daily. He can be reached at Pine Lake Far, PhotoSource International, Osceola WI 54020. (715) 248-3800.