April 25, 2014

Best Digital Photography Lesson Plans Approved By Professional

Introduction To Digital Photography Lesson 5 009
digital photography lessons

Image by mdsharpe

Article by Chris Parker

Digital photography lesson plans has never been taken seriously merely because people take photography/picture taking for granted, we all can do it be it our passionate hobby or for recording family events, outings with friends e.t.c. To most taking digital photography lesson plans may seem not to make sense but the fact is that a good photographer needs to learn proper lessons to improve your technical skills.Visit digital photography lesson plans for more information.Anyone who would like to learn digital photography lesson plans can apply in an Institute or learn from home by just applying a digital photography lessons plans courses online. Other place worth checking for the training is the stores where the cameras equipment are sold.Some of the basic digital photography lessons plans while teaching are; getting to know your equipment, it’s very difficult for student to understand and progress at any level of competence if they know nothing about the equipment.The next step of a well organized digital photography lessons plans is teaching how the equipments/camera interacts with the surrounding environment and settings, how to effective use advanced shutter speeds, lighting, backgrounds, proper settings and positioning e.t.c.Digital photography lesson plans assist while purchasing a digital camera depending by price, megapixels count that go from 3 megapixels to 8 megapixels and onwards, which camera suits they needs e.t.c. Digital Photography lessons plans also assist to be organized to identify what you plan to do with the camera. i.e. business traveler will need to consider if ultra -compact digital camera is the best choiceMany people look at digital photography lessons plans as costly and unnecessary but in some case the basic digital photography lessons plans are offered free, while for the advanced lessons you tend to pay very affordable and cost effective rates.Digital photography lessons plans enables one to produce the best pictures possible.

About the Author

Click here to Visit Proud Photography official website for more information.Source

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Negative Photo Scanning for Safeguarding of Photos

So I scanned in some Photo albums
photo scanning

Image by sean cumiskey
Childhood photos

It is very hard for any one to preserve negatives and photos in unspoiled condition. As time passes, it will become of poorer quality. Most of the negatives will get worst by fading of brightness, loose of color and contrast. Time by time, they catch dust and scratches. You will get excellent photo as compared to first time development from same negative.

You can easily safeguard your photo with negative photo scanning. Old negatives are the best memories of your family. Captured memories in negatives will become more precious as time exceeds. Rather than storing the negatives in boxes or in store, you can use the option of scanning negatives. Scanned photos are easily accessible to new generation family members.

For negative photo scanning, you require a good quality negative scanner that meets your needs and deliver better result. Today, in market there are many scanners available with inbuilt negative scanning capabilities. So, there is no need to purchase specialized negative scanner. A software comes with scanner will help you out for viewing the image onscreen.

You also have to take care of editing. With the help of photo editing software, you can able to edit and print your images. You have to choose proper resolution for your photos. Higher resolution produces better quality photos. However, Resolution of image is depends on the memory of your computer. 300dpi requires more memory space to generate quality photo.

You can easily store the scanned photos on hard drive of computer, on CD or DVD. You can also make digital photo albums and share with your family and friends. Caution! Make a backup copy your scanned photos for safety-cause. If you have the backup, you can promptly retrieve the images in case of damage of misplace of photos.

You can opt out of all such tedious and time-consuming task by having negative photo scanning services. If you do not have the scanner and want to scan images, this is professional and cost effective way to get your image scanned. Most of the scanning companies are bonded with security and privacy of data, so you will get you negatives back in good condition.

They have the specialists and latest scanners to satisfy your needs. They can easily offer high resolution. They can also provide service of editing. This way you can safeguard your memories in very less cost.

Ethan Allen is online marketer for Scanning Indexing, providing scanning services and indexing service. They deliver high quality photo scanning though their 4S model. They provide Speedy, Secure and Superiority scanning services at huge Savings.

Article from articlesbase.com

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Document Scanning Service Helps Your Company become Paperless

Film scan # 3
film scanning

Image by Robby Mueller
Bear with me people, this whole scanning photos thing is really neat to me!

Article by Rajiv Patel

Rebate processing is a professional data scanning and management resource. Our experts will work with you to create a systematic plan to convert your information into a digital format for easy access. Data scanning is the process of taking paper documents and converting them to an image.

Our Data scanning service includes the following:

• Image Scanning• Document Scanning• Drawing Scanning• Large Format Scanning• Film Scanning• Full Text Optical Character Recognition (OCR) • Digital Scanning Service• Electronic File Conversion

By utilizing high speed scanners and advanced software, we provide superior quality document scanning service to support your organization’s rebate programs.

Document scanning is the process of scanning paper documents, converting them to digital images that are then stored on CD, DVD, or other magnetic storage. With Microsoft Office Document Imaging, the scanned data can be saved in tagged image file format.

Document scanning is the new signal of opportunity for storing, retrieving and recovering important office documents. Take advantage of all of the benefits afforded to a business that employs the unique service of document scanning.

Benefits in utilizing document scanning service are as follows:

• Document scanning service can greatly reduce storage space that is required for keeping paper copies• The productivity of staff will increase using document scanning service because documents will be more easily located and accessed• Document scanning service will reduce the headache of photocopy, fax, and mail transport• Document scanning service will give your business a time and money advantage over competitors who do not take up such services.

Rebate processing has gained major experience in the rebate document scanning capture domain by working closely with manufacturers, retailers and service providers across diverse industries. Our Document Scanning Capture solutions increase efficiencies, and reduce costs, permitting clients to invest more of their time and budgets in their core business activities.

About the Author

For more information please visit http://www.outsourcingrebateprocessing.com/

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Digital Photography Tricks – Understanding Resolution Will Easily Improve Your Printed Photographs!

Glowstick Chris
digital photo tricks

Image by Chris Pirillo
Here’s the source for my icon, baby! I did it years ago (check the EXIF header)…


Article by Paul Summers

With Digital Photography, you can have much more influence on the final outcome than was possible when film was the only option. Back then, you concentrated on the photo, and the developing lab did the rest. Nowadays, it is not too difficult for the photographer to take a few easy steps that can have a positive effect on the completed printed photograph. Resolution is key, and the digital photography tricks below will help you understand how to apply this correctly, using Adobe Photoshop or similar post-production application.

Digital pictures are made up of millions of tiny squares, known as pixels. How many pixels an image has determines the resolution, and ultimately the quality, of the picture. A typical 6 megapixel camera will take a shot of 3000 pixels by 2000 (multiply the two, and you reach the 6MP figure). Knowing this, we can now turn an image into a small or large print, depending on how tightly, or loosely, we spread the pixels out. For example, if we were to place 300 pixels into one linear inch, our final image would be 10 inches wide, by 6.66 inches tall.

With your chosen photograph open in Photoshop, for example, its pixel dimensions can be found by selecting the “Image” button and choosing “Resize” and “Image Size” from the dropdown. Once you know the pixel dimensions of your image you simply divide the width and height (both shown in the “Pixels Dimension” box) by the image resolution (i.e. the pixels per inch – ppi – are shown in the “Document Size” box). This tells you what size your image will be. Typing relevant figures in the boxes can alter all pixel Dimensions and Document Size values.

So, when applying these digital photography tricks, how do you know which ppi figure to select? Well, standards have been established, with the accepted ppi for photographs in the publishing world being 300ppi (high-quality publishing and professional work). At home, a photo quality inkjet printer will give more than decent print quality at 240ppi. For a picture to be viewed from a yard or more (maybe a framed wall print) even 150ppi will suffice. By the way, if you are using an image purely for viewing on a computer screen, or the web, a low resolution of just 72ppi is required, because of the way screens behave compared to actual prints.

In summary, you can see that print size does not mean much until you have the ppi figure to go with it. For example, by simply altering the spread of pixels, a 7 inch by 5 inch print can be created from any digital image. Therefore, if you require a 7in by 5in print at 240 ppi, you know you need 1680 (7 x 240) by 1200 (5 x 240) pixels to produce it. You can play around with the values in the “Document Size” box in Photoshop to see the effect it has. Apply these simple digital photography tricks next time you want to print images, and you will ensure they are of optimum quality before you click the “print” button.

About the Author

You can discover the secrets of taking stunning photographs, simply by applying a few digital photography tricks. Please check out http://www.photographycourseonline.info for further information.

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Online Photo Editing and Restoration ? a Convenient Option

Last Photo – 2008
restore photos

Image by *Grant*
Not the best photo to end the year on, but it’s my last photo for 2008.

Indeed, time and tide waits for no one! This is also true of photographs that become the custodians of our memories and hold cherished moments that we would like to treasure through our lives and also leave for coming generations. Modern technology and some savvy assistance from experts has made all this not only possible, but very convenient as well.

So, if you have any old or damaged photographs gasping for new life, you are only a click away from getting them not only restored to their original look but sometimes even better. Two pictures can also be combined to make a single one and tears, creases, stains, scratches, pen marks can all be taken care of with some expertise, not to mention that black and white photos can be transformed into sparkling colored prints.

Mind you, there are no arduous trips to a photo studio involved here; no visits for previewing and no disappointments at not being able to arrive at a desired result; no miscommunications, no talking at cross purposes and no lengthy explanations. On the contrary, you can get an instant online quote for the job that you need to get done and once approved you can take possession of your edited and enhanced prints at unbeatable prices.

Do you have a property for sale and are not quite pleased with the photographs? You may feel that something is amiss but not quite know what it is. But one thing you do know is that if your property does not grab the attention of the buyer at first glance, you may well have missed the opportunity to make a sale. Do you know that there’s a lot that can be done to enhance your property pictures and give them a slick appearance, all in the space of 48 hours and at reasonable prices? The background can be changed and eyesores like obstructions can be digitally removed. Editing services also include under or over exposure correction, reduction or removal of shadows where possible, correction of wide angles, fish eye lens, and wide-angle rectilinear lens perspective distortion.

Did you know how easy it is to send the photographs that you need restored and rectified? The prints never leave your hands, all you need to do is to scan and send it to the online restorer, so there is never the risk of them getting damaged or lost in the mail. Digital photos can be uploaded right from your desktop or from your online photo accounts at any of the leading photo sites.

wowApic.com specializes in photograph editing services.

Article from articlesbase.com

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Making A Photo Album To Last Through The Ages

The cult of Leica.
make a digital album

Image by nimboo
From The New Yorker

A Critic at Large
Candid Camera
The cult of Leica.
by Anthony Lane
September 24, 2007

Fifty miles north of Frankfurt lies the small German town of Solms. Turn of the main thoroughfare and you find yourself driving down tranquil suburban streets, with detached houses set back fro the road, and, on a warm morning in late August, not a soul in sight. Nobody does bourgeois solidity like the Germans: you can imagine coming here for coffee an cakes with your aunt, but that would be the limit of excitement. By the time you reach Oskar-Barnack-Strasse, the town has almost petered out; just before the railway line, however, there is clutch of industrial buildings, with a red dot on the sign outside. As far as fanfare is concerned, that’s about it. But here is the place to go if you want to find the most beautiful mechanical objects in the world

Many people would disagree. Bugatti fans, for instance, would direct your attention to the Type 57 Atlantic, the only car I know that appears to have been designed by masseuses. Personally, I would consider it a privilege to die at the wheel of a Lamborghini Miura—not difficult, when you’re nudging a hundred and seventy m.p.h. and waving at passersby. But automobiles need gas, whereas the truest mechanisms run on nothing but themselves. What is required is a machine constructed with such skill that it renders every user—from the pro to the banana-fingered fumbler—more skillful as a result. We need it to refine and lubricate, rather than block or coarsen, our means of engagement with the world: we want to look not just at it, however admiringly, but through it. In that case, we need a Leica.

There have been Leica cameras since 1925, when the Leica I was introduced at a trade fair in Leipzig. From then on, as the camera has evolved over eight decades, generations of users have turned to it in their hour of need, or their millisecond of inspiration. Aleksandr Rodchenko, André Kertész, Walker Evans, Henri Cartier-Bresson, Robert Capa, Robert Frank, William Klein, Garry Winogrand, Lee Friedlander, and Sebastião Salgado: these are some of the major-league names that are associated with the Leica brand—or, in the case of Cartier-Bresson, stuck to it with everlasting glue.

Even if you don’t follow photography, your mind’s eye will still be full of Leica photographs. The famous head shot of Che Guevara, reproduced on millions of rebellious T-shirts and student walls: that was taken on a Leica with a portrait lens—a short telephoto of 90 mm.—by Alberto Díaz Gutiérrez, better known as Korda, in 1960. How about the pearl-gray smile-cum-kiss reflected in the wing mirror of a car, taken by Elliott Erwitt in 1955? Leica again, as is the even more celebrated smooch caught in Times Square on V-J Day, 1945—a sailor craned over a nurse, bending her backward, her hand raised against his chest in polite half-protestation. The man behind the camera was Alfred Eisenstaedt, of Life magazine, who recalled:

I was running ahead of him with my Leica, looking back over my shoulder. But none of the pictures that were possible pleased me. Then suddenly, in a flash, I saw something white being grabbed. I turned around and clicked.

He took four pictures, and that was that. “It was done within a few seconds,” he said. All you need to know about the Leica is present in those seconds. The photographer was on the run, so whatever he was carrying had to be light and trim enough not to be a drag. He swivelled and fired in one motion, like the Sundance Kid. And everything happened as quickly for him as it did for the startled nurse, with all the components—the angles, the surrounding throng, the shining white of her dress and the kisser’s cap—falling into position. Times Square was the arena of uncontrolled joy; the job of the artist was to bring it under control, and the task of his camera was to bring life—or, at least, an improved version of it, graced with order and impact—to the readers of Life.
Still, why should one lump of metal and glass be better at fulfilling that duty than any other? Would Eisenstaedt really have been worse off, or failed to hit the target, with another sort of camera? These days, Leica makes digital compacts and a beefy S.L.R., or single-lens reflex, called the R9, but for more than fifty years the pride of the company has been the M series of 35-mm. range-finder cameras—durable, companionable, costly, and basically unchanging, like a spouse. There are three current models, one of which, the MP, will set you back a throat-drying four thousand dollars or so; having stood outside dustless factory rooms, in Solms, and watched women in white coats and protective hairnets carefully applying black paint, with a slender brush, to the rim of every lens, I can tell you exactly where your money goes. Mind you, for four grand you don’t even get a lens—just the MP body. It sits there like a gum without a tooth until you add a lens, the cheapest being available for just under a thousand dollars. (Five and a half thousand will buy you a 50-mm. f/1, the widest lens on the market; for anybody wanting to shoot pictures by candlelight, there’s your answer.) If you simply want to take a nice photograph of your children, though, what’s wrong with a Canon PowerShot? Yours online for just over two hundred bucks, the PowerShot SD1000 will also zoom, focus for you, set the exposure for you, and advance the frame automatically for you, none of which the MP, like some sniffing aristocrat, will deign to do. To make the contest even starker, the SD1000 is a digital camera, fizzing with megapixels, whereas the Leica still stores images on that frail, combustible material known as film. Short of telling the kids to hold still while you copy them onto parchment, how much further out of touch could you be?

To non-photographers, Leica, more than any other manufacturer, is a legend with a hint of scam: suckers paying through the nose for a name, in a doomed attempt to crank up the credibility of a picture they were going to take anyway, just as weekend golfers splash out on a Callaway Big Bertha in a bid to convince themselves that, with a little more whippiness in their shaft, they will swell into Tiger Woods. To unrepentant aesthetes, on the other hand, there is something demeaning in the idea of Leica. Talent will out, they say, whatever the tools that lie to hand, and in a sense they are right: Woods would destroy us with a single rusty five-iron found at the back of a garage, and Cartier-Bresson could have picked up a Box Brownie and done more with a roll of film—summoning his usual miracles of poise and surprise—than the rest of us would manage with a lifetime of Leicas. Yet the man himself was quite clear on the matter:

I have never abandoned the Leica, anything different that I have tried has always brought me back to it. I am not saying this is the case for others. But as far as I am concerned it is the camera. It literally constitutes the optical extension of my eye.

Asked how he thought of the Leica, Cartier-Bresson said that it felt like “a big warm kiss, like a shot from a revolver, and like the psychoanalyst’s couch.” At this point, five thousand dollars begins to look like a bargain.

Many reasons have been adduced for the rise of the Leica. There is the hectic progress of the illustrated press, avid for photographs to fill its columns; there is the increased mobility, spending power, and leisure time of the middle classes, who wished to preserve a record of these novel blessings, if not for posterity, then at least for show. Yet the great inventions, more often than not, are triggered less by vast historical movements than by the pressures of individual chance—or in Leica’s case, by asthma. Every Leica employee who drives down Oskar-Barnack-Strasse is reminded of corporate glory, for it was Barnack, a former engineer at Carl Zeiss, the famous lens-makers in Jena, who designed the Leica I. He was an amateur photographer, and the camera had first occurred to him, as if in a vision, in 1905, twenty years before it actually went on sale

Back then I took pictures using a camera that took 13 by 18 plates, with six double-plate holders and a large leather case similar to a salesman’s sample case. This was quite a load to haul around when I set off each Sunday through the Thüringer Wald. While I struggled up the hillsides (bearing in mind that I suffer from asthma) an idea came to me. Couldn’t this be done differently?

Five years later, Barnack was invited to work for Ernst Leitz, a rival optical company, in Wetzlar. (The company stayed there until 1988, when it was sold, and the camera division, renamed Leica, shifted to Solms, fifteen minutes away.) By 1913-14, he had developed what became known as the ur-Leica: a tough, squat rectangular metal box, not much bigger than a spectacles case, with rounded corners and a retractable brass lens. You could tuck it into a jacket pocket, wander around the Thuringer woods all weekend, and never gasp for breath. The extraordinary fact is that, if you were to place it next to today’s Leica MP, the similarities would far outweigh the differences; stand a young man beside his own great-grandfather and you get the same effect.
Barnack took a picture on August 2, 1914, using his new device. Reproduced in Alessandro Pasi’s comprehensive study, “Leica: Witness to a Century” (2004), it shows a helmeted soldier turning away from a column on which he has just plastered the imperial order for mobilization. This was the first hint of the role that would fall to Leicas above all other cameras: to be there in history’s face. Not until the end of hostilities did Barnack resume work on the Leica, as it came to be called. (His own choice of name was Lilliput, but wiser counsels prevailed.) Whenever you buy a 35-mm. camera, you pay homage to Barnack, for it was his handheld invention that popularized the 24-mm.-by-36-mm. negative—a perfect ratio of 2:3—adapted from cine film. According to company lore, he held a strip of the new film between his hands and stretched his arms wide, the resulting length being just enough to contain thirty-six frames—the standard number of images, ever since, on a roll of 35-mm. film. Well, maybe. Does this mean that, if Barnack had been more of an ape, we might have got forty?

When the Leica I made its eventual début, in 1925, it caused consternation. In the words of one Leica historian, quoted by Pasi, “To many of the old photographers it looked like a toy designed for a lady’s handbag.” Over the next seven years, however, nearly sixty thousand Leica I’s were sold. That’s a lot of handbags. The shutter speeds on the new camera ran up to one five-hundredth of a second, and the aperture opened wide to f/3.5. In 1932, the Leica II arrived, equipped with a range finder for more accurate focussing. I used one the other day—a mid-thirties model, although production lasted until 1948. Everything still ran sweetly, including the knurled knob with which you wind on from frame to frame, and the simplicity of the design made the Leica an infinitely more friendly proposition, for the novice, than one of the digital monsters from Nikon and Canon. Those need an instruction manual only slightly smaller than the Old Testament, whereas the Leica II sat in my palms like a puppy, begging to be taken out on the streets.

That is how it struck not only the public but also those for whom photography was a living, or an ecstatic pursuit. A German named Paul Wolff acquired a Leica in 1926 and became a high priest to the brand, winning many converts with his 1934 book “My Experiences with the Leica.” His compatriot Ilsa Bing, born to a Jewish family in Frankfurt, was dubbed “the Queen of the Leica” after an exhibit in 1931. She had bought the camera in 1929, and what is remarkable, as one scrolls through a roster of her peers, is how quickly, and infectiously, the Leica habit caught on. Whenever I pick up a book of photographs, I check the chronology at the back. From a monograph by the Hungarian André Kertész, the most wistful and tactful of photographers: “1928—Purchases first Leica.” From the catalogue of the 1998 Aleksandr Rodchenko show at MOMA: “1928, November 25—Stepanova’s diary records Rodchenko’s purchase of a Leica for 350 rubles.” And on it goes.

The Russians were among the first and fiercest devotees, and anyone who craves the Leica as a pure emblem of capitalist desire—what Marx would call commodity fetishism—may also like to reflect on its status, to men like Rodchenko, as a weapon in the revolutionary struggle. Never a man to be tied down (he was also a painter, sculptor, and master of collage), he nonetheless believed that “only the camera is capable of reflecting contemporary life,” and he went on the attack, craning up at buildings and down from roofs, tipping his Leica at flights of steps and street parades, upending the world as if all its old complacencies could be shaken out of the bottom like dust. There is a gorgeous shot from 1934 entitled “Girl with a Leica,” in which his subject perches politely on a bench that arrows diagonally, and most impolitely, from lower left to upper right. She wears a soft white beret and dress, and her gaze is blank and misty, but thrown over the scene, like a net, is the shadow of a window grille—modernist geometry at war with reactionary decorum. The object she clasps in her lap, its strap drawn tightly over her shoulder, is of the same make as the one that created the picture.

When it came to off-centeredness, Rodchenko’s fellow-Russian Ilya Ehrenburg went one better. “A camera is clumsy and crude. It meddles insolently in other people’s affairs,” he wrote in 1932. “Ours is a guileful age. Following man’s example, things have also learned to dissemble. For many months I roamed Paris with a little camera. People would sometimes wonder: why was I taking pictures of a fence or a road? They didn’t know that I was taking pictures of them.” Ehrenburg had solved the problem of meddling by buying an accessory: “The Leica has a lateral viewfinder. It’s constructed like a periscope. I was photographing at 90 degrees.” The Paris that emerged—poor, grimy, and unposed—was a moral rebuke to the myth of bohemian chic.

You can still buy a right-angled viewfinder for a new Leica, if you’re too shy or sneaky to confront your subjects head-on, although the basic thrust of Leica technique has been to insist that no extra subterfuge is required: the camera can hide itself. If I had to fix the source of that reticence, I would point to Marseilles in 1932. It was then that Cartier-Bresson, an aimless young Frenchman from a wealthy family, bought his first Leica. He proceeded to grow into the best-known photographer of the twentieth century, in spite (or, as he would argue, because) of his ability to walk down a street not merely unrecognized but unnoticed. He began as a painter, and continued to draw throughout his life, but his hand was most comfortable with a camera.
When I spoke to his widow, Martine Franck—the president of the Henri Cartier-Bresson Foundation, in Paris, and herself a distinguished photographer—she said that her husband in action with his Leica “was like a dancer.” This feline unobtrusiveness led him all over the world and made him seem at home wherever he paused; one trip to Asia lasted three years, ending in 1950, and produced eight hundred and fifty rolls of film. His breakthrough collection, published two years later, was called “The Decisive Moment,” and he sought endless analogies for the sensation that was engendered by the press of a shutter. The most common of these was hunting: “The photographer must lie in wait, watching out for his prey, and have a presentiment of what is about to happen.”

There, if anywhere, is the Leica motto: watch and wait. If you wer a predator, the moment—not just for Cartier-Bresson, but for al photographers—became that much more decisive in 1954. “Clairvoyance” means “clear sight,” and when Leica launched th M3 that year, the clarity was a coup de foudre; even now, when you look through a used M3, the world before you is brighter and crisper than seems feasible. You half expect to feel the crunch of autumn leaves beneath your feet. A Leica viewfinder resembles no other, because of the frame lines: thin white strips, parallel to each side of the frame, which show you the borders of the photograph that you are set to take—not merely the lie of the land within the shot, but also what is happening, or about to happen, just outside. This is a matter of millimetres, but to Leica fans it is sacred, because it allows them to plan and imagine a photograph as an act of storytelling—an instant grabbed at will from a continuum. If you want a slice of life, why not see the loaf?

The M3 had everything, although by the standards of today it had practically nothing. You focussed manually, of course, and there was nothing to help you calculate the exposure; either you carried a separate light meter, or you clipped one awkwardly to the top of the camera, or, if you were cool, you guessed. Cartier-Bresson was cool. Martine Franck is still cool: “I think I know my light by now,” she told me. She continues to use her M3: “I’ve never held a camera so beautiful. It fits the hand so well.” Even for people who know nothing of Cartier-Bresson, and for whom 1954 is as long ago as Pompeii, something about the M3 clicks into place: last year, when eBay and Stuff magazine, in the U.K., took it upon themselves to nominate “the top gadget of all time,” the Game Boy came fifth, the Sony Walkman third, and the iPod second. First place went to an old camera that doesn’t even need a battery. If the Queen subscribes to Stuff, she will have nodded in approval, having owned an M3 since 1958. Her Majesty is so wedded to her Leica that she was once shown on a postage stamp holding it at the ready.

It’s no insult to call the M3 a gadget. Such beauty as it possesses flows from its scorn for the superfluous; as any Bauhaus designer could tell you, form follows function. The M series is the backbone of Leica; we are now at the M8 (which at first glance is barely distinguishable from the M3), and, with a couple of exceptions, every intervening camera has been a classic. Richard Kalvar, who rose to become president of the Magnum photographic agency during the nineties, remembers hearing the words of a Leica fan: “I know I’m using the best, and I don’t have to think about it anymore.” Kalvar bought an M4 and never looked back: “It’s almost a part of me,” he says. Ralph Gibson, whose photographs offer an unblinking survey of the textures that surround us, from skin to stone, bought his first Leica, an M2 (which, confusingly, postdated the M3), in 1961. It cost him three hundred dollars, which, considering that he was earning a hundred a week, was quite an outlay, but his loyalty is undimmed. “More great photographs have been made with a Leica and a 50-mm. lens than with any other combination in the history of photography,” Gibson said to me. He advised Leica beginners to use nothing except that standard lens for two or three years, so as to ease themselves into the swing of the thing: “What you learn you can then apply to all the other lengths.”

One could argue that, since the nineteen-fifties and sixties, the sense of Europe as the spiritual hearth of Leica, with the Paris of Kertész and Cartier-Bresson glowing at its core, has been complemented, if not superseded, by America’s attraction to the brand. The Russian love of the angular had exploited the camera’s portability (you try bending over a window ledge with a plate camera); the French had perfected the art of reportage, netting experience on the wing; but the Leicas that conquered America—the M3, the M4, and later the M6, with built-in metering and the round red Leica logo on the front—were wielded with fresh appetite, biting at the world and slicing it off in unexpected chunks. Lee Friedlander, photographing a child in New York, in 1963, thought nothing of bringing the camera down to the boy’s eye level, and thus semi-decapitating the grownups who stood beside him. (All kids dream of that sometime.) Men and women were reflected in storefront windows, or obscured by street signs; many of the photographs shimmered on the brink of a mistake. “With a camera like that,” Friedlander has said of the Leica, “you don’t believe that you’re in the masterpiece business. It’s enough to be able to peck at the world.” One shot of his, from 1969, traps an entire landscape of feeling—a boundless American sky, salted with high clouds, plus Friedlander’s wife, Maria, with her lightly smiling face—inside the cab of a single truck, layering what we see through the side window with what is reflected in it. I know of long novels that tell you less.

Before Friedlander came Robert Frank, born in Switzerland; only someone from a mountainous country, perhaps, could come here and view the United States as a flat and tragic plain. “The Americans” (1958), the record of his travels with a Leica, was mostly haze, shade, and grain, stacked with human features resigned to their fate. No artist had ever studied a men’s room in such detail before, with everything from the mop to the hand dryer immortalized in the wide embrace of the lens; Jack Kerouac, who wrote the introduction to the book, lauded the result, taken in Memphis, Tennessee, as “the loneliest picture ever made, the urinals that women never see, the shoeshine going on in sad eternity.” Then, there was Garry Winogrand, the least exhaustible of all photographers. Frank’s eighty-three images may have been chosen from five hundred rolls of film, but when Winogrand died, in 1984, at the age of fifty-six, he left behind more than two and a half thousand rolls of film that hadn’t even been developed. He leavened the wistfulness of Frank with a documentary bluntness and a grinning wit, incessantly tilting his Leica to throw a scene off-balance and seek a new dynamic. His picture of a disabled man in Los Angeles, in 1969, could have been fuelled by pathos alone, or by political rage at an indifferent society, but Winogrand cannot stop tracking that society in its comic range; that is why we get not just the wheelchair and the begging bowl but also a trio of short-skirted girls, bunched together like a backup group, strolling through the Vs of shadow and sunlight, and a portly matron planted at the right of the frame—a stolid import from another age.
I recently found a picture of Winogrand’s M4. The metal is not just rubbed but visibly worn down beside the wind-on lever; you have to shoot a heck of a lot of photographs on a Leica before that happens. Still, his M4 is in mint condition compared with the M2 owned by Bruce Davidson, the American photographer whose work constitutes, among other things, an invaluable record of the civil-rights movement. And even his M2, pitted and peeled like the bark of a tree, is pristine compared with the Leica I saw in the display case at the Leica factory in Solms. That model had been in the Hindenburg when it went up in flames in New Jersey in 1937. The heat was so intense that the front of the lenses melted. So now you know: Leica engineers test their product to the limits, and they will customize it for you if you are planning a trip to the Arctic, but when you really want to trash your precious camera you need an exploding airship.

If you pick up an M-series Leica, two things are immediatel apparent. First, the density: the object sits neatly but not lightly i the hand, and a full day’s shooting, with the camera continuall hefted to the eye, leaves you with a faint but discernible case of wris ache. Second, there is no lump. Most of the smarter, costlier camera in the world are S.L.R.s, with a lumpy prism on top. Light enter through the lens, strikes an angled mirror, and bounces upward to th prism, where it strikes one surface after another, like a ball in squash court, before exiting through the viewfinder. You see wha your lens sees, and you focus accordingly. This happy state of affair does not endure. As you take a picture, the mirror flips up out of th light path. The image, now unobstructed, reaches straight to the rea of the camera and, as the shutter opens, burns into the emulsion of th film—or, these days, registers on a digital sensor. With every flip however, comes a flip side: the mirror shuts off access to the prism meaning that, at the instant of release, your vision is blocked, and yo are left gazing at the dark

To most of us, this is not a problem. The instant passes, the mirror flips back down, and lo, there is light. For some photographers, though, the impediment is agony: of all the times to deny us the right to look at our subject, S.L.R.s have to pick this one? “Visualus interruptus,” Ralph Gibson calls it, and here is where the Leica M series plays its ace. The Leica is lumpless, with a flat top built from a single piece of brass. It has no prism, because it focusses with a range finder—situated above the lens. And it has no mirror inside, and therefore no clunk as the mirror swings. When you take a picture with an S.L.R., there is a distinctive sound, somewhere between a clatter and a thump; I worship my beat-up Nikon FE, but there is no denying that every snap reminds me of a cow kicking over a milk pail. With a Leica, all you hear is the shutter, which is the quietest on the market. The result—and this may be the most seductive reason for the Leica cult—is that a photograph sounds like a kiss.

From the start, this tinge of diplomatic subtlety has shaded our view of the Leica, not always helpfully. The M-series range finder feels made for the finesse and formality of black-and-white—yet consider the oeuvre of William Eggleston, whose unabashed use of color has delivered, through Leica lenses, a lesson in everyday American surrealism, which, like David Lynch movies, blooms almost painfully bright. Again, the Leica, with its range of wide-aperture lenses, is the camera for natural light, and thus inimical to flash, yet Lee Friedlander conjured a series of plainly flashlit nudes, in the nineteen-seventies, which finds tenderness and dignity in the brazen. Lastly, a Leica is, before anything else, a 35-mm. camera. Barnack shaped the Leica I around a strip of film, and the essential mission of the brand since then has been to guarantee that a single chemical event—the action of light on a photosensitive surface—passes off as smoothly as possible. Picture the scene, then, in Cologne, in the fall of 2006. At Photokina, the biennial fair of the world’s photographic trade, Leica made an announcement: it was time, we were told, for the M8. The M series was going digital. It was like Dylan going electric.

In a way, this had to happen. The tide of our lives is surging in a digital direction. My complete childhood is distilled into a couple of photograph albums, with the highlights, whether of achievement or embarrassment, captured in no more than a dozen talismanic stills, now faded and curling at the edges. Yet our own children go on one school trip and return with a hundred images stashed on a memory card: will that enhance or dilute their later remembrance of themselves? Will our experience be any the richer for being so retrievable, or could an individual history risk being wiped, or corrupted, as briskly as a memory card? Garry Winogrand might have felt relieved to secure those thousands of images on a hard drive, rather than on frangible film, although it could be that the taking of a photograph meant more to him than the printed result. The jury is out, but one thing is for sure: film is dwindling into a minority taste, upheld largely by professionals and stubborn, nostalgic perfectionists. Nikon now offers twenty-two digital models, for instance, while the “wide array of SLR film cameras,” as promised on its Web site, numbers precisely two.

Even a company like Leica, servant to the devout, has felt the brunt. For the fiscal year 2004-05, the company posted losses of almost twenty million euros (nearly twenty-six million dollars), and in 2005 the banks partially terminated its credit lines; in short, Leica was heading for extinction. Since then, there has been something of a turnaround. Major restructuring is still under way, with a new C.E.O.—a genial Californian called Steven K. Lee—brought in to oversee the changes. According to a report of June 20, 2007, the past year has seen the company inching back into profitability, and much of that improvement is due to the M8. The camera’s birth was fraught with complications, and reports streamed in from owners that in certain conditions, thanks to a glitch in the sensor, black was showing up on digital images as deep purple—troubling news if you happened to be shooting a portrait of Dracula, or a Guinness commercial. There were also rumblings about the quality of the focus, which is the last thing you expect from a Leica. One well-known photographer described the camera to me as “unusable,” and said he sometimes felt like throwing it against a wall. But the company responded: cameras were recalled to the factory, Lee signed four thousand letters of apology, and the crisis passed. Nevertheless, the camera still needs a filter fixed to every lens to correct its vision, and Leica will want to do better next time. When I asked Lee about the possibility of an M9—an upgraded M8, with all the kinks ironed out—he smiled and said nothing.

Lee knows what is at stake, being a Leica-lover of long standing. Asked about the difference between using his product and an ordinary camera, he replied: “One is driving a Morgan four-by-four down a country lane, the other one is getting in a Mercedes station wagon and going a hundred miles an hour.” The problem is that, for photographers as for drivers, the most pressing criterion these days is speed, and anything more sluggish than the latest Mercedes—anything, likewise, not tricked out with luxurious extras—belongs to the realm of heritage. There is an astonishing industry in used Leicas, with clubs and forums debating such vital areas of contention as the strap lugs introduced in 1933. There are collectors who buy a Leica and never take it out of the box; others who discreetly amass the special models forged for the Luftwaffe. Ralph Gibson once went to a meeting of the Leica Historical Society of America and, he claims, listened to a retired Marine Corps general give a scholarly paper on certain discrepancies in the serial numbers of Leica lens caps. “Leicaweenies,” Gibson calls such addicts, and they are part of the charming, unbreakable spell that the name continues to cast, as well as a tribute to the working longevity of the cameras. By an unfortunate irony, the abiding virtues of the secondhand slow down the sales of the new: why buy an M8 when you can buy an M3 for a quarter of the price and wind up with comparable results? The economic equation is perverse: “I believe that for every euro we make in sales, the market does four euros of business,” Lee said.

I have always wanted a Leica, ever since I saw an Edward Weston photograph of Henry Fonda, his noble profile etched against the sky, a cigarette between two fingers, and a Leica resting against the corduroy of his jacket. I have used a variety of cultish cameras, all of them secondhand at least, and all based on a negative larger than 35 mm.: a Bronica, a Mamiya 7, and the celebrated twin-lens Rolleiflex, which needs to be cupped at waist height. (“If the good Lord had wanted us to take photographs with a 6 by 6, he would have put eyes in our belly,” a scornful Cartier-Bresson said.) But I have never used a Leica. Now I own one: a small, dapper digital compact called the D-Lux 3. It has a fine lens, and its grace note is a retro leather case that makes me feel less like Henry Fonda and more like a hiker named Helmut, striding around the Black Forest in long socks and a dark-green hat with a feather in it; but a D-Lux 3 is not an M8. For one thing, it doesn’t have a proper viewfinder. For another, it costs close to six hundred dollars—the upper limit of my budget, but laughably cheap to anyone versed in the M series. So, to discover what I was missing, I rented an M8 and a 50-mm. lens for four hours, from a Leica dealer, and went to work.

If you can conquer the slight queasiness that comes from walking about with seven thousand dollars’ worth of machinery hanging around your neck, an afternoon with the M8 is a dangerously pleasant groove to get into. I can understand that, were you a sports photographer, perched far away from the action, or a paparazzo, fighting to squeeze off twenty consecutive frames of Britney Spears falling down outside a night club, this would not be your tool of choice, but for more patient mortals it feels very usable indeed. This is not just a question of ergonomics, or of the diamond-like sharpness of the lens. Rather, it has to do with the old, bewildering Leica trick: the illusion, fostered by a mere machine, that the world out there is asking to be looked at—to be caught and consumed while it is fresh, like a trout. Ever since my teens, as one substandard print after another glimmered into view in the developing tray, under the brothel-red gloom of the darkroom, my own attempts at photography have meant a lurch of expectation and disappointment. Now, with an M8 in my possession, the shame gave way to a thrill. At one point, I stood outside a bookstore and, in a bid to test the exposure, focussed on a pair of browsers standing within, under an “Antiquarian” sign at the end of a long shelf. Suddenly, a pale blur entered the frame lines. I panicked, and pressed the shutter: kiss.

On the digital playback, I inspected the evidence. The blur had been an old lady, and she had emerged as a phantom—the complete antiquarian, with glowing white hair and a hint of spectacles. It wasn’t a good photograph, more of a still from “Ghostbusters,” but it was funnier and punchier than anything I had taken before, and I could only have grabbed it with a Leica. (And only with an M. By the time the D-Lux 3 had fired up and focussed, the lady would have floated halfway down the street.) So the rumors were true: buy this camera, and accidents will happen. I remembered what Cartier-Bresson once said about turning from painting to photography: “the adventurer in me felt obliged to testify with a quicker instrument than a brush to the scars of the world.” That is what links him to the Leicaweenies, and Oskar Barnack to the advent of the M8, and Russian revolutionaries to flashlit American nudes: the simple, undying wish to look at the scars.

Article by StuartMichael

A photo album is likened to a scrapbook or diary whereby it holds a slice of history related to the people and places within. Since many of us possess tons of photos lying about in shoes boxes, yellowing albums of yesteryears as well as computer hard disks, perhaps it is time for some elbow grease to put things in order. Whether they are pictures of graduations, weddings, holidays, anniversaries or just silly photos taken on a whim, each deserves its place in an album if it bears some significance.

It is not a hard task to learn how to make a photo album so long as you keep the fundamental elements in mind. Is it for the sake of posterity, a sort of inheritance for future generations? Perhaps it is to be a gift for a special occasion or person(s). Whatever the case may be, pick out a theme or purpose to ease the photo selection process. Assuming you can salvage your haphazard collection of photos, set aside the photos according to your theme. As you look through them, filter out those which evoke special memories. Hopefully you then have a pile of potential photos to make the cut.

In selecting a suitable photo album, you have a choice of store-bought variety or home-made version. Once again, this depends on purpose, time and budget. Album in hand, arrange the photos in proper order. The most common method is usually by chronological order as human beings associate pictures to history which is dictated by time. If you have a penchant of writing, some short and sweet quips can be penned alongside the relevant photos. This creativity adds to the enjoyment of the album maker as well as audience. In the event you opted for a store-bought album, adding some trimmings on the inside and outside exudes an air of personalization. These include pressed flowers, mini mementos, ribbons or even lace work.

If a physical album is not your cup of tea, how about learning how to make a photo album in the digital sense? Similarly, you need to dig through files and folders in your hard disks, and come up with a selection of appropriate photos to match your objectives of creating an album. You can choose to present them in a digital photo organizer which resembles a conventional photo frame except that pictures automatically change within set intervals. Alternatively, register yourself onto a social networking site with photo publishing and sharing functionalities. By selecting a suitable photo album scheme, create a category and upload your photos. Start your collection of albums to share with family and friends. As a sign of respect to those with lower speed connections, it is best not to overload your web page with too many pictures. Internet etiquette in terms of pictures also dictates that picture resolution be kept to a reasonable level as high resolution images, though clear, take a much longer time to load.

About the Author

Author recommends Tech-FAQ for more information on topics such as how to make a photo album and Photo Paper . You may visit for more details.

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5 Important Elements of Photo Restoration and Repair

Operation Restore Defenestration
restore photos

Image by Laughing Squid

photo by Scott Beale / Laughing Squid

This photo is licensed under a Creative Commons license. If you use this photo within the terms of the license or make special arrangements to use the photo, please list the photo credit as "Scott Beale / Laughing Squid" and link the credit to laughingsquid.com.

Photographs are a great way to retain those special memories; wedding, anniversary, birth, family or friends reunion. Sometimes however, those precious memories are damaged or degrade over time.

With the changing face of technology, damaged or faded images can also be brought back to life with careful digital image retouching, restoration and repair.

The main elements of photo restoration and photo touchup include the following:

1. Photo Editing

2. Photo Retouching: With photo retouching, one can enhance old photographs by removing unwanted elements from the background and adding vibrant colors to the background.

3. Photo Refinement

4. Removal of Unwanted People or Objects: Unwanted people or elements can be removed from the background or foreground.

5. Photo Manipulation: It is the process of manipulating the photograph either by adding or removing elements, people or objects.

6. Photo Masking

7. Photo Colorization: As the name implies, the technique of adding colors to the photographs is known as photo colorization.

From the removal of scars and blemishes to the addition or deletion of a new background, an image can be transformed into a work of art.

All retouching is done to a copy of the original file of your photograph. Once the retouching work is complete, you can have as many prints made from the photograph as you want.

Some basic retouching and restoration techniques involve the following:

1. Removal of skin imperfections, blemishes, etc.

2. Body contouring

3. Background removal

4. Photo colorization

5. Watercolor effects

6. Photo artistic retouching

7. Face touchup

8. Aging reduction

9. Stray hair correction

10. Eyeglass glare removal

11. Red eye removal

12. Skin tone improvement

13. And much more

Almost all the magazines, which showcase either celebrities or designer collections, undergo a major retouching process. Not just magazines but other advertising channels, including brochures, exhibitions, and websites, newsletters and fashion magazines make use of photo correction services.

How many times have you told yourself that your wedding pictures will be clicked by a very famous photographer? Maybe a thousand times! But, remember that wedding photographs are also enhanced digitally.

We at www.photostouchup.com , don’t make just promises but fulfill them. The author of the article is a web designer and an expert in the process of photo enhancement, photo restoration and photo retouching.

Article from articlesbase.com

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Digital Photography Tricks – Discover The Secret Of Amazing Landscapes!

Landscapes are definitely are just about the most popular, as well as gratifying, areas of digital photography. On the other hand, it can also be one of the most difficult genres to master. Within this digital photography tricks article I am going to present helpful hints that may carry your own pictures to a new tier, or maybe merely give a few memory joggers to anyone who has captured similar images for a time.

Analysis is definitely crucial for a winning photograph. It’s worth spending time to find the ideal location. Your local library should have information that will inspire you to find appropriate sites – also the nearest tourist office should have leaflets that can give you ideas for a fantastic location. Another effective way is to explore online by entering “landscape photography within …..” and select your local area.

When you arrive at your spot, you ought to be cognisant of the crucial aspects of the area that could create an excellent shot…not merely a nice picture. You could have that one opportunity to create a unique photo, so strong composition is vital. Most seasoned photographers are familiar with the rule of thirds. However, this does not always need to be strictly adhered to. If there is a particular shape or ingredient which the viewer’s eye will be drawn to, but does not precisely stick to the guideline, then you should be daring and go along with your gut feelings.

Any digital photography tricks guide to perfect landscapes wouldn’t be accomplishing its task if it didn’t mention that an expanse of water is a superb spot to investigate. Specifically in serene conditions, you could end up in the envious situation of almost experiencing a pair of shots for the price of just one. In other words, a mirror-like reflection from a placid body of water will add interesting depth to your picture. There is a price to pay, of course – almost always the best shots come first thing in the morning. Having said that, sacrificing two or three hours sleep should feel worthwhile when you see your final photographs.

Dusk and daybreak tend to be terrific periods with regard to taking unusual views, using shadows and effective framing. For example, low sunlight obscured behind trees can easily cast intriguing shadow traces over the photo. Forest, flowers and plants can be used to produce a frame all around or maybe in the foreground of your image. Then you can put these frames to work to lure the viewer into to your principal topic.

One of the best things about landscape photography is that no two photographs truly appear the same. Sure, it might be simple to recognise the setting, however, subject to various elements (such as the time of day, cloud formations, weather, season and so on), a decent photographer can take a unique picture which no one else is ever going to capture.

I hope the information in this digital photography tricks article will help spark your own adventures into landscape photography.

If you would like to find out how simple it is to apply a few simple digital photography tricks that will greatly enhance your photographs, check out http://www.photographycourseonline.info for further information.

Article from articlesbase.com

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Recover Photos Digital Camera

Photo Restoration – Round One
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Image by amber_h
This is a photo of my grandmother Blanche (left) and her sister Roxy that my grandmother has carried around in her purse for years, and it showed. She asked if there was any way that I could clean it up a little, and I don’t think I’ve done a bad job, considering the huge tears and cracks that were in the original image.

Recover Photos Digital Camera

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Friday, October 30, 2009

Digital camera lost photo recovery software restores all missing files and folders without any error. Digital camera erased picture restoration application retrieves data even camcorder device is virus infected. Digital camera crashed image salvage utility is easy to install and fast tool. Digital camera damaged snaps rescue wizard revives corrupted data even drive not formatted or drive not detected message is displayed on computer screen.

Digital camera missing photo recovery software restores all deleted audio, video clip, image, picture and other multimedia documents from memory card of camcorder device. Digital camera lost picture rescue application is compatible with all Windows operating system including Window 2000, 98, XP, NT, 7 and Vista. Digital camera erased image restoration program performs in-detail scanning of memory card of digital camera and stores that recovered data at user specified location. Digital camera crashed snapshot retrieval wizard revives data even camcorder device is formatted. Digital camera missing photo salvage utility is user friendly with all type of camcorder brands including Samsung, Sony, Toshiba and Canon. Digital camera crashed image rescue tool provides graphical user interface. Digital camera deleted data restoration application retrieves data even some logical error is occurred while accessing the digital camera. Digital camera lost photo recovery software gives full install and uninstall support.

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About Digital Photo Albums

Since the creation of the digital camera, technology has developed to provide the world with the ability and resources to store, arrange, categorize, and even decorate the digital imprint of a picture or film. Not only is there a large selection of physical offerings to cater to this objective, but there is a selection of online resources also.

The selection of digital photo albums out there are endless, and they are quite straightforward to use. Some digital photo albums are just physical photo albums with a special format which allows you to accommodate digital prints easier than a traditional photo album. Others appear to be a straightforward picture frame, but instead of having a single individual shot, the frame is similar to a computer screen. By only putting the memory card into the described spot on the frame, all of the computerized images will start to display for a given amount of time before fading out, and replacing itself with another image from the memory card.

For quite some time now, the internet has permitted many individuals to upload personal shots from their computer into a digital photo album via specific places. There are a wide array of websites that offer such services for free. Not only can the user upload and store their images, they can adorn them with a variety of digital stickers, borders, and other nicities. These kinds of websites also provide upgrades for a tiny cost, which provide services that would cater more toward professional people. Many social networking websites also provide space for users to keep digital photo albums without shelling out money for it.

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