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There are two kinds of tripod heads: ball heads and pan heads. The ball head is simplest and provides a full range of movement for your camera. If you tend to shoot quickly or at moving objects you will like a ball head. With pan heads you have multiple locking levers that adjust the pan in different planes of movement to allow you to move the camera on the tripod. Pan heads are quite useful for panoramic shots. The trade-off is speed, it takes more time to unlock and adjust the levers than with a ball head.

In digital cameras, we all talk about settings like brightness, exposure, contrast and white balance very frequently. But still, if we are questioned about what all these settings actually mean and how are they different from each other, we may end up confusing ourselves. To bring to an end such of our confusions, we have histograms. They provide the simplest mechanism to make us understand, observe, differentiate and tune these settings. Now let us learn how we can get an idea of this picture’s brightness, exposure, contrast and white balance through such histogram.

Thanks to its ease of use, the Optio M90 is the perfect choice for a variety of photography scenes and modes. Key features include a sophisticated metal rubber coated soft-touch exterior, a high-definition sensor of approximately 12.1 megapixels, a large and easily-viewable 2.7’’ LCD monitor, as well as an upgraded optical wide-angle 5x zoom. Furthermore, the Optio M90 has been designed to produce beautiful photography with minimal effort through a variety of upgraded features including aan improved face recognition function, smile capture and blink detection modes, and further advancement of the scene modes – 20 in total, including the Auto-Panorama, and Backlight modes.

When posing, have her seated on a stool or chair – preferably with no back – where she can have both feet flat on the floor and so that she cannot lean back and/or lounge. Have her sit up straight. (Like mother always used to say)! Have her turn about 45 degrees to the side so that she is not straight on to the camera. The ONLY time you want a subject’s shoulders straight on to the camera is if they are a football player in full uniform. Wide faces can be narrowed by turning her head to a three quarter view. Thinner faces can be widened by having her turn more toward the camera.

Adobe Systems Incorporated today announced Adobe Photoshop CS5 and Photoshop CS5 Extended software, must-have releases of the professional industry standard for digital imaging. With millions of users celebrating the product’s 20th anniversary this year, Photoshop CS5 builds upon a rich history of innovation and leadership with groundbreaking features and performance gains that boost creativity and workflow efficiency. Packing in more technological advancements from Adobe Labs than any other release and incorporating enhancements to everyday tasks requested by the Photoshop community, the software has greater intelligence and awareness of the content within images, allowing for complex and magical manipulation in just a few clicks.

There are few subjects that draw photographers as much as wildflowers. Why shouldn’t it be so? After all, wildflowers seem to offer the photographer so much: striking hues, graceful curves, and dramatic color contrast. It’s no wonder that so many people photograph wildflowers. However, like any other area of photography, creating wildflower images that rise above the ordinary requires knowledge and skill. Thus, this article looks at seven ways that can be used to create great wildflower images.

Whenever I go out on a photo shoot I love to include as much color and as bold as possible. Color is more important to our worlds than we think and is often taken for granted. Although monochrome photos are great, there is more to color photography than we think. A few techniques mentioned in this article will add a dramatic dimension to your images.

I always had a problem when taking images that had a lot of white in them or where they were quite dark. They came out grey or with the dark images, too light. What I hadn’t realized was that my camera was doing its own thing. That is, the light meter was being fooled by the conditions and making its own decisions. Most times they are great but there are times when they just don’t get it right. This is when exposure compensation can be used.

Pulling the group together will allow you to step closer and assure that faces can be seen. Having the group stand shoulder to shoulder, all facing the camera can look very stiff and also makes it difficult to get close enough to see any detail. It is better to curve the rows and use various heights to bring the group in to a narrower range and allow faces to be seen in the photograph as you get closer to the group.

Using the touch-screen operation, once a user locks onto a subject, the LUMIX G2 enables AF Tracking and will track the subject as it moves within the frame. Then, with a touch on the screen, users can select the part and the size of AF area with the 1-area AF. The Multi-area AF sets a group of AF points according to the composition. While using the manual focus, users can enlarge a subject by touching it and then choosing to enlarge it by 1x, 5x or 10x and then smoothly moving the part by dragging it on the screen.