How to Pick the Ideal Digital Camera

 Do you know how to pick the best camera? What features do you consider? How costly should it be?

Here's the answer: the best camera out there on the market today is... the one you're actually going to use.

For most amateur photographers, any camera is the best camera.

Okay, you probably didn't want to hear that. But it's true. No camera will instantly give you great photos if you lack great composition and exposure. Cameras don't take pictures, photographers do.

Fine, we hear you. So what camera should I buy?

If you're an amateur photographer, keep to the low-end of cameras, one that you can afford. Then teach yourself about composing photos, exposure, along with other techniques.

Once you determine that you enjoy photography as a hobby and you would prefer some advanced functions, then you can sell your old equipment and graduate to higher-end models.

If you figure out that you've got a secret gift in taking great pictures and you're thinking that you may genuinely wish to make some money from your talent, then you can spend more money on fancy equipment.

But your cash goes furthest if you get quality lenses. This will make a bigger impact than buying a costly camera body.

What features should I look for?

The biggest misconception when picking a camera is that the megapixels make a big difference in the quality of your images.

Unless your image is going to be plastered on a billboard, every camera presently on the market should be perfectly sufficient to satisfy your MP needs.

Instead, think about these distinctions between high-end DSLR vs. low-end DSLR vs. point-and- shoots.

• Price (the difference between the top and bottom could be a few thousand dollars)
• Response time (the time it will take the camera to take the photo after you hit the shutter)
• Auto-focus
• Functionality in low-light conditions
• Video functionality
• Weather-proof bodies

So here's how to tell if you are a true photography buff: if you're always snapping pics with your camera, particularly of things that many people probably would not consider photogenic, then you can consider yourself a real aficionado. In this case, you're probably a person who would take advantage of the extra features of a DSLR.

So be honest with yourself and figure out exactly how much you will use your camera before you spend the money. If you plan to carry it with you constantly, then go for it!

A Strange Course of Photography

 What do we mean when we say we have made an experience? 

How to photograph and photo-retouching of food images to follow the rules of its archetypes. 

The experiences in my life I have always held for me jealously. It was a bit 'my system to make a barrier between me and the other because there is always someone who wants to be your own business and to tell everything they have heard from you, so my experiences were as a result, it became insignificant. So I learned to lie about what I was doing it my mood about all my experience. In fact, it is very hard to describe their own experience and make it clear to your listeners exactly as you saw you because it is something that touches some of our internal emotional strings. Ropes that are unique in all of us. An experience to remember because it is accompanied it our emotions experienced at the very moment in which we have had that experience. And tell our experienced it downgrades to a simple image that others have of you. But you can do an analysis of what and experience to understand how it binds to our ability to live, to love, to communicate and to understand things. You always have to start from knowing what you want to understand, know what they do not teach in school not because it does not exist as knowledge, but it seems that it is not important to know what we should know all, for example on key natural laws of our universe, on his geometry, on his lack of perfect symmetry, the symbology on the archetypes, what makes us sensitive and allows us to understand things, etc. etc... But you can do an analysis of what and experience to understand how it binds to our ability to live, to love, to communicate and to understand things. You always have to start from knowing what you want to understand, know what they do not teach in school not because it does not exist as knowledge, but it seems that it is not important to know what we should know all, for example on key natural laws of our universe, on his geometry, on his lack of perfect symmetry, the symbology on the archetypes, what makes us sensitive and allows us to understand things, etc. etc...

We must always start from the origin of what you want to understand and then try to necessarily start from the archetypes of all things. What is an archetype? Basically, it's the idea of something. It still has a meaning, not yet, but it has the idea of how to that particular thing. All we know of this universe we live in is recorded in our mind in the form of an idea how to be everything and these primordial ideas we have just called archetypes (a definition that is found abundantly on the Internet and on any dictionary). To explain their meaning and to understand why is there all this talk with photography I can give an example. We can use the food. What are the ideas of edible food, qualitatively good and palatable? To put it directly, we see what are the archetypes regarding food photography.

Well, first of all, I must be very saturated. Any other non-vivid colour would correspond to the exact opposite of what constitutes an idea of palatable food. Then it must have a lot of glitter on the surface, because this means that the food was freshly cooked and then, in addition to having the right degree of humidity, especially fresh. And finally the last archetype concerning the palatable food: is very good light to pass through the mid-tones. What does it mean? It means that if the light passes through the mid-tones (light has a spectrum, a range of frequencies, the mids are simply the frequencies that are in the middle), the food is soft, it is still young. But what exactly determines that it is a qualitatively good food to eat? And 'where the light passes through the mids that the colours become even more saturated. As the light cannot make it cross the colours are switched off or become much less saturated. If you want proof, take a slice of butter and look at it through the light of a bulb. Or a hand, a part of your body. The saturated colour of our archetypes is the life, is all that is natural is healthy.

Anyone who faces food photography or photo-retouching of food unless it takes into account these simple archetypes does a poor job. You might even talk of meanings in photography because in this case, we would not have exceeded even the basics that are accessed by the inexperienced.

There is another aspect to consider. A photograph is processed using the RGB colour space that has the quality to contain many more variations for each colour of the CMYK colour space instead is used for printing. In practice, it means that the RGB picture can contain very highly saturated colours even fluorescent colours. Be careful because once you convert photos to print, fluorescent colours disappear and then the food to our eyes, instead of switching on freshness archetypes, we turn on the stale food archetypes.

Infinitely complex or evolved?- Digital photography

I would like at this point to clarify the difference between complex and evolved. In the chapter on I introduced the archetypes but even if I went in that direction I would complicate my story.

I would immediately arrive to discover that photography is geometry, a geometry that embodies archetypal meanings, symbolic, conceptual and especially emotional, but I risk to get into complicated for me as I already wrote it. But what I want to realize with these items, it is a constructive talk, always in that direction, but always constructive and without complications within the theme doing photography.

As an example of complication or evolution can be used in the advent of digital photography. Do you think the fact that the art of photography has gone digital is a complication or an evolution? The same comparison you could also do to the human race when you look at the West compared to African countries.

The photographic art actually always respects the same rules, a photographer artist never based his art on the knowledge of the computer or camera, but his art he uses the moment they look into the camera viewfinder and shoot! This is its art, namely being able to take at the moment, in the position and perfect brightness. So the evolution of photography in the digital is not an evolution in photography, but a complication because all the photographers have had to learn new technologies. If anything, one can speak of an evolution of the cameras. Nor does the fact that today's cameras can take thousands of times instead of one is an evolution because the real artist photographer knows when to shoot and do it once. All other digital shots, they go down the drain.

How to Solve the Biggest Problems With Photo Retouching

 Exaggerating Textures

Greatly harsh surfaces may meddle with the feel of the photographs. Thus, they must be smoothened. Now and then this smoothening might be completed exorbitantly. Along these lines, the ultimate result turns out to be falsely smooth to be accepted. Direct approach is emphatically prescribed to dispose of this probability.

Over the top Elimination of Ambient Noise

Surrounding commotion in photography alludes to arbitrary and uncalled for varieties in the splendor of the hues in pictures. It normally emerges as the consequence of deficiencies in either the hardware or sensors of the cameras being used. They must be expelled to guarantee the visual clearness of the photographs. Their intemperate disposal may regularly meddle with the last nature of the photograph however. This is the reason the technique must be conveyed mindfully advertisement with control.

Not Ridding Halos around Objects Completely

Coronas are groups of lights that embellish the edges of the primary questions in photos. They fundamentally emerge as the consequence of poor climatic conditions. This in this way implies they must be wiped out to give the photos the honesty they require.

In many examples, these coronas are never expelled totally. Along these lines, the last nature of the photographs are not as attractive as in a perfect world should be the situation. Most extreme care in this manner must be taken to make sure that they are totally dispensed with.

Over-brightening of the Teeth

Those photos that are taken of grinning individuals will typically get defensive. While stained teeth are awful to see, over-brightening them, then again, may mutilate the honesty of the ultimate result. This may render the photograph insignificant and conniving particularly if the subject is an outstanding open figure. Therefore, this action must be completed precisely and with most extreme concern.

Editing Images Disproportionately

In a few cases, the pictures must be edited to guarantee some coveted measurements. To edit a picture just means slicing that picture to measure for advantageous surrounding and accomplishment of the coveted angle proportion.

This methodology has regularly been mishandled however, a reality that has frequently prompted lopsided ultimate results. It ought to accordingly be done fastidiously and ideally by a prepared master as it were.

Understanding the Rules of Composition in Photography

 With the advent of the mobile phone and tablet, everyone seems to be taking photographs, and for many people all they want is a record of a holiday or family event or a special moment in their lives which they are happy to share with their friends and perhaps to look at some years later when it will bring back a fond memory of times past.

Some of us however want to take their photography one step further and turn it into a hobby which we can develop and improve. So we dispense with our point and shoot camera and stop using our phones and invest in a reasonably decent camera. Personally, although I had been taking pictures for almost 50 years, I only took it up as a serious hobby in 2010 when I purchased a Panasonic DMC-FZ38 prior to visiting Kenya on my first Safari.

To begin with, I looked at the 128 page manual, hardly understood a word, so set the camera to auto and went off on safari. I took some great photos but it was only after I joined a local camera club and started to learn about the art of composition that I began to actually look through the lens and think about what I was doing, instead of simply pointing the camera at an object and pressing the shutter.

Like me, I suspect that many new photographers get confused, or even totally put off, by such things as focal length, ISO, aperture, shutter speed, focusing, exposure, etc., etc., and while I believe that it is very useful to understand the more technical elements, I do believe that the most important element for a new photographer to get to grips with, is Composition. All digital camera manufacturers spend a large amount of time and money on software to help the user get the correct camera settings to capture that shot and, as I did initially, if you set your camera on auto, the vast majority of time you will get technically good results. However the one thing that no camera is able to do, no matter how much money you have spent buying it, is compose a photo that is attractive to the eye.

So what do I mean by Composition? Putting it into its very basic form, composition can be said to be the way to create a photo that is aesthetically pleasing to the viewer. Sounds simple doesn't it? Google "composition in photography" and you come up with such results as:- 

20 Composition Techniques That Will Improve Your Photos: 

10 Top Photography Composition Rules 

9 Top Photography Composition Rules You Need To Know 

18 Composition Rules For Photos That Shine 

5 Elements of Composition in Photography 

5 Easy Composition Guidelines 

The 10 rules of photo composition (and why they work) 

12 Rules for Effective Composition in Photography: etc., etc.!

While you will undoubtedly learn by reading all of those articles, (and I would suggest that you do in time), I will concentrate on a few simple rules that I follow. Before I go further, while some of these are called rules, remember rules are there to be broken. What I am trying to do is to encourage you to think about what you are trying to achieve when looking through the viewfinder. I will start then with something that you have probably already come across:-

The Rule of Thirds.

Basically, if you imagine a photo divided into thirds, both horizontally and vertically, the main subject of the image should be where a vertical line cross a horizontal one.

Many modern cameras allow you to place a grid in the viewfinder which can be used to place the object where two lines intersect. While we are talking about the Rule of Thirds, it is generally best to place the horizon on one of the thirds, rather than in the centre of the frame, dependent on whether the main points of interest are in the sky or on the ground.

Leading Lines

These lead the viewers eyes into the picture either to the main subject or on a journey through the whole of the picture. Examples of leading lines could be a path wandering through the image, a fence line, a meandering road or a stream or river.

Symmetry

To demonstrate that the rules are no more than guidelines, the next one contradicts the Rule of Thirds. If your image is symmetrical, then it could benefit from being centred either on the horizontal, or vertical centre line. This works particularly well for reflections

Rule of Space

This rule is talking about giving the subject in the photo, space to move into the frame. This particularly applies to animals and vehicles. The object should have the most space in front of it, and not be right up to the edge of frame, giving it nowhere to go.

Rule of Odds

Generally speaking, it is thought that photos with an odd number of subjects is more visually appealing and natural looking than those with an even number, where the viewers eyes may flick around the image, unsure of where to settle. I tend to use the rule of odds particularly if taking a close up of flowers or the like.

I hope that I have given you a brief insight into composition and that when you next look through your viewfinder you will at least stop and think for a few seconds at what you are looking at and how the shot may be improved. But just remember, these rules, and all the others you will come across, are simply guide lines to help you go in the right direction, they are not railway tracks that you have to stick to rigidly. Finally I will end with the words of Pablo Picasso - "Learn the rules like a pro, so you can break them like an artist."