How To Make A Time-Lapse Video With Your Digital Video Camera By Kevin Rockwell
Getting the most out of your digital video camera can mean being able to create some really cool stuff. You just have to step outside the manual a bit and find the cool things you can do with your digital video camera and your editing software.
We have all seen them in a movie or a TV show, those very cool shots where they speed up time and capture a long segment of time and condense it into a very short amount of video. My very favorite example of this technique was an arty movie of many years ago that was called Koyaanisqatsi. (view trailer) In that movie they had some very interesting segments where they did time lapse effects to show driving on a bridge, flowers growing, clouds flying by and so on. Another example is many of the TV news stations nowadays have a camera that captures the day’s weather and then they process it down to a 20 second clip to show the clouds and weather racing by on screen.
Well this technique is not just a tool in the hands of the movie makers or the big TV stations. You can do this with your digital video camera gear too. I will go into two ways that you can accomplish this effect and get some cool results for your next video project. This one is worth playing around with in order to find the right settings to get the most dramatic effect.
Technique number one is to use the camera itself to do the time lapse recording for you. Almost all digital video cameras have the ability to do an interval recording. What this means in a nutshell is that you tell the camera how long you want to record for and how long in between recordings and it will go on autopilot for you for as long as the battery lasts or the tape runs out. This is what those cameras at the convenience store do, they record a few seconds of motion every 30-60 seconds giving the overall view of the traffic in the store over time.
Now if you want to capture some time lapse in your digital video camera you will need to get into your cameras menu and find Interval Recording (or in my case Int Rec, as I use a Sony PD 150 for my camera) When you select this option you will decide how long of an interval between shots you want and how long to record each time. If you are trying to capture something that takes a long time to occur and in which not much happens quickly you will want to set the interval at around a minute and the record time as short as possible on your camera. An example would be if you wanted to record a day in the life of a flower or the clouds rolling by in the sky. Suppose however that you want to capture an event that has lots of action and occurs over a much shorter time frame. Then you would want to shorten the interval between recordings and increase the time of each recording. So in this case you might record every 15-30 seconds and record up to 2-3 seconds of video each time.
I used this technique to capture an afternoon of work being done by a team of carpenters on my house remodeling project. The result was a flurry of activity as workers raced hither and yon nailing boards, carrying equipment and building walls. I have added it to my photo collection of the project. (Hey I had to live through the project so I might as well have a great record of it for posterity!)
Now suppose you have one of the great software video editing packages on your computer to work with your digital video camera. Now you can do it in post as they say in the business. You can record any length of video you want (subject to the limitations of your tape length) and then import it into your editing program.
Sidebar:
I use Adobe Premiere Pro for my editing jobs, but I have also used Avid DV Express, Final Cut Pro, and others in the non linear editing world. These are all great programs and are very powerful products that can create some very professional looking videos. You don’t have to have these products to create your own videos but if you are serious about digital video editing it might be a good idea to take a look at these options.
I digitize my raw video of the scene I am doing time lapse on into my computer (big hard drive, video eats up GB’s of space) and then import the clip into my time line. From th3e timeline you can then select the clip with a right click. From there you will be given a menu with options depending on the software you use. Select the option that says “duration”, “speed” or something similar. Change the speed of the clip so that time will speed up considerably. If you have an hour of video in the clip and want to shorten it to 2 -5 minutes then you need to increase the speed of the clip to 3 or 4 thousand percent of normal. This will require your software to render the clip at the higher speed and may take some time top process depending on the speed of your computer.
Once you have rendered the video clip at the new speed you will want to play it to see if the movie flows evenly or if you will want to readjust the speed setting to make it better. Sometimes you may want to shorten your raw video and adjust the speed down somewhat in order to get a smooth flow of action. Once you have rendered the clip at the new speed you can now cut and splice it as you see fit with the speeded up action intact. There are some things you will record that might only need a slight speed change, take for instance some digital video of your kids playing sports. Double or triple the speed of the clip and show it to them and you might have them rolling on the floor.
You can also use these techniques to capture the growth of a flower or plant over the course of days or weeks. Simply set you camera in exactly the same place at the same time each day and record an interval that works each day fro however long you want to document.
May be you get the seedling just breaking soil and follow it all the way through turning into a full grown plant.
Another interesting idea is to capture the path of the moon across the night sky. Set up your camera on a tripod in a spot that can see the path of the moon for several hours. Set the camera to interval record and put the moon on one side of the frame so that it will pass across the frame as the night passes. This one may require some testing in order to get the exposure and framing right as well as the right interval to record at.
Most likely you would want to set the interval as long as you can and the record time as short as you can but do a test run first to see what works.
I can’t stress enough that using your digital video camera can be great fun and you can achieve some cool results. Play around and test. You just might find yourself creating some very creative digital video to share with the rest of the world.
Kevin Rockwell worked as a network TV cameraman for 20 years shooting news and sports. Now a devoted fan of digital photography and video he works to gather information, tips and news for digital camera users. Oh and he loves to shoot pictures of cool and interesting things all the time. http://www.great-digital-cameras.com/gdcj.html
Saturday, January 28, 2006
Wednesday, January 25, 2006
How Many Pixels Make A Good Print?
How Many Pixels Make A Good Print? By Ziv Haparnas
One of the more common dilemmas for people is choosing the paper size for printing their photos. Everybody knows that if your digital camera does not produce enough pixels (or actually megapixels) printing its photos on a large paper size will yield poor quality and you will be able to see the actual pixels (also known as pixelation)
So how many megepixels do I really need in order to print on a specific paper size? there is no one right answer for that. The actual quality of the print depends on many factors other than the number of pixels. For example the paper quality itself the printing process that is used the lighting conditions when the photo was taken the photo itself (i.e. portraits are different than scenery) and much more.
However a rough estimation of how good a picture will be based on the number of pixels can be calculated and is actually pretty easy to do. When evaluating how good a print will be there is a measurement that is simple to use and provides a good estimation for the quality - it is called DPI (dots per inch). DPI is actually the number of pixels along one inch. To get a good print you would need a certain DPI (on both X and Y axis).
Experiments show that the following qualities are usually associated with a specific DPI number:
DPI 100 - fair to badDPI 200 - goodDPI 300 - very good
So all we need to do now is to figure out for each paper size how many megapixels translate to those DPI numbers. To calculate this we need to simply multiply the page length by its width in inches. The result is the number of square inches on the page. Now multiply this number by the square of the DPI number and the result is the number of pixels on the page which is the number of pixels we want our source photo to have. Here are the numbers calculated for some common sizes (for 100,200 and 300 DPI respectively):
page 4X6 0.24MP 1MP 2MPpage 5X7 0.35MP 1.5MP 3MP page 8X10 0.8MP 3MP 7MP page 11X14 1.5MP 6MP 14MPpage 16X20 3MP 12MP 28MP page 20X30 6MP 24MP 54MP
Again we would like to emphasize that these are just ballpark numbers. Factors like the ones mentioned above and also like the compression ratio used (low or high compression) and the aspect ratio difference between the paper and the camera can result in a need for more or less pixels. Our best advice is if you are not sure just try one or two photos before printing a large batch.
Ziv Haparnas is a technology veteran and writes about practical technology and science issues. This article can be reprinted and used as long as the resource box including the link is included. You can find more information about photo printing on http://www.printrates.com.
Article Source: http://EzineArticles.com/?expert=Ziv_Haparnas
One of the more common dilemmas for people is choosing the paper size for printing their photos. Everybody knows that if your digital camera does not produce enough pixels (or actually megapixels) printing its photos on a large paper size will yield poor quality and you will be able to see the actual pixels (also known as pixelation)
So how many megepixels do I really need in order to print on a specific paper size? there is no one right answer for that. The actual quality of the print depends on many factors other than the number of pixels. For example the paper quality itself the printing process that is used the lighting conditions when the photo was taken the photo itself (i.e. portraits are different than scenery) and much more.
However a rough estimation of how good a picture will be based on the number of pixels can be calculated and is actually pretty easy to do. When evaluating how good a print will be there is a measurement that is simple to use and provides a good estimation for the quality - it is called DPI (dots per inch). DPI is actually the number of pixels along one inch. To get a good print you would need a certain DPI (on both X and Y axis).
Experiments show that the following qualities are usually associated with a specific DPI number:
DPI 100 - fair to badDPI 200 - goodDPI 300 - very good
So all we need to do now is to figure out for each paper size how many megapixels translate to those DPI numbers. To calculate this we need to simply multiply the page length by its width in inches. The result is the number of square inches on the page. Now multiply this number by the square of the DPI number and the result is the number of pixels on the page which is the number of pixels we want our source photo to have. Here are the numbers calculated for some common sizes (for 100,200 and 300 DPI respectively):
page 4X6 0.24MP 1MP 2MPpage 5X7 0.35MP 1.5MP 3MP page 8X10 0.8MP 3MP 7MP page 11X14 1.5MP 6MP 14MPpage 16X20 3MP 12MP 28MP page 20X30 6MP 24MP 54MP
Again we would like to emphasize that these are just ballpark numbers. Factors like the ones mentioned above and also like the compression ratio used (low or high compression) and the aspect ratio difference between the paper and the camera can result in a need for more or less pixels. Our best advice is if you are not sure just try one or two photos before printing a large batch.
Ziv Haparnas is a technology veteran and writes about practical technology and science issues. This article can be reprinted and used as long as the resource box including the link is included. You can find more information about photo printing on http://www.printrates.com.
Article Source: http://EzineArticles.com/?expert=Ziv_Haparnas
Sunday, January 22, 2006
Props For the Studio
Props For the Photography Studio By Kenneth Hoffman
There is a never ending quest for a ‘different’ look in the portraits we take. One easy way to inject interest in a portrait is to add a prop or two to the scene,. After a few years, you may have too many props adorning the walls, floor and ceiling and you may have to discard some and make new ones.
Some of my favorite props have been and 1890s tricycle, a 1910 iron and wood sleigh, a white wicker sleigh/bassinette and a couple of faux marble columns. The wicker sleigh made it easy to prop up wobbly babies and when leveled with foam and a blanket, supplied a nice base for tummy shots. Of course we couldn’t do without the ubiquitous baseball.
The marble columns came plain white plastic so I painted them to simulate real marble. First I prepared four buckets with white, light gray, darker gray and black water paint. Latex is fine. I placed the bare column on a large plastic sheet and quickly painted one side of the column with the white paint. A handy hose set at fine mist then wets down the Wet paint. Applications of the light and dark gray latex and sprayed with water allows the colors to blend naturally. After all sides are completed, a feather dipped in black latex and drawn randomly along the surface supplies the final touch. A c oat of clear acrylic will protect the surface for many years.
For Communions, I cut a 30 inch circle out of heavy cardboard. Making an X from two rectangular pieces of cardboard, I stapled the circle on top, creating an instant round table. Cutting a piece of white Dacron for a table cloth that just reaches the ground results in beautiful natural folds. On top can be placed a bouquet of flowers, a candle, missal or white gloves and placed in the near background of the Communion picture.
One photography prop that has many uses is white nylon tulle. Used to cover flower arrangements, antique boxes or any accessories in the background, it imparts to these artifacts a smoky ethereal atmosphere. The lowered contrast and softening of detail allows more emphasis to be placed on the main subject while adding interest to the composition. The white tulle is especially effective on a near white background. Large amounts of tulle can represent clouds or water.
For a rustic look, several four foot weathered barn boards can make a country look background for children’s portraits head shots. This easily made prop can be stored in a small area. A small section of white picket fence can be part of a beach scene or a Huckleberry country look. An eighteen inch long log with rough bark provides a handy place for young feet or to straddle. A taller log is handy for resting elbows and log sitting.
Try to use only one prop at a time and follow a central theme.
Retired portrait photographer. Where are your comments?
Article Source: http://EzineArticles.com/?expert=Kenneth_Hoffman
There is a never ending quest for a ‘different’ look in the portraits we take. One easy way to inject interest in a portrait is to add a prop or two to the scene,. After a few years, you may have too many props adorning the walls, floor and ceiling and you may have to discard some and make new ones.
Some of my favorite props have been and 1890s tricycle, a 1910 iron and wood sleigh, a white wicker sleigh/bassinette and a couple of faux marble columns. The wicker sleigh made it easy to prop up wobbly babies and when leveled with foam and a blanket, supplied a nice base for tummy shots. Of course we couldn’t do without the ubiquitous baseball.
The marble columns came plain white plastic so I painted them to simulate real marble. First I prepared four buckets with white, light gray, darker gray and black water paint. Latex is fine. I placed the bare column on a large plastic sheet and quickly painted one side of the column with the white paint. A handy hose set at fine mist then wets down the Wet paint. Applications of the light and dark gray latex and sprayed with water allows the colors to blend naturally. After all sides are completed, a feather dipped in black latex and drawn randomly along the surface supplies the final touch. A c oat of clear acrylic will protect the surface for many years.
For Communions, I cut a 30 inch circle out of heavy cardboard. Making an X from two rectangular pieces of cardboard, I stapled the circle on top, creating an instant round table. Cutting a piece of white Dacron for a table cloth that just reaches the ground results in beautiful natural folds. On top can be placed a bouquet of flowers, a candle, missal or white gloves and placed in the near background of the Communion picture.
One photography prop that has many uses is white nylon tulle. Used to cover flower arrangements, antique boxes or any accessories in the background, it imparts to these artifacts a smoky ethereal atmosphere. The lowered contrast and softening of detail allows more emphasis to be placed on the main subject while adding interest to the composition. The white tulle is especially effective on a near white background. Large amounts of tulle can represent clouds or water.
For a rustic look, several four foot weathered barn boards can make a country look background for children’s portraits head shots. This easily made prop can be stored in a small area. A small section of white picket fence can be part of a beach scene or a Huckleberry country look. An eighteen inch long log with rough bark provides a handy place for young feet or to straddle. A taller log is handy for resting elbows and log sitting.
Try to use only one prop at a time and follow a central theme.
Retired portrait photographer. Where are your comments?
Article Source: http://EzineArticles.com/?expert=Kenneth_Hoffman
Monday, January 16, 2006
Amateur Photojournalism and Moral Dilemma
Amateur Photojournalism and Moral Dilemma By Eric Hartwell
Many of us have visions of producing that “once in a lifetime” image. This may be one that you have struggled to perfect – a landscape or a certain portrait perhaps. Alternatively, it might be one that you have captured in a fit of “photojournalism”.
The latter is something we often wish to aspire to. Capturing an image at the moment of breaking news and then wiring it to some picture agency or even a local newspaper has the feel of professionalism and excitement about it. Seeing your image in print can work wonders for the psyche as well as accumulating that little bit extra in your bank balance.
But consider your actions. What pictures are you going to take, for what audience and where will you send them? More importantly, what are the consequences of your actions?
Imagine you are driving along the highway and you come across a car that has just burst into flames. It’s dramatic and you are first on the scene. What do you do? Do you get your camera out and start snapping away, knowing that you have an exclusive in the bag?
Or do you do what many would call the “honourable” thing and call for help and perhaps administer valuable assistance to the poor occupants of the car, some of which might be severely injured or even worse.
It’s a moral dilemma which could land you in trouble. Moreover, it could play on your conscience in the future if anybody did come to serious harm whilst you were there taking pictures when you could be offering aid and succour.
Perhaps leave photojournalism to the professionals in certain circumstances?
Eric Hartwell runs the photography resource site http://www.theshutter.co.uk and the associated discussion forums as well as the regular weblog at http://thephotographysite.blogspot.com.
Many of us have visions of producing that “once in a lifetime” image. This may be one that you have struggled to perfect – a landscape or a certain portrait perhaps. Alternatively, it might be one that you have captured in a fit of “photojournalism”.
The latter is something we often wish to aspire to. Capturing an image at the moment of breaking news and then wiring it to some picture agency or even a local newspaper has the feel of professionalism and excitement about it. Seeing your image in print can work wonders for the psyche as well as accumulating that little bit extra in your bank balance.
But consider your actions. What pictures are you going to take, for what audience and where will you send them? More importantly, what are the consequences of your actions?
Imagine you are driving along the highway and you come across a car that has just burst into flames. It’s dramatic and you are first on the scene. What do you do? Do you get your camera out and start snapping away, knowing that you have an exclusive in the bag?
Or do you do what many would call the “honourable” thing and call for help and perhaps administer valuable assistance to the poor occupants of the car, some of which might be severely injured or even worse.
It’s a moral dilemma which could land you in trouble. Moreover, it could play on your conscience in the future if anybody did come to serious harm whilst you were there taking pictures when you could be offering aid and succour.
Perhaps leave photojournalism to the professionals in certain circumstances?
Eric Hartwell runs the photography resource site http://www.theshutter.co.uk and the associated discussion forums as well as the regular weblog at http://thephotographysite.blogspot.com.
Friday, January 6, 2006
Identifying A Good Digital Photography Camera
Identifying A Good Digital Photography Camera ReviewBy Rika Susan
Doing your homework before deciding on a digital camera? You are going about it in the right way if you make use of the many professional reviews available on the internet.
But then you will want to be careful about rating the reviews themselves, as some take a genuine, in depth and objective look at the camera, whereas others are little more than marketing exercises by agents!
The reviews you will find about some of the very latest digital cameras are often based on pre-production models made available to the reviewers. In most cases this should present no problem, as the reviewers who get hold of these cameras are generally knowledgeable individuals and will point out any potential problems that still need sorting out.
When you read a digital photography camera review, make sure that the reviewer looks into the following issues for the sake of comparison and thoroughness:
How many pixels: is it a 5MP or 6MP or 8MP camera? What is the size of the image sensor (CCD)? How does it compare to other cameras in the same range? Remember, the number of pixels is not the only important aspect for a better image - you also have to check the size of the CCD.
What file formats are supported? Only JPEG or also RAW? Many photographers are now waking up to the post-processing possibilities of RAW files, and you may want to have that option available!
Does the camera have an auto-focus assist lamp for low lighting conditions? Without it you are often fairly restricted in low light situations.
How about batteries? A proprietary battery can hav
e a very effective lifespan, but they tend to be expensive - and you do need a backup for when on the road or in the mountains. Many excellent digital prosumer cameras such as the Olympus SP500 Ultra Zoom work on simple AA batteries which you can easily replace when in trouble!
If you buy a good prosumer camera with which you want to do some experimenting (and being able to experiment is a major plus of having a digital camera in the first place!) you will want to know that you have a manual focus option for those tricky situations...
What is mentioned regarding the camera's manual settings: can you set shutter priority, or aperture priority? Do you have full manual control over the most important aspects of exposure? It will be a pity when you start shooting away and trying new things you never dared with your film camera (costs!) only to find out you have virtually no manual control!
Ensure that the digital photography camera review you're reading points out the important optical (real!) zoom capabilities - and not only gloat about the digital zoom facility - which is sometimes little more than a cropping tool!
Lastly: compare not only cameras but also reviews, and shop around for the most informed opinion before you decide on the camera...
For more information visit http://www.Best-Digital-Photography.com. Rika Susan researches, writes, and publishes full-time on the Web. Copyright of this article: 2005 Rika Susan. This article may be reprinted if the resource box - including the link - is left intact.
Article Source: http://EzineArticles.com/?expert=Rika_Susan
Doing your homework before deciding on a digital camera? You are going about it in the right way if you make use of the many professional reviews available on the internet.
But then you will want to be careful about rating the reviews themselves, as some take a genuine, in depth and objective look at the camera, whereas others are little more than marketing exercises by agents!
The reviews you will find about some of the very latest digital cameras are often based on pre-production models made available to the reviewers. In most cases this should present no problem, as the reviewers who get hold of these cameras are generally knowledgeable individuals and will point out any potential problems that still need sorting out.
When you read a digital photography camera review, make sure that the reviewer looks into the following issues for the sake of comparison and thoroughness:
How many pixels: is it a 5MP or 6MP or 8MP camera? What is the size of the image sensor (CCD)? How does it compare to other cameras in the same range? Remember, the number of pixels is not the only important aspect for a better image - you also have to check the size of the CCD.
What file formats are supported? Only JPEG or also RAW? Many photographers are now waking up to the post-processing possibilities of RAW files, and you may want to have that option available!
Does the camera have an auto-focus assist lamp for low lighting conditions? Without it you are often fairly restricted in low light situations.
How about batteries? A proprietary battery can hav
e a very effective lifespan, but they tend to be expensive - and you do need a backup for when on the road or in the mountains. Many excellent digital prosumer cameras such as the Olympus SP500 Ultra Zoom work on simple AA batteries which you can easily replace when in trouble!
If you buy a good prosumer camera with which you want to do some experimenting (and being able to experiment is a major plus of having a digital camera in the first place!) you will want to know that you have a manual focus option for those tricky situations...
What is mentioned regarding the camera's manual settings: can you set shutter priority, or aperture priority? Do you have full manual control over the most important aspects of exposure? It will be a pity when you start shooting away and trying new things you never dared with your film camera (costs!) only to find out you have virtually no manual control!
Ensure that the digital photography camera review you're reading points out the important optical (real!) zoom capabilities - and not only gloat about the digital zoom facility - which is sometimes little more than a cropping tool!
Lastly: compare not only cameras but also reviews, and shop around for the most informed opinion before you decide on the camera...
For more information visit http://www.Best-Digital-Photography.com. Rika Susan researches, writes, and publishes full-time on the Web. Copyright of this article: 2005 Rika Susan. This article may be reprinted if the resource box - including the link - is left intact.
Article Source: http://EzineArticles.com/?expert=Rika_Susan
Monday, January 2, 2006
Don't Forget to Finish Your Photographic Projects
Don't Forget to Finish Your Photographic Projects By Eric Hartwell
Sometimes it can be hard to get going with your photography and it can take an age before your images are created in the camera. But sometimes, just sometimes, although it is possible to get started, it takes an age to get actually finished.
Have you ever taken the trouble to capture what you believe to be a great image only to let it lie on the memory card for ages? Or perhaps you have uploaded images to your computer without taking the time or trouble to review them. Or what about the case where you have uploaded, reviewed, edited and contemplated but not printed?
We all have these “blocks” and most of the time don’t worry about them. Perhaps we are liable to just forget about the latest project or are too lazy to be bothered to complete a task.
Well, you may not be too concerned, and I truly believe that you should never get stressed about your photography, but consider your actions.
If you have gone to the trouble of capturing an image, surely you owe it to yourself to upload and deal with them rather than leaving them lie fallow? And, how many images are awaiting treatment that are really rather good or, in some cases, downright brilliant?
If you take your hobby seriously, you should consider dealing with all your images even if it is just to edit or remove them. Much of your work will have personal attributes and remind you of a day, a place, a person. With luck and good judgement, many of your images will be suitable for sharing either with family or friends or perhaps in online galleries, forums or competitions.
Images: if you take them, use them!
Eric Hartwell runs the photography resource site http://www.theshutter.co.uk and the associated discussion forums as well as the regular weblog at http://thephotographysite.blogspot.com.
Sometimes it can be hard to get going with your photography and it can take an age before your images are created in the camera. But sometimes, just sometimes, although it is possible to get started, it takes an age to get actually finished.
Have you ever taken the trouble to capture what you believe to be a great image only to let it lie on the memory card for ages? Or perhaps you have uploaded images to your computer without taking the time or trouble to review them. Or what about the case where you have uploaded, reviewed, edited and contemplated but not printed?
We all have these “blocks” and most of the time don’t worry about them. Perhaps we are liable to just forget about the latest project or are too lazy to be bothered to complete a task.
Well, you may not be too concerned, and I truly believe that you should never get stressed about your photography, but consider your actions.
If you have gone to the trouble of capturing an image, surely you owe it to yourself to upload and deal with them rather than leaving them lie fallow? And, how many images are awaiting treatment that are really rather good or, in some cases, downright brilliant?
If you take your hobby seriously, you should consider dealing with all your images even if it is just to edit or remove them. Much of your work will have personal attributes and remind you of a day, a place, a person. With luck and good judgement, many of your images will be suitable for sharing either with family or friends or perhaps in online galleries, forums or competitions.
Images: if you take them, use them!
Eric Hartwell runs the photography resource site http://www.theshutter.co.uk and the associated discussion forums as well as the regular weblog at http://thephotographysite.blogspot.com.
Sunday, January 1, 2006
Photography - The Digital Age
Photography - The Digital Age by: David Rose
The traditional world of photography and cameras has recently been turned on its head by the introduction of modern technology, which has spawned a whole new type of photography - namely digital photography.
Whilst traditional film-based photography made it difficult for photographers such as photo-journalists to get their photos processed quickly enough for the current news due to a complex processing procedure, digital photography has the advantage of being fast and inexpensive as well as introducing video and audio into the world of stillness.
Some people predict that the end is nigh for traditional film-based photography - a belief strengthened by the fact that Kodak - a major player in the photographic industry since its inception early last century - has now stopped producing 35mm cameras. Others, however, believe that traditional photography methods will live on despite the rise of digital photography.
About The Author
David Rose is an internet junkie who helps keep photographers armed with the latest resources at: http://photography-info.com
The traditional world of photography and cameras has recently been turned on its head by the introduction of modern technology, which has spawned a whole new type of photography - namely digital photography.
Whilst traditional film-based photography made it difficult for photographers such as photo-journalists to get their photos processed quickly enough for the current news due to a complex processing procedure, digital photography has the advantage of being fast and inexpensive as well as introducing video and audio into the world of stillness.
Some people predict that the end is nigh for traditional film-based photography - a belief strengthened by the fact that Kodak - a major player in the photographic industry since its inception early last century - has now stopped producing 35mm cameras. Others, however, believe that traditional photography methods will live on despite the rise of digital photography.
About The Author
David Rose is an internet junkie who helps keep photographers armed with the latest resources at: http://photography-info.com