Photography 101 Part 2

Basic Composition

Now that you are beginning to understand how your camera works you can begin to understand basic composition. I know that many people that I’ve talked to think that photography is just pointing your camera and taking a photo but it’s more than that. After you understand how your equipment works you can begin to get into the real art of photography and that art is called composition.

Basic principles:

1. Use all of your available space. Fill the image with the image. If the reason that your taking the photo is your daughter’s beautiful face then get closer. If you’re taking an image of the breathtaking valley before you. Fill the frame with the valley. Keep distractions out of the frame. They’re called distractions for a reason.

2. Look at the forms in your image. You almost have to look at the people or the landscape before you in their simplistic geographic forms. A good way to learn form is to practice taking photos of still life objects, that you can arrange into pleasing forms. A good photo is always a beautiful arrangement of form. Whether it’s the beauty of a woman’s face, her features being forms, or a wonderful landscape, trees, rocks, and hills being forms.

3. Line or direction, motion. The direction of the forms in your photos is very important. Never have action or motion moving outside of your image. It will direct the eye away from your image. Diagonal motion lines are good, curves and “s” curves are better. The last two is probably way landscape photography is so popular nature is full of curves. Also never put a horizon line in the center of your frame.

4. Contrast, the difference between black and white. Now it is possible to have a beautiful photo with little contrast if that is your intention, this works best with color. But a lot of shots, some really beautiful shots have a nice balance of black, white, and grays. This can be manipulated for artistic purpose of course, but in the beginning you want to focus on trying to take shots with equal amounts of black, white, and shades of gray. (Shoot a roll of B&W film to really learn this principle.)

5. Color, you may have to familiarize yourself with the color wheel. (See my article Graphic Design Using Color for more information it’s for graphic design but the first couple of paragraphs talk about basic color theory) Whether you’re shooting nature or setting up your own shots in a studio you need to know what colors go together and why. Many of us have an instinct as to what looks good. When in doubt follow your instincts. Start out by taking shots of things that you think have pretty or beautiful colors. Show the photos to others and see if they agree. Photographers learn not only what they think is beautiful but what is universally beautiful as well.

Now the hard part practice all these principles at the same time. It’s not easy! Now you really know why photographers take years to really learn their craft.

This week’s assignment: Let’s break this down into four assignments. You’ll need four rolls of film. Roll one, fill your available space. Shoot pictures of whatever you like, but get closer. Eliminate distractions from your image. Keep the focus of your image on whatever it was that made you want to take that photo. Roll two, forms. Here’s an old stand by that I did in college. Get out an assortment of vegtables and fruit from your kitchen. Put a sheet down on your table, no distractions, shoot an entire roll of the veggies and fruit making sure that your rearrange with each shot. Make sure you study your results and see which forms looked best. Roll three, Contrast, you can do this in B&W film if you want to. Take a shot of the flower in your garden in the early morning, afternoon, and sunset. Shoot some portraits at the same times, by candlelight too. When you see the results you will be surprised. Roll four, color. Use the vegtables again, this time paying attention to the colors. If you can tell me why a red tomato looks best on a green bed of lettuce or the orange sunset with the purple clouds is so captivating then you’ve figured out some of color theory.

If you have some specific questions please visit my Photography Forum at: http://kellypaalphotography.com/v-web/bulletin/bb/index.php and post your question there.

About The Author

Copyright 2004 Kelly Paal

Kelly Paal is a Freelance Nature and Landscape Photographer, exhibiting nationally and internationally. Recently she started her own business Kelly Paal Photography (www.kellypaalphotography.com). She has an educational background in photography, business, and commercial art. She enjoys applying graphic design and photography principles to her web design. kellypaa@kellypaalphotography.com

Professional High-end Digicams: Weaving Delight for the Serious Shooter!

Are you a serious shooter looking for more precise controls, enhanced features & better lenses, superior image quality while purchasing your cherished digicams for professional product shoots, adwork or publicity campaigns? Well, come out of the idea once and for all, that all these cameras are necessarily big and expensive beyond your affordability. Truly, digital has really come a long way in a short time, and professional high end digital cameras today cover every assignment for real-life application, so that the photographer can concentrate fully on making stunning images with cutting-edge technology. After all, there is the growing need for digital images in both print and electronic media, for which most photographers and graphics professionals are examining the options for capturing images digitally, whether by scanning film or by using digital cameras. And here, they are preferring the functionalities of the professional high-end digital models because of the gains in control, efficiency, flexibility, and productivity.

Did you know before reading this that with consumers worldwide buying 10 million digital cameras in 2003 and 2004, the sales of film scanners have declined considerably? Ask any commercial photographer today about his/her purchasing plans in the near future, and you’ll find a whopping percentage say that they plan to buy a professional SLR over a usual point-and-shoot variety. “Our point of view is that color scanners are past their sweet spot,” says Vince Naselli, director of TrendWatch Graphic Arts. “Increasingly, we think that creative professionals are going to be acquiring their content digitally in the first place so that, down the road, the increased use of digital cameras will lead to a decreased use of color scanners”, he adds. Kerry Flatley, research analyst at InfoTrends, also comments that “as digital cameras continue to improve in quality and provide professionals with needed flexibility, they will most likely cut into film scanner sales”. Thus, at the cusp of a migration from film and scanners to digital cameras, we are standing in the face of a vast expanse where the buzzword has shifted from ’scan’ to ‘direct digital capture’.

Now, let us have a look at some of the market-leaders of this huge variety of professional high-end cameras, the ones that creative professionals are buying and using for the best-quality scans, with high resolution, wide image density, large film format as their hallmark.

Kodak EasyShare DX6340 (MRP: Rs. 18,900): a unique combination of advanced performance, ease of use and value in a sleek design, this 3.1 MP camera, with a large high-resolution 1.8″ Indoor/Outdoor LCD display screen and unique, wide aperture professional-quality 4X Schneider-Kreuznach Variogon zoom lens that provides stunning image quality, has high-performance features such as aperture and shutter priority modes for the discerning photographer. No wonder that it has been declared the “Best performance” and “Best value camera” for the year 2003 (as per the Digit magazine’s Test Drive on digital camera comparison)

The latest offering for the Indian consumers from Eastman Kodak Company is the sleek EASYSHARE LS755 zoom digital camera (priced at Rs. 21,900/-), sized like a deck of cards to fit the pocket of the person having acumen for design and style. Featuring a professional-grade 4X Schneider-Kreuznach Variogon 3X (36 -108 mm equivalent) zoom lens and 5.0 megapixel CCD sensor to optimize photo quality, it comes with a 3X optical zoom and continuous auto focus capability.

Cannon India Pvt. Ltd., a pioneer in manufacturing a comprehensive range of the latest digital imaging products, has come up with professional high-end models like Canon PowerShot A95, Canon Ixus 500 and so on.

Featuring an increased sensor size of 5.0 Megapixels, the A95 has a total of 21 shooting modes - more than any other Canon digital camera. Including many features found in Canon’s higher end S and G series cameras which offer users flexibility and creative control, it stands for outstanding image quality and ease of use. While the 5.0 Megapixel CCD sensor enables it to provide superb image quality (suitable for high quality photo prints up to A3 size), its 21 shooting modes, ranging from fully Auto to Manual, offer users total control for complete creativity. An added advantage of it is that it can simplify things to ensure great looking photos in tricky situations.

On the other hand, Canon’s Ixus 500 model happens to be the ultimate in stylish, high performance digital photography, delivering quality prints up to A3 size. With a super hard Cerabrite finish, it brings together uncompromising build quality and an abundance of integrated technologies. With a 3x optical zoom offering a wide angle of coverage, with the 9-point AiAF ensuring accurate focusing, even with off-center subjects and with its DIGIC delivering superb image quality at high speed with less drain on the battery for extended performance; beautiful, instant photo prints are achieved effortlessly, thus making I an obvious choice for professional shooters.

Again, with the Digital SLR range of Canon’s professional high-end digicams (like the EOS 300D high resolution 6.3 megapixel cameras, the EOS ID Mark II cameras with faster processing of large files with superior color rendering and detail precision), digital technology is taking a quantum leap.

Thus, offering an extensive range of professional hi-end digicams, these brands are gratifying any and every need of entertainment and digital imaging. And, we welcome the new technology and price cuts for the quantum jump of sales of these “hi-end photographers’ toys”.

Lopa Bhattacharya is a content writer/developer working on websites for overseas/Indian clientele. Has worked for various corporate website projects, CD-Rom presentations, brochures, flyers and other communication materials on varied themes ranging from travel, hotel industry, photography, web design and software development to US-based clubs and network communities. Was previously an editorial associate for a news, culture and entertainment portal based on the life and times of Kolkata.

An Introduction to Pet Photography

Introduction
Photographing your pet can be an incredibly rewarding experience. Done well, it will allow you to immortalize Fluffy or Spot - that significant member of your family - the pet that shared you food, chewed your shoes, and brought you the newspaper. In fact, the act of seriously photographing your pet will bring you both closer because the process opens you to noticing the small, wonderful things that you might have missed before - the way he wags his tail, etc. This is a grand adventure.

Goal
As with anything, it’s best to proceed with a goal in mind so you know where to start. What are you trying to accomplish? Are you trying to capture your pet’s playful side? Are you trying to setup a funny photo using a prop such as a birthday hat? Is this an interactive portrait between your pet and your child? Sit down and put on paper this goal, because it will help you in preparing properly. Nothing is worse than spending an hour going to your favorite scene with equipment in hand and realizing your forgot a favorite toy - do your self a favor, do not skip this step.

Setting
Now that you have decided on your goal, it’s now time to decide the proper setting. Indoors vs. outdoors. Near the fireplace with an open fire in the background, or in a studio. At the beach or in the woods. As you think about the proper setting, think about how your pet will respond to that setting. If you decide the public park is the perfect place, you must think about your pet’s resistance to distractions. Is he/she able to resist running after another animal or person? The more you know your pet and look through his/her eyes, the better off you will be.

Preparation
Now you are at the critical preparation stage. You’ve set your goal, you’ve decided on the appropriate setting - let’s try to anticipate all that can (and will) go wrong. I use the word ‘wrong’ loosely - try not be too rigid and to have fun - we will talk more about that in a minute. Write out on paper every possible thing you can think of. Here are some suggestions:
Exercise your pet - just enough so they are still alert, but not hyper
Lighting - outdoor is best, but flash will work too - should be natural lighting
Grooming - only if it doesn’t adversely affect your pet’s mood - then do it days beforehand
Props/Toys - favorite of the pet
Food - favorite of the pet
Be prepared for sudden movement - shutter speed about 1/125th and use iso 400 or 800 film (if indoors)
Watch the scene clutter
Have pet at least 6 feet away from background to reduce shadows
Bring an assistant to help manage your pet
Zoom Lens
Camera, Film, Tripod, Equipment, etc.
Etc., etc. Are you getting the idea? The first time you make out your list, the process will be a little tedious, but the beauty is that once the list is made, all you need to do is modify it slightly for the next sessions.

On Location
Whew, you’ve made to shooting location - congratulations. Hopefully, you’ve brought everything you are going to need, right? Right! Now, it’s time for setup. Be organized; get everything laid out in a logical fashion. The last thing you want to be doing is fiddling around with equipment when you need to be shooting pictures - an animal has a zero attention span and you have got to be ready to snap that picture when the moment is there. How is you animal’s demeanor? Is he/she super wound up? If yes, then perhaps some light exercise would be in order - nothing too heavy, but just enough to help him/her calm down. How are you? Are you stressed? Relax, and go with the flow - animals are super sensitive to your mood. Give your pet some last minute grooming - just touch-ups. If you are outdoors, how is the wind? Is it too strong? Is the sun too bright? Remember, overcast is much better for exposure. Make sure that your pet is far enough away from your background so as to not cast any shadows.

The Photographer’s Mindset
Your mindset should be one of peace and serenity. I can’t overstate that enough. Also, you need to climb into the mind of your pet as best you can. What are they thinking and feeling? Align your expectations properly. If you have never done this before, don’t expect perfection the first time out - that will just raise your anxiety level and will stress out your pet.

Shooting
One of the most important things to remember is to get down on your pet’s level, physically, as much as possible. A shot from above doesn’t portray intimacy. In addition, when you are at your pet’s level, it’s easier for you to empathize with it. If you’ve never crawled around on the ground before, you might feel a bit foolish, but trust me, it makes all the difference in the world. Make sure that you and your handler work with each other - you have got to be in charge, but also try to be flexible - you have a lot of variables that you are managing.

Be patient, and have a lot of fun!!!

www.Kitten-Pictures.com <http://www.Kitten-Pictures.com>

Stan Beck is a self-proclaimed animal lover. He also runs the website Kitten-Pictures.com.

The Mamiya Sell-Off: The Impending Death Of Medium Format?

The news is now spreading. Mamiya has announced it is selling off its camera division. The Mamiya ZD and Digital Back will not be released in the US (after initial release in select Europe countries), and you will find it very difficult to find the medium format DSLR and back if you’re inclined to purchase one as a historical moment in the digital imaging world.

The Death Of Medium Format?

Mamiya’s sell-off of its camera business is an interesting event in the ever-evolving history of digital imaging. Just why would Mamiya sell off its entire optical department instead of just formulating another plan–such as making a non-Medium Format digital for consumers. Apparently, Mamiya thinks it is not only impossible to make a comeback into the imaging world, but doesn’t feel short-term and even long-term revisions will make any difference either. Does this signal the end of the medium format affordability and availability which was supposed to occur in the near future? Does this mean medium format technology is beginning to die?

In the short-term, it could be MF imagers (Medium Format imagers) are costing way too much money to make, even in 2006, for companies to continue on in the digital world. Compact digital cameras are still flooding the market and the frenzy is taking a toll on companies who used to have exclusive access to the technology.

Inevitably, there are factors looming which are giving the medium format sector a very difficult time. Let’s take a look at some of those factors which could be contributing to the Medium Format Exodus.

Increasing Image Quality Of DSLRs

Many years ago, DSLRs were still somewhat new and had a few kinks in the imaging system. Medium format users could easily justify their purchases at that time because the image quality of a medium format photo would be several times sharper and cleaner. Today however, the DSLR has come a long way in technology and its image quality. Currently, DSLR manufacturers have obtained 17MP resolutions, nearing medium format image quality.

Size And Practicality

Mamiya did some great work on reducing the typical medium format size with the ZD announcement. Overall, medium format cameras are not created to be toted around like a DSLR, and certainly not a compact camera. The size of a camera has a lot to do with how many consumers will buy it. Too big of a camera and there will be little consumer interest. Create a camera too small, and you will find the same behavior. No matter how great medium format images may be, they still can’t be used in a variety of situations and in variable environments on demand. DSLRs on the other hand can be tossed in a bag at the drop of a hat.

Price

DSLRs of 17MP sell for around $7500, or less with the image quality being compared to medium format. Mamiya was going to release the 22MP medium format DSLR (MF DSLR) in the US at the price of around $12,000. Attracting new users at this price was still way above what the consumer was willing to pay.

Performance

Medium format cameras still are not up to speed, literally, with current DSLRs. A “fast” MF DSLR is considered around 3fps, while a $2000 DSLR can get 5fps, and a few sports DSLRs can get 8fps with variable frames per second adjustment. Auto-focus and image stabilization lenses for getting those tough images is not even within a medium format’s capability. Medium format cameras are still mostly used in studio settings and there is a reason for this. They can’t compete outside the studio door. On the other hand, DSLRs are increasing in megapixels, image quality, and performance, and are walking into the studio door, beginning to take over studio sessions.

Conclusion

Medium format manufacturers must make some changes to their product. The most important change is creating MF DSLRs which are priced competitively with DSLRs. Second most important is creating MF DSLRs with similar performance of DSLRs. Third most important is creating a product which is similar in size to DSLRs. Even professionals don’t like to carry around a lot of equipment and would jump at the possibility of a new system being smaller and lighter.

Mamiya gave the medium format imaging industry a much more serious wake-up call. Medium format companies must begin looking for other means to create capital and attract new users or the medium format imaging sector itself, could become a historical bookmark on photographic trends.

©2006 by Jason Busch (DigitalDingus)

The Mamiya Sell-Off: The Impending Death Of Medium Format?

A part of The DigitalDingus Guide To Photography series.

Feedback in Your Photography

There is a guy called Pendleton. You won’t have heard of him but he is well known in Britain, at least in medical circles. He was a family physician with a love of medical education and used to teach doctors to become better family doctors.

One of the things he developed was “Pendleton’s Rules”. This was a process of feedback on a task between two or more people. It was designed to be safe, non-threatening and constructive.

It is still used today, and in fact, Pendleton is still alive and well - at least he was at the time this article was written. His rules can be transferred into virtually any situation where feedback is justified.

For example, when viewing images and giving your opinion. Or when discussing tasks and routines in photography.

It’s a really simple set of rules which follows the following broad pattern:

- the person wishing feedback talks first and states what went well or was done well

- then the person giving feedback says what went well or was done well

- the receiver then states what went badly or was done badly

- lastly, the giver of feedback states what went badly or was done badly

It is a very powerful feedback method which gives the subject a number of positives. First, the subject is able to think about what they did well and actually praise themselves for it. This is important because we rarely say to others how good we are at something. The person giving feedback can then reinforce this “good work” ethic and add additional praise. Thirdly, the recipient is given a chance to think about the negative parts - something that can, in other situations, either be glossed over or received grudgingly. Discussing your own problems can be very positive when someone is there to share and support your discussions. Lastly, the giver of feedback can point out any other areas that were missed or which were too painful to vocalise.

It worked for Pendleton and it continues to work for intelligent doctors in Britain. It might also work for your photographic progress.

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

Have You Every Wondered What Really Is A Megapixel?

With the rise in popularity of the internet, digital photography is getting closer and closer to becoming the widespread standard. Not only for use in digital publications but hard copy as well. For those in the technology and photography industry the transition has been relatively easy, whereas most of us “regular folks” are now in a bit of a fog when it comes to all this crazy terminology, like megapixel, that we know nothing about. You’ll hear lots of people (mostly “gurus”) talking about how great it is and how much easier digital photography is. Now go and try to explain megapixel to your grandfather!

To make the transition to digital photography easier it’s important to understand the relevant terminology. One of the most important terms you’ll hear when discussing the topic is the MEGAPIXEL. Megapixel, translated literally stands for one million pixels. A PIXEL is a single point in a graphic image. Therefore a digital picture that is one megapixel is an image that has been created using one million pixels of varying colors. Being the inquisitive person that you are, I bet now you’re wondering how those pixels come together in color to create this picture. Well my answer to that is… BABY STEPS FIRST! If you really want to learn, let’s cover all our megapixel basics before we get into bits and bytes.

So now that you know what a megapixel is, let’s talk about how this translates into your every day life. You’re at the store comparing five different digital cameras. While there are a number of different elements that differentiate cameras, the megapixel is the most obvious element to consider. A one megapixel camera takes pictures using one million pixels or points. You may be thinking to yourself “Wow that’s great!”, and it is, but what you need to consider is the kinds of pictures you want to take and what you will be using them for.

For someone who is just looking to send family photos through email or simply store them in their computer for later viewing, one megapixel is fine. Even if you are looking to print some small 4×6 size photographs to take with you, one megapixel can still suit your purposes depending on how picky you are. On the other hand, if you are planning on taking pictures so that you can blow them up to 16×20 and hang them on the wall, one megapixel simply isn’t going to cut it.

Think of billiard balls put away neatly in their little tray, all lined up next to each other. The mixture of colors brought closely together creates a “picture” of sorts. Now spill them out onto the pool table and try to create the same “picture” on this much bigger background. Obviously to recreate the “picture” you’re going to need a lot more balls. Basically that’s how megapixels work. The bigger the canvas is going to be the more millions of pixels you will need to cover the space without distorting the image.

See how easy that was?! You are now one step closer to becoming a digital photography genius. Good luck and don’t forget to take it one step at a time. Just think of it as gathering your pixels together one by one. Soon enough you’ll have enough to understand the “BIG PICTURE”!

Selling Photos Locally (5)

As Selling stock photos is a long term investment,you’ll need an instant income.
You can make quite a lot of cash photographing local events,parties,functions
and of course weddings and Christenings.
(I even photographed a funeral once - by request !)
Portrait and child photography is fairly lucrative but you’ll have lots of competition
from those units that set up in major supermarkets.

Estate agents always need photographs of outside and inside properties and you can also offer a panoramic service using stitching software to give a better impressionof the interior of a house or office.These sell for around $1200.00 for enough photos to make a small foldout brochure.
Aerial photography is popular but you’ll have to fund the flight costs and then get them back from the customer.
Building Site stage construction photography is a nice addition to your income.
With this you photograph from the same spot a series of photos to show the property owner or the builder what is happening to their site. It can also be used to show local
authorities what is happening without the need for a field trip.

Talking of local authorities, most Local Authorities need photos for community projects and events so it’s well worthwhile networking with government officers to get
to know whats happening.

Local newspapers ALWAYS need photographs - but the money is usually not great … unless you hit on a major incident
(but really regular so it is worth taking !) ALWAYS take a notebook and several pens
as you’ll need to get people’s names correct.
When I did this I always took along a digital recorder and got the people to spell their names for me.

Resource Section :
Keith Jones has been a Stock and Travel Photographer for over 40 years
His Website is at http://www.fotos4web.com
Where you’ll find lots of his photos and articles.
This article may be freely reproduced in print or on the world wide web providing : This resource section is also published intact and the article is not altered in any way.

How to Use a Disposable Camera

Disposable Cameras are fairly simple to use, using the disposable camera the proper way will ensure you get a good picture.

Disposable cameras are built to the “Average” Specifications for “general” photos. Indoor, Outdoor etc.

The focus range for a disposable camera is 5 feet to infinity, which means anything from 5 feet to infinity will be in focus, If you are using the disposable camera indoors and are using flash you must be within 12 feet of the subject for the flash to be effective.

it’s as easy as 123

1.Wind the film - usually found on the top right side of the back of the camera.

2. Depress the flash button - usually found on the front side of the disposable on the left, some cameras have a “on” button which means the flash will charge automatically and some have a button the you have to depress every 2-3 photos taken.

3. Compose the shot and press the shutter button (Snap!).

For more information about disposable cameras see Cameras101 - Disposable Cameras The site is just about disposables cameras and anything related to disposables, it’s remarkable to see so many different styles of disposable cameras and wedding cameras on this planet never mind on a site.

Jewelry Photography with Photo Studio Box

For those who are selling on ebay or online, or any jewelry store owners, taking quality jewelry photos is a daunting task.

You are selling a product that is relatively expensive, and requires a high quality photograph to showcase your jewelry product. As the saying goes, a picture is worth a thousand words. In your case, a picture might worth a thousand dollars! A good piece of jewelry could retail for $1,000’s or more.

As such, there should be no compromise on taking jewelry photography. The jewelry photo you take should be sharp, high detail and depicting the real color. In particular if you are selling diamond, gem stones, and other precious metals of which the color could easily distorted by light that is not suitable for jewelry photography.

By using a “photo studio box” product, a jeweler or jewelry seller can take high quality jewelry photos in a snap. No more running wires all over the place, and no more setting up different lighting tripods at different heights and at different angles.

Using this photo studio in a box system, you simply need to place your jewelry item inside the studio box, adjust the flexible LED lights to create the desired light intensity and reflection angles. Then take the photo with your camera. Viola, it’s done. It sure makes life much easier. Most important, it will save you lots of time. Time that you can spend to promote and advertise your business, instead of spending countless hours on setting up the “perfect” stage for your jewelry photography session.

To achieve an optimum jewelry photography result, you should adjust the color setting of your camera to compensate for the various lighting effect that might affect the photo quality.

For example, if you want a whiter background and a “whiter” jewelry exposure. You might want to lower the color setting, and vice versa. Also, for diamond in particular, a daylight colored LED light is best suit to do the job. Using these daylight colored natural lighting will be least likely to distort the color of the diamond on the final photo.

With most higher end photo studio box system, this daylight natural color LED lighting is usually a standard accessory.

In short, if you are serious about making high quality jewelry photos that will attract the attention of potential customers. Using a quality photo studio box is essential. You might save a small amount with those cheaper “tent-style” fabric version. But with this tent type photo box version, a high quality lighting effect jewelry photo session would be more difficult and time consuming to achieve.

Dan Ennis is the distributor of Photo Studio Box. A product specially made for taking jewelry photography and other small to medium size products. Please visit http://www.PhotoStudioBox.com for more info.

Take Spectacular Nighttime Photos with Your Digital Camera - Part II

Night photos can take on a somewhat magical quality you may find lacking in normal daytime photography. Amazing night pictures certainly can attract attention. As the sun goes down, however, it becomes harder to capture images without the proper equipment and techniques. Thus, as was mentioned in Part I of this series, taking incredible nighttime photographs requires a lot of planning.

When your digital camera receives less light, it cannot absorb the surroundings as well in the resulting photographs. Some pictures may turn out too dark. Others can be too blurry. Your camera requires more time to absorb enough light to create an effective picture, so any shaking of the device will result in photographs lacking sharpness.

To compensate for the lack of lighting, here are several things you can do with most middle and high-end digital cameras to get the results you need. Part III of this series will continue with even more expert ideas.

* You may think that professional photographers take a large amount of time to set up a shot, perform complex calculations, talk about all sorts of topics such as f-stops, shoot one photograph that accurately represents their interpretation of a particular scene, and then leave.

While most of this may be true, the last part - only taking one photo - is far from it. Many, if not most, professional photographers commonly take a multitude of shots for every subject! Traditional photographers can go through rolls and rolls of film on a single shoot, and digital photographers may use gigabytes of memory.

Professionals know that no matter how well everything has been factored in when setting up a shot, ’stuff happens’. It is better to take time shooting a particular subject ten times and get one outstanding photograph than to take one or two photos that turn out blurry or dull.

Most photographers perform a trick called bracketing, where they intentionally adjust their camera settings in small increments in case their calculations were not precisely correct.

Heed this advice when taking photographs at night. If you have a particular subject you want to reproduce in digital form, don’t rely on taking ‘the one perfect shot’, but take several photographs in case problems occur with the lighting, or lack thereof.

Remember, you’re shooting digitally, which means you can later throw out all the bad photos in your camera’s virtual ‘trash can’, and no one ever needs to know! I can’t tell you how many times I’ve done this, especially when taking late-night shots of the Chicago cityscape in places I couldn’t bring a tripod. I may shoot hundreds of shots and only keep a few dozen.

* If your digital camera has a special nighttime mode, study your manual and learn how to enable this feature. Perhaps your camera has a button or dial next to a graphic of a half-moon to signify this setting. This works well for some late-night situations.

* Forget about using the flash unless you purchase a high-quality accessory flash unit. Flash shoots a burst of light out of your camera and works most effectively when your subject is within a few feet. If your subject is a long way away, your small flash unit will never reach it effectively.

Nighttime photography requires a little extra work out of you and your digital camera. To prevent against mistakes and increase the chance of a spectacular shot, it may be necessary to take the same picture multiple times, adjusting your camera settings slightly to help ensure at least one picture will come out well. The digital camera manual must be studied, as many high-end cameras contain automatic features to help take better photos. And, a natural tendency most people have to use flash must be avoided. By heeding this advice, you can learn to take spectacular nighttime photos.

Look forward to article III in this series in the near future!

Copyright 2005 Andrew Malek.

Andrew Malek is the owner of the MalekTips computer and technology help site at http://www.malektips.com. Visit his digital camera page at http://malektips.com/camera/ for hundreds of more digital photography tips.