Posted by TJ Dinsmoor on Thu, Oct 29, 2009 @ 10:29 AM
When you are scanning a photo print, make sure you follow this process to ensure the best quality scan you can possibly get.
I picked this process up from a college art professor my Sophomore year and have been using it ever since. This process not only works for photo prints but also pretty much any object that can fit inside of a scanner.
The Process
~Determine the desired size of the image that you would like to be printed. This will be called "Target Size."
~Determine the size of the image on the actual source photograph (the thing to be scanned) is called the "Source Size." To determine the Source Size measure the longest span of length of your image or object. Example the longest span of length for a photograph would be the distance from the upper left corner to the bottom right corner or visa-versa.
~Determine the resolution in dots per inch (dpi) that you want to print or display at is called "Target Resolution." Just to give you a better idea low quality (web quality) is 72 dpi, medium quality is 150 dpi, and high quality is 300 dpi.
~Determine the resolution in dots per inch you will scan at, and call it "Scan Resolution." To find out the Scan Resolution so you can set the scanner to grab enough pixels to achieve the desired output size and quality, you use the following formula.
(Target Size x Target Resolution) / Source Size = Scan Resolution
So now lets take an example of a photograph and a non-related print object and walk through the process.
Lets say you have a print Target Size of 5 inches, and you want a Target Resolution of 300 dpi. When you measure the longest span across your object and find it to be 2.5 inches, you apply the following to determine your Scan Resolution.
(5 x 300) / 2.5 = 600 (Scan Resolution)
When you set the scanner to scan the object at 600 dpi, you'll have about 600 dots scanned in each of the 2.5 linear inches. When you change the resolution of the image to the Target resolution of 300 dpi, each dot becomes twice as wide and tall and the image will grow to become the target 5 inches.
This process ensures the minimum amount of re-sampling during the acquisition of the digital image from its source.
Posted by TJ Dinsmoor on Wed, Oct 28, 2009 @ 08:30 AM
Much has changed from the days of film photography to
digital photography. One of the most important transitions from film to digital photography
is how to backup your digital photos. Negatives could easily be protected in an
archival sleeve inside a binder or notebook. You can date them and store them
in a safe, dry place and access them any time you need to make a print. Many
people can still find their negatives from years ago within a few minutes.
When digital photography first appeared, many people were skeptical
on how they should backup their images. When people started to backup their
images on their computers they quickly found out how much space they took
up which resulted in their computer running much slower. Also, with the potential
of a computer crash or virus attack many people were looking for other
alternatives to backup their photos.
A few solutions can easily ensure that your hard work will
be safely secure and backed up.
1. Make
sure to save the original files. Many times people will edit images and
accidentally click “save” instead of “save as” and they will overwrite the
original image.
2. Backup
every image on a CD. Make however many copies you need and store one someplace
accessible and the other somewhere safe off-site.
3. With
space limited on a CD, backup images on a DVD. As the latter, make two copies
and store someplace safe. DVDs have far more memory than CDs but they are also
pricier especially if you need to invest in a DVD burner.
4. Make
prints of your images. It’s NOT an ideal way to backup images because scanning
an image can result in quality loss, but it still provides you with some
protection.
5. Numerous
websites allow you to backup photos to their server and share them with your
network. Size limits do apply and if you need a larger account you may have to
provide a monthly or yearly fee. Flickr allows its
members to upload 100MB of photos each calendar month. If you upgrade to a Pro
account for $24.95 a year, members get unlimited photo storage among other perks.
6. External
hard drives come in many shapes and sizes. USB flash drives are a handy option
and easy to carry with you and you can find inexpensive drives pretty much
anywhere. Larger drives hold more memory and cost a little bit more but are
more reliable. Sites such as Crucial.com are excellent places to find any type of external hard drive you desire.
When you are choosing a backup method, keep in mind that
technology is always changing and advancing. Just as floppy disks and pretty
much zip drives are obsolete, CDs and DVDs may as well in a few years. Having
multiple backup methods is a good idea. External hard drives can get viruses,
broken, crash, or lost. CDs and DVDs can get scratched. Make sure to backup multiple times.
Posted by Cory Grassell on Mon, Oct 26, 2009 @ 10:00 AM
The new Leica lens - Noctilux-M 50mm f/0.95 asph - is a quality buy, and you 
certainly get your money's worth (a complimentary lens case is even included when you make a purchase). But it'll cost you. The average asking price for this state-of-the-art lens is approximately $10,000. Let's take a look at some of the features that make this camera so highly touted.
The manual-focus, full-frame lens is made of ground and polished glass, not hybrid or molded glass. The glass is surrounded by anodized matte-black aluminum. Due to its sheer size and weight, the lens will make the complementary Leica M8 and M8.2 cameras a bit top heavy when combined. Also, Popular Photography magazine reports that the lens barrel blocks some of the viewfinder.
With a built-in lens shade/hood, the Noctilux lens is a step up from the Canon 50mm f/1.0. Why? In tests, "barrel distortion edged close to imperceptible, outdoing the Canon by a big margin." The Noctilux also showed signs of vignetting, "but Leica says that on full-frame, M-series bodies, such as the M7, it shows 3.2 stops of light falloff in the corners at f/0.95." Unfortunately, the lens only has focus capabilities of 38 inches. But here's a photo tip that will help you get more out of your new lens: "Adding a neutral-density filter in broad daylight lets you place a sharply focused subject against a radically defocused background - even when they're only a few feet apart."
Leica Noctilux-M specifications:
- Diagonal-view angle: 36 degrees (focus ring turns 130 degrees counterclockwise)
- Size: 2.83 inches x 2.95 inches
- Weight: 1.71 pounds
- Filter size: E60
- Mounts: Leica M
- Distortion: 0.12 percent
- Light falloff: None
- Close-focusing distance: 38 inches
- Maximum magnification ratio: 1:16:28
Posted by TJ Dinsmoor on Thu, Oct 22, 2009 @ 01:45 PM
The Annenberg Space For Photography
Los Angeles is home to a new cultural destination for the
world’s most renowned 
photographers and emerging photographers. The Annenberg Space for
Photography is the first photographic cultural destination where
exhibition-goers can see the world through a different lens.
The doors opened up March 27, 2009. Located where the former Shubert
Theater resided, The Space is a 10,000 square foot facility with a cutting edge
digital gallery along with a traditional print exhibit. Traditional and digital
galleries will expose visitors to an energetic environment and an unparalleled
amount of images.
The Space hosts images that are focused on the human
condition as an expression of the philanthropic work of the Foundation and its
Trustees. The Space is under the stewardship of LA based Trustees—Wallis
Annenberg, Lauren Bon, Charles Annenberg Weingarten and Gregory Annenberg
Weingarten.
The design and architecture for the space is influenced by
the mechanics of a camera. The circular digital gallery within the building was
created as an architectural metaphor for a camera lens. The building also
houses a photography reading room and a workshop area. Photographers and artists
alike come to The Space to exchange ideas and explore new areas of photography.
The Space features some of the most advanced technology. The
7’ x 14’ glass screens provide 4k resolution that surpasses Blu-Ray. The
technology used in the digital gallery was exclusively made for the Photography
Space.
Photography-themed books fill the Reading Room in The Space
to help inspire and educate visitors. The Reading Room encourages exhibit
visitors to explore the unique art from the many titles available and even read
about the featured photographers in the current exhibit.
Current Exhibit
Award winning photojournalists and visual editors from Pictures of the Year International (POYi) are
being honored at The
Space’s second exhibition. POYi is the oldest and most prestigious
photojournalism competition in the world and after 65 years of being at the
University of Missouri School of Journalism, they have moved to LA.
The exhibit displays the alignment of POYi goals and the
mission of The Space to inform and inspire the public by connecting people
through inspiring imagery and stories.
The exhibition tells the tale of 2008. Imagery displays the
horror of war and the financial collapse as well as political and athletic
achievements. Photographers from many different countries submitted more than
45,000 entries, which display dexterity and the complexity of the global age.
The images represent the conflicted philosophy of our modern civilization with
themes spanning from degradation to personal achievement, community to
isolation, and human creation to the inexplicable wonders of nature.
For more information on The Annenberg Space For Photography
please visit http://www.annenbergspaceforphotography.org/.
Posted by TJ Dinsmoor on Tue, Oct 20, 2009 @ 12:11 PM
Pumpkin carving, trick-or-treating, costume parties, haunted
houses – yup, Halloween is pretty neat. Now that Halloween is just around the
corner, Apollo put together some pointers to help you take great Halloween
photos.
Lighting
Halloween can be a difficult holiday to photography because
most of the festivities occur at night, when low-light conditions make it
difficult for your camera to get a sharp shot. The Golden hours are the best
time to take Halloween photos. For those few hours or so, you’ll have enough
light to forget the flash while still capturing the candle glow of carved
pumpkins and the flashy colors of costumes.
When night falls, turn up your ISO setting (400+) and turn
down your shutter speed. To forgo your flash, hold the camera as steady as
possible or have your tripod handy. Remember, the rich, dark colors of
Halloween are essential in setting a spooky mood. Try to eliminate using your
flash as much as possible. Halloween is not a bright holiday so let the dark
and creepy shots work in your favor.
Pumpkins
Pumpkins make for a unique Halloween subject considering
they only grow during the fall. Snapping pictures of them can be tricky because
in order to capture the glow from the candlelight you have to turn off your
cameras flash and have a bright glow.
Since the pumpkin is not going to move,
your best bet to get a very sharp image, is to use a longer shutter speed and
set your camera on a steady surface such as a ledge or step.
Also, if you have
a tripod handy that will be your best option. Don’t be afraid to use multiple
candles or different light sources to achieve the best glow from your pumpkin.
If your shots are only capturing the glow of the pumpkin and
not the outer shape, try creating makeshift lighting. You can do this by using
a flashlight raked against the outer hull of the pumpkin. This can generate
some very eerie lighting.
Composition
If you are photographing children, bend down to the child’s
eye level. Nothing makes a monster more imposing than looking up at the scary
countenance or looking directly into the eyes.
If you are shooting two people in costumes, get them as close together as possible. People tend to drift apart when they are getting
their picture taken. You want the opposite – no space between those monsters.
For more eerie effects try candid shots. The secret however,
is to get close enough to fill the frame of the subject. Another effect to try
is photographing a subject and in post-production tilt the horizon line to add
an eerie feeling.
Creative Ideas
When taking photos of carved pumpkins, try to look for
larger openings that allow as much light out as possible. Bigger openings will
also help if you want to cast shadows on bystanders for dramatic lighting.
Have an elaborate costume? Position your camera on a tripod
and document your transformation through makeup, costume, etc. Try to maintain
the same position in each photo for a fun effect as you flip through photos in
a slideshow.
Posted by Cory Grassell on Mon, Oct 19, 2009 @ 10:30 AM
While the latest Panasonic Lumix DMC-GH1 has many impressive features, including a built-in stereo microphone and a stereo-mic input, its high-definition video recording with stereo sound makes this camera truly unique. Because HD video is fast becoming a necessity for today's digital cameras, I'm focusing on the GH1's capabilities here.
The high-definition video is available in two resolutions: 1920 x 1080 and 1280 x 720 pixels. At 1920 x 1080 pixels, the camera only shoots 24 frames per second, which is cinema rate, rather than 30 fps of HDTV. The 1280 x 720 option allows recording up to 60 fps, which is preferred for shooting fast-moving subjects. According to Popular Photography magazine, "The 720p footage [is] on par with the image quality you can expect from a [mid-level] HD camcorder."
In addition to great footage quality, the new Panasonic allows photographers to select the type of video file they want to use. The top resolution is AVCHD. "At 1280 x 720 or less, at 30 fps, you can...record MOV Motion JPEG files, also a common format, so it should be similarly trouble free to edit. For the smoothest video, use the AVCHD 1280 x 720 60-fps mode."
A great attribute of the GH1 is its ability to auto focus, although the camera is presently limited by a lack of available lenses. "The only Micro Four Thirds lenses optimized for continuous AF for video are the 14140mm f/4-5.8 that comes in this kit and the 14-42mm f/3.5-5.6 Olympus kit lens for the E-P1."
For comfort of shooting, the DH1 celebrates a 3-inch, 460,000-dot LCD monitor that flips left and swivels. This erases the feeling of a shooting with a camcorder. "Instead, the body mimics a tiny DSLR or electronic-viewfinder, super-zoom still camera." Try holding the camera (below shoulder length) from the bottom, and use your left hand to handle the zoom and manual focus controls. Meanwhile, the right hand is kept free to control panning, adjust brightness or start/stop recording.
Yes, the camera boasts a far-reaching lens, but the unit is a bit on the pricey side ($1,500) because it comes only in kit format with a 10x zoom lens. Perhaps cameras like the GH1 will become more economical as HD offerings become more common.
And if you're interested in the camera's shooting capabilities, consider these features:
- Imaging: 12.1MP, 4000 x 3000 pixels, 12 bits/color in RAW mode.
- Storage: SD/SDHC cards, JPEG, RAW, RAW + JPEG.
- AF system: TTL contract detection, 23 focus areas, single-area focusing, face detection, single-shot and continuous AF.
- Shutter speed: 1/4000 to 60 sec plus B.
- Metering: TTL metering, 144-zone Intelligent Multiple, center weighted, spot metering, EV 0-18.
- ISO range: ISO 100-3200.
- Flash: built-in pop-up flash GN36.
- Viewfinder: electronic, 1,440,000-dot equivalent.
- LCD: 3-inch TFT, 460,000-dot resolution.
- Output: high-speed USB 2.0, HDMI video, NTSC/PAL composite, PictBridge compatible.
- Battery: rechargeable DMW-BLB13PP Li-ion, CIPA rating (300 shots in LCD or 320 shots in EVF).
- Size: 4.9" x 3.3" x 1.8".
- Weight: 0.85 lbs.
Posted by TJ Dinsmoor on Tue, Oct 13, 2009 @ 09:00 AM
As one of the largest photographic events existing today, The Sony World Photography Awards (SWPA), reach far beyond an awards program for the still image. The SWPA is a convergence of festival events, focused photographic agendas, exhibitions, awards schemes, student programs and an industry-led gala evening ceremony which marks the pinnacle of the week-long event.
The Sony World Photography Awards Gala and central exhibitions that support the awards' nominees and honorees, occurs once a year in the prestigious Palais des Festivals in Cannes, France. The evening welcomes some of the most influential names in the photography industry, from press and media to gallerists, publishers, agents, critics, aficionados and the renowned artists themselves. As an entering professional photographer, you will be judged by the World Photographic Academy in the hopes of being recognized by leading industry figures and taking the stage in Cannes to receive one of the 12 prestigious category awards and, the most coveted prize, L'iris d'Or, given to The Sony World Photography Awards Photographer of the Year, with the recipient taking, amongst other things, prize money of $25,000.
When submitting your images there are 12 categories in the professional program, spread across 3 main photographic genres. Each photographer may submit up to a total of 10 images into a single professional category. Professionals will be judged on a body of images representing a photographic series or story. Professional photographers may enter bodies of work in more than one category.
The judging process consists of your images going through critical rounds of selections by the official Judging Committee, comprising selected World Photographic Academy members.
A shortlist of 7 photographers in each of the 12 categories will be selected and announced in February 2010. Of the 7 short-listed photographers in each category, three finalists will then be selected and named as either the first, second or third place winners of each category given. The announcement of the 36 total winners will be made in March 2010.
For the final stage of judging, one single photographer will be chosen by the Honorary Judging Committee from the 12 First Place category winners. This photographer will be announced and awarded in Cannes as the recipient of the 2010 L'iris d'or.
All 36 Category finalists, will be showcased as part of the official 2010 Finalists exhibitions in Cannes, published in the winner's book and announced to the worldwide press as Sony World Photography Awards Category Finalists. These finalists will also be part of an annual SWPA Global Tour, have the opportunity to be represented and promoted by the World Photography Gallery, showcased on the SWPA website for all of 2010 and much more.
The first place winner of each category will be flown out to Cannes, receive 2 nights accommodation in a luxury hotel on the famous Croisette and receive VIP tickets to attend the evening gala awards ceremony, taking place on the 15th of April, 2010. The winner will also receive week-long passes to attend the World Photography Festival screenings, workshops, exhibitions, talks and other events taking place throughout the city of Cannes from the 13th - 18th of April 2010.
For more information on the Sony World Photography Awards please visit http://www.worldphotographyawards.org/
Posted by Cory Grassell on Mon, Oct 12, 2009 @ 10:30 AM
Children and adolescents make great subjects for photography, and their school days are full of photo opportunities. If you have a child in grade school (or have already put a child through grade school), you know what I mean. Whether enjoying recess on the playground, painting during art class or leaving on the bus the first day of school, children provide an endless array of natural possibilities. As a parent, you probably wish you could have a camera on hand at all times (or at least hire your child's teacher to do the job for you) for these are once-in-a-lifetime moments. I scoured the September issue of Popular Photography, the world's largest imaging magazine, to bring you some tips on capturing the best child shots:
- First and foremost, understand children and their behaviors. While they make great subjects due to being "less guarded and more honest than adults," they are also very "hard to corral and coax into posing." Most photographers of children will tell you not to even try posing young subjects. In other words, just let them be themselves. "Watch carefully, and when the moment is right, shoot multiple frames at your camera's highest burst rate."
- Make sure you have the right gear because children are quick and less likely to stand still. "Kids can rocket through a viewfinder, so use a camera that can keep up. By the time a typical point-and-shoot [camera], with its long shutter lag, records an image, your kid will be two classrooms away." This makes using a DSLR imperative.
- If you find yourself in a school gym or auditorium, use a high-speed lens with a tripod. Many photographers find success using f/2.8 lenses (or faster) because they help "capture fleeting moments sharply, while lesser optics blur them."
- Use ambient light. "The harsh, artificial quality of electronic flash contradicts the innocence and naturalness we associate with children." Plus, flash units tend not to recharge fast enough to catch fleeting expressions.
- Try a 50mm f/1.8 lens at full aperture so you can shoot without a flash or tripod.
- For truly creative photos, don't dress your child. Let him or her make wardrobe decisions. By letting children be themselves, you will more likely capture life's precious moments of "a tutu and boots or a giant pink backpack [that] often results in a far cuter picture than one mom could have styled."
- Every parent gets excited about and fears a child's first day of school. It marks a moment of slowly exiting the nest and your child's journey to growing up. To properly capture the first day of school and your child's innocent excitement, use soft, diffused, natural light. Some have found the best place for this is near sliding glass doors in the house before leaving for school. Or try waiting for the sun to descend lower in the sky and using it for natural backlighting.
- What about big sporting events? These are surely some of the best photo moments of all. Try investing in a "camera with a high burst rate, a monopod or tripod, and a lens with a focal length no shorter than 20mm." Or try going early to your child's game to get close-up shots during practice or warm ups. Even a 24-70mm f/2.8 zoom lens might not do the job; sharpen your shots by brightening your "optical act with [a] Canon 85mm f/1.8.
- At track meets, try panning and shooting at a fast burst rate. "It implies motion, and it's also a handy technique for keeping children framed until you're ready to shoot."
- Indoor sporting events pose difficult lighting. Some photographers use an 85mm f/1.8 Canon to cope with dim lighting and fast movements. Try keeping your shutter speed greater than 1/250 per second by increasing the ISO to 1250 or higher. Setting white balance and exposure manually can also help.
- For theatre productions, stage lighting can be your biggest obstacle; therefore, invest in a fast lens such as a fast-moderate tele (Nikon's 85mm f/1.4). If you cannot afford one, rent one "or buy an inexpensive 50mm f/1.8 and get in close." For subjects in motion, shoot at ISO 1600 at f/1.8 and 1/250 second (or 1/100 second at the slowest). For better shots, don't be afraid to position yourself at different locations throughout the auditorium. Shooting from the audience will limit your abilities. Just don't be disruptive, and be sure to share your photos with other parents because you are likely to capture other children in your frames.
- All the hard work pays off when your child finally walks across the stage and receives a diploma. To capture students tossing their hats in the air or group shots after the ceremony, shoot "10 images at [five] frames per second." For best results, use a 300mm lens "to put viewers in the middle of the action."
Posted by TJ Dinsmoor on Thu, Oct 08, 2009 @ 04:18 PM
This month, Apollo Photo Imagizing thanks Tracy and Patrick O'Connell, owners of Expressive Photography in Wisconsin, for partnering with us. The O'Connell couple was kind enough to spend some time answering our questions about their studio. We also asked about their summer experiences and emphasis on outdoor photography. Read the full interview with the owners of Expressive Photography.
Posted by TJ Dinsmoor on Mon, Oct 05, 2009 @ 09:09 AM
By the time I enrolled in art school, I had studied perspective drawing, mastering the sable-hair brush and Photoshop rendering. I was determined to become a professional, published comic book artist.
Three years later, instead of the drawing studio, I found myself at the state fair park.
Taking photos.
Of cage-fights.
No, this was not some miserable Twilight Zone twist. This was me finally combining my passions and finding my niche.
I had been a fan of mixed martial arts ("ultimate fighting") for years, and so when I found an opportunity to write for Wisconsin Combat Sports, a website that covered local fighting events, I jumped at it.
Back in the day, reporters illustrated news stories with woodblock engravings. If it had been 1842, then my comic-drawing skills would have come in handy. Today's visual journalistic media of choice is digital photography.
Fortunately for me, photography and comics are very similar. Comics are also known as "sequential art". If you take two photos and put them next to each other, whether intended or incidental, there is a relationship between them, just like there's a relationship between panels in a comic.
A crucial part of the definition of the word creativity is, as Wikipedia puts it, "new associations of the creative mind between existing ideas or concepts." This is the essence of finding your specialty.
This is why it's so important to go to school; to dabble in different arts; to take risks. When you bring the right elements together, there's a click, the door to your niche opens up, and you walk in and feel right at home.
View more of Dom's work which includes mixed martial arts and wedding photography as well as illustrations.
View more of Dom's work, including mixed martial arts, wedding photography and illustrations.
Posted by Cory Grassell on Sat, Oct 03, 2009 @ 12:56 PM
Are you an action-adventure photographer looking for a quality digital camera on a budget? In today's economic downturn, obtaining a new digital camera may not be easy. That's why we searched the newest and most affordable makes and models to take on your next outing. The following ten cameras are both cutting edge and conveniently portable, making them perfect for on-the-go, action-adventure photographers. You will find these selections light and easy to pack, plus each is an economical choice without comprising quality.
1.) Sony DSC-HX1
- $500
- Ten frames per second
- 28-560mm optical zoom
- HD video
- Sweep mode
- 1.1 pounds
2.) Panasonic Lumix DMC-TS1
- $400
- Minimal shutter lag
- HD video
- Clear, 128mm optical zoom
- 12 megapixels
- Waterproof (down to 10 feet)
- 5.8 ounces
3.) Casio EX-FS10
- $350
- 9.1 megapixels
- 30 JPEG images per second
- 1,000 frames per second
- HD video
- 4.2 ounces
4.) Pentax Optio W80
- $300
- 12.1 megapixels
- Super Macro mode
- Extra-rugged seals
- Underwater shooting for two hours and 16 feet
- 4.8 ounces
5.) Sigma DP2
- $870
- 14.5 megapixels
- Video
- Manual overrides
- Focus wheel
- Exposure compensation
- 9.2 ounces
6.) Nikon D5000
- $821
- HD video
- 12.3-megapixel CMOS
- Low-light shooting
- 1.2 pounds
7.) Canon Rebel T1i
- $800
- Entry-level DSLR
- HD video
- 3.4 frames per second
- 15.1 megapixels
- 1.1 pounds
8.) Leica D-Lux 4
- $995
- SLR
- Point-and-shoot body
- f/2-2.8 lens
- 8 ounces
9.) Casio Exilim Mobile
- $280
- Camera phone
- Water resistant
- 5.1 megapixels
- Flash
- GPS
- 3G-network enabled
- 4.8 ounces
10.) Pentax K-7
- $1,300
- 14.6 megapixels
- Rugged steel construction
- HD video
- 1.4 pounds
