The idea is simple really. Put a large sensor inside a small compact body and you’ve got a camera that enthusiasts can carry around easily and still secure the same level of quality from their captures as they would from their larger DSLR camera. Recently a number of cameras have been released that fit this bill, but just a short time ago, Sigma was flying solo in this market sector with DP1.

Using the unique Foveon X3 sensor, the DP1 offered users a 28mm equivalent lens, excellent image quality, all in a fairly compact body. The “DP” lineup was then augmented with the DP2, which provided the same sensor technology and form factor, but brought users a 41mm f/2.8 lens, along with some improved functionality (a quick set feature). Now Sigma has in effect refreshed the DP1 by adding the DP2’s quick set feature and improving the DP1’s ability to shoot backlit subjects. Though this review is of the DP1s, it largely applies to the DP2 and DP1 as well. The key differences will boil down to the users lens length preference, remember the DP1s offers a 28mm f/4, while the DP2 provides 41mm length at f/2.8. Image quality and usage is essentially identical.

Sigma DP1s Highlights

DSLR sized full color sensor: The DP1s uses the Foveon X3 sensor, which at 20.7mm x 13.8mm is much larger than a compact sensor. The X3 is a full color sensor, and unlike the Bayer sensors found in most DSLR cameras doesn’t require demosaicing. Sigma claims the Foveon X3 used in the DP1s is a 14 megapixel sensor, but in dimensions it is actually a 4.7 megapixel sensor, while in resolution it appears to offer about 10 megapixels. Long story short: the X3 takes high quality, but modestly size images that are full of detail, while offering a certain unique “look”.

28mm f/4 lens: The DP1s is perfect for wide angle fans, and is well suited for landscape work. The lens manages distortion and flare quite well for a wide angle.

RAW and JPEG recording: The DP series offers the ability to record RAW files, as well as JPEG files (though not RAW+JPEG)

Accessorize: With the DP1s, users can opt to accessorize with an external flash (via hot shoe), lens filters, viewfinder, and a number of filters.

In The Hands

The DP1s is a simple black box and is about as minimal as a camera design can be. The front side of the camera offers a slightly dimpled surface for grip and the lens bezel, while the back is home to the 2.5 inch 230k LCD, several camera function buttons, and a multi-directional D-Pad type controller that also doubles for additional camera functions. Up top you have the mode dial, hot shoe, power button, pop-up flash, and shutter release. Overall the DP1s is a solid, well built camera. I do have two gripes with the DP1s (and the other DP models), the first one being the rubber cover that hides the USB port is easily bent out of shape and fails to line up flush with the camera if the cable is left in for too long (though it eventually returns to position). The second complaint is with the lens cap that given a lack of connector, could be easily lost. Neither complaint has stopped us from liking the overall design of the DP1s though, it’s comfortable to hold, good to look at, and able to handle a fair amount of abuse.

Sigma DP1s – In Use

Much like the DP1 and the DP2, the DP1s is a quirky camera to use, to put it nicely. From the typical point and shoot photographer’s point of view, the DP1s will be entirely unsatisfying, and any photographer looking for “AUTO”, or worse “Sunset”, “Birthday”, and “Fireworks” shooting modes should look elsewhere. There is no face detection here, no image stabilization, and no art filters. The DP1s is a “PASM” shooting camera only (Program, Aperture Priority, Shutter Priority, and Manual) and is intended for enthusiasts, but specifically enthusiasts with a bias toward image quality rather than user experience. Even for such photographers there will certainly be some frustrations. The LCD remains quite poor, offering low resolution and less than vivid colors. Also the AF, though consistent, is definitely on the slow side, and it can make capturing dynamic and low light subjects quite difficult. But getting past those 2 issues, if you’re used to shooting in a programmed shooting mode, the DP1s is easy to use. The added quick set feature from the DP2 makes changing settings like ISO and WB on the fly very easy, the manual focus dial works quite effectively, and we like being able to bracket shots in the field to ensure having good results when getting back home.

A look at the shooting screen and quick set screen

From a performance point of view, the DP1s is best described as average. It takes several seconds to power up, focus to capture time can take several seconds, and write to card times can also take some time. By now you’re sensing that the DP1s isn’t well suited for run and gun photography, and I’ll admit, it does require some patience. Still the DP1s is a fine performer for doing landscape work and general walk around type photography, and is quite adept at grabbing the little slices of life that is so easily turns into fascinating and unique looking images.

Sigma DP1s – Image Quality

Exposure: 0.017 sec (1/60) | Aperture: f/4.0 | Focal Length: 16.6 mm | ISO Speed: 200 | Exposure Bias: +0.3 EV

This is where the DP1s and the Foveon X3 sensor really shine. Open an image up in the included Sigma Photo Pro raw converter software, and be prepared to be quite enthralled with your results. Thanks to its lens and sensor combination, the DP1s can take very sharp photos, full of detail, that frequently take on a 3-D look. Color accuracy is typically a tiny bit off, but usually in an aesthetically pleasing way. In short, the DP1s takes fantastic looking pictures that easily best the best compact and rival many DSLR cameras. Photo Pro is uniquely suited at developing the images too, producing distinctly better results than Adobe’s Lightroom and other RAW editors, but like the camera, Photo Pro can be slow to use. The time is well worth it though, as it doesn’t take very much work at all to dial in crisp, vivid, and extremely dimensional looks from your DP1s captures. It remains hard to describe, but after all the time I’ve spent with various “DP” models, I remain struck with how much different their files look versus any other camera. It doesn’t translate well via the confines of the internet, but there’s definitely something special, and yes, unique about the Foveon “look”.

Note the saturation loss at ISO 800

As for low light performance, the DP1s tops out at ISO 800, but does provide much better results at this level than your average compact. There is a degree of noise to be had past ISO 200, but even at ISO 800 the images are very usable despite having lost considerable saturation. Optically the 28mm lens, is very sharp and handles distortion and flare quite well for a wide angle lens, but you will find some chromatic aberration in the files in areas of contrast.

Conclusion

Exposure: 0.017 sec (1/60) | Aperture: f/4.0 | Focal Length: 16.6 mm | ISO Speed: 200 | Exposure Bias: +0.3 EV

Clearly the DP1s is not without it its flaws, but the real question is given the cost, is is worth it. For me personally the answer is unhesitatingly yes. It’s important to reiterate though that I tend to have a strong bias towards image quality, and I’m quite willing to accept the given confines of working with the DP1s in exchange for its unique looking files. To be clear, this camera (or the DP2 if you prefer a longer focal length and shallower depth of field effects) is absolutely not intended for beginners, nor for folks looking for a point and shoot camera/experience. If however, you’re comfortable using a camera manually, and are anxious to turn the everyday and ordinary into works of art, the Sigma DP1s certainly comes “Recommended”.

Sigma DP1s Availability

The Sigma DP1s Digital Camera is currently $619.60 at Amazon.

Additional Sample

Exposure: 0.04 sec (1/25) | Aperture: f/4.0 | Focal Length: 16.6 mm | ISO Speed: 200 | Exposure Bias: +1 EV

About the Author: Patrick Dean is the editor of the photography news and review website, NeutralDay.com. He also frequently tweets at twitter.com/neutralday.

Post from: Digital Photography School - Photography Tips.

Sigma DP1s Digital Camera Review

This note is aimed to be a quick discussion on High Dynamic Range and possible future enhancements to improve it.

What is High Dynamic Range?

High Dynamic Range is a digital processing effect used within photography to combine a number of images of differing exposures to create a consistently exposed picture throughout the entire frame. This increases the luminance (amount of light) visible within an image.

Why is it required?

The camera’s limitation of amount of colour and luminance it can record is governed by the sensor’s capability and the dynamic range of the camera’s electronics. For example, the Canon EOS 40D uses a 14 bit analogue to digital converter which digitises the analogue signals received from the sensor. The 14 digital bits allow 16,384 different colours to be recorded within the camera.

Looking a a histogram, the horizontal axis is the level of luminance of an image. The vertical axis represents the amount of the image which contains that level of light. For example, a histogram with a single line at the left hand edge shows that the image is purely black. Likewise, a single line at the right hand edge represents an image which is purely white. The amount of data which may be compressed within the histogram is limited by the dynamic range of the camera. A very low dynamic range results in the horizontal axis limits close together. A high dynamic range places these axis far apart.

Here, the exposure of the camera has been set for the balloons – this was chosen as the balloons were the subject of the image and the trees in this case were used to ‘frame’ the balloons. The histogram shows the spike on the left of the histogram representing the trees, and the data on the right represents the balloons and sky. If the photographer wanted both the balloons and the trees exposed then a compromise would have been required so that the balloons become slightly over-exposed and the trees only slightly underexposed.

The above image shows the traditional compromise – the sky has lost some of its saturation in colour, but the trees have retained some detail. Notice also that the histogram shows a slightly narrower spike on the right hand edge (the balloons are now slightly over-exposed), and the left hand edge indicates that more detail is present (the trees are no longer a complete silhouette).

So, to overcome this, the photographer may take a photo exposed for the background and then another photo exposed for the foreground. A few other photos are usually taken between these 2 exposures.

When combining each image, a visually pleasing picture is created and the effects can be quite dramatic. This is the basis of digital HDR. A quick Google search will provide some more examples.

The Future of HDR

Currently, HDR is a post-processing technique, but as cameras advance, its possible that this is an area which may be really improved by manufacturers.

The dynamic range of the camera is likely to be improved. The 14 bit ADC mentioned above allows 16,386 colours to be recorded. 24 bit ADCs have been in manufacture for many years which would allow a total of just under 17 million colours to be recorded! The sensor would have to be capable of matching this dynamic range and the camera’s internal processor would have to be capable of processing the data. This capability exists already as is evident in home computers which have operated from 32 bits for years and are now up to 64 bit processing. Whether or not the sensor is capable of this is another matter for discussion and the additional processing required would increase the amount of time to write the data to the memory card. This may limit the number of full speed frames taken before the cache is full and the camera writes the images to the memory card. These drawbacks are perhaps what is impeding the development of increased in-camera dynamic range as with many advantages, there is often a draw-back.

Another ‘in camera’ technique may be to use numerous sensors within the camera. If one sensor and accompanying electronics can be capable of a certain dynamic range, then 2 sensors may be used to increase the overall dynamic range. For example, one sensor can expose for the highlights and 1 sensor can be used to expose for the shadows, thus creating a higher dynamic range. Sensors can be made incredibly small – just look at the size of phones which have numerous megapixel cameras, and so it’ll probably be no issue squeezing 2 sensors (or more!) into a single camera. However, as the sensor size decreases, the noise of the recorded image (the ‘grainyness’ of the image) becomes greater. Once again, this is a trade-off between high dynamic range, image quality and size.

Another method could be to use an alternative tone-curve algorithm which is currently generally applied to images within the camera. When a photo is taken, signals from the sensor are turned into digital bits and sent to the camera’s computer. To make sense of these signals, the computer processes the data and turns them into something meaningful. This is a form of tone curve. Normally this is employed over the entire image as an ‘average’. Modern techniques however can apply an individual tone curve to every single pixel within the image. This can render a image exposed in a similar manner to that seen by the human eye (ie with a higher dynamic range). This inevitably will increase the processing time within the camera, although as the current method of HDR imaging is to take numerous photos at different exposures, the additional processing time for one single image is probably still a huge time saver.

This new tone-curve method is being advance by companies and Samsung has recently purchased a license to use the technology.

Perhaps other manufacturers have an alternative method, or do not consider high dynamic range of high importance in their cameras, or are just biding their time. This technology is still developing and is an exiting area of camera technology especially as the mega-pixel battle is becoming old news.

High Dynamic Range techniques can be overused and images can easily be made unnatural. The reason they are unnatural is because they extend the range possible by the human eye. It would be sad if technology removed the authenticity of photography, which separates this art from the art of painting (where both composition and exposure is only limited to imagination). If technology however was able to replicate the images as seen by the human eye, then perhaps that is an acceptable technological milestone.

Check out more of Dave’s work at Whalebone Photography.

Post from: Digital Photography School - Photography Tips.

The Future of HDR and its Use within the Camera

Canon EOS 550D

• 18MP

• 1080p HD Movies

• ISO 6400

United Kingdom / Republic of Ireland, 8th February 2010 – Canon today announces a groundbreaking new addition to its expanding, world-famous EOS range of Digital SLR cameras – the EOS 550D.

The EOS 550D redefines the boundaries of Canon’s consumer DSLR range, incorporating technologies and features more commonly found in semi-professional DSLRs into the compact, lightweight body favoured by consumers. With a newly-developed 18 Megapixel (MP) APS-C CMOS sensor, coupled with Canon’s advanced DIGIC 4 image processor and the ability to shoot Full HD movies, photography enthusiasts are empowered to explore new levels of creativity.

Creative control with no compromise on quality.

The EOS 550D makes Canon’s powerful imaging technology more accessible to consumers. Canon’s advanced DIGIC 4 image processor and 18MP sensor support standard ISO settings of 100 – 6400 (expandable to 12800), while enhanced in-camera noise reduction technology boosts performance in low light conditions. The system’s 14-bit image processing also produces smoother tonal gradation and natural looking colours for high quality prints and on-screen display.

For swift and accurate focusing, the EOS 550D features a 9-point AF system with one extra-sensitive cross–type point at the centre for f/2.8 or faster lenses. The EOS 550D also supports high-speed, continuous shooting at 3.7 frames per second (fps). These features provide users with the opportunity to exert greater control over their images, allowing them to capture split-second moments with ease and accuracy.

And from the back.. Canon EOS 550D

Continuing Canon’s tradition of filtering new technology and features down from its advanced and professional DSLR ranges, the EOS 550D includes the iFCL metering system first launched in the EOS 7D. New for EOS is the ability to set the top limit for automatic ISO, allowing users to control the maximum amount of noise in their images. In a first for entry level EOS, exposure compensation and bracketing can be set up to plus or minus five and two stops respectively, allowing the photographer to take a number of differently exposed versions of the same shot to ensure they capture a well-exposed image, even in difficult lighting conditions.

“Digital SLR photography has captured the imagination of consumers globally,” said Kieran Magee, Director of Product Planning, Consumer Products, Canon Europe. “Every year, more and more individuals are looking to record key life events with unrivalled quality or to test and explore their creativity. The EOS 550D redefines the entry level DSLR category, putting technologies and features previously the preserve of the professional into the hands of the consumer – allowing them to achieve outstanding results. With the EOS 550D, consumers are free to explore the limits of their own creative vision.”

EOS Movies: Full HD video with creative control.

As the ability to record Full HD video becomes increasingly important, Canon continues to deliver DSLR technology that sets the industry benchmark for multimedia functionality. The EOS 550D records video in full 1920×1080p HD resolution, allowing photographers to select the frame rate preferred from 30, 25 and 24fps, as well as offering 720p video at 60 and 50fps. The EOS 550D also includes a 3.5mm stereo microphone socket, enabling the use of an external microphone when capturing video.

Photographers can also take manual control over exposure settings, changing the depth of field and degree of motion blur to shoot more creatively. To provide the best possible video quality, highlight tone priority (HTP) can be set independently for movie capture, without changing any still image capture settings. In situations where the subject is further away, the EOS 550D Movie Crop function records with the central 640×480 pixel area of the sensor, creating an effective magnification of approximately seven times. The EOS 550D is the first in the EOS range to feature Movie Crop and gives consumers more flexibility to capture important moments which would otherwise be too far away.

A clear view of your world.

The EOS 550D also allows photographers to view their images and video in unhindered clarity. A 7.7cm (3.0”) 3:2 Clear View LCD screen with 1,040k dot resolution makes it possible to see 100% of captured images with no borders. The anti-reflective, water-repellent coating also makes it easier to see the screen in bright conditions and from a variety of angles.

EOS build – Canon quality.

As consumers would expect from an EOS DSLR, the EOS 550D is built to a high quality specification. It features bigger, more intuitive buttons which have been redesigned following feedback from users. Based on this feedback, the EOS 550D also features an additional button on the new, battery grip, allowing aperture settings to be changed when shooting with the camera in a vertical position, without having to reorient the body.

Share the moment with friends and family.

For EOS 550D photographers, shooting great pictures and video is just a first step. Thanks to an integrated HDMI port compatible with High-Definition Multimedia Interface – Consumer Electronics Control (HDMI-CEC), video and images stored on the EOS 550D can be viewed on an HD-ready TV and controlled via the TV remote.

For users who want to transfer content wirelessly, the EOS 550D includes Eye-Fi connected functions. The EOS 550D features a dedicated Eye-Fi section in the User Interface and it disables the automatic power-down function when an Eye-Fi card is transmitting – allowing users to transfer content easily and without interruption.*

Accessories

The EOS 550D is fully compatible with all Canon EF and EF-S lenses and EX series Speedlite flash units, including the compact Speedlite 270EX. The EOS 550D is also compatible with the new RC-6 Remote Control, allowing photographers to capture high quality stills and Full HD video without touching the camera body. The slim line infrared controller can trigger the shutter release from up to five metres away, with users able to select either immediate release or a two second delay for greater flexibility when shooting. As well as supporting EOS 550D, the RC-6 is also compatible with the EOS 450D, 500D, 7D and 5D Mark II.

CANON iMAGE GATEWAY – share your stories

Owners of the new Canon EOS 550D can join the CANON iMAGE GATEWAY, a free online facility for Canon users that makes it easy to share their photos and video. Users can take advantage of up to 2GB of personal storage space, creating enough room for hundreds of high-quality images. Mobile browsing is also supported, making it easy for friends and family to view photos on the move.

Features at a glance:

18 Megapixel APS-C CMOS sensor

DIGIC 4 processor with ISO 100-6400 (Expansion to 12800)

Continuous shooting at 3.7fps

Full HD movie recording with manual control and selectable frame rates

7.7cm (3.0”) 3:2 Clear View LCD with 1,040k dots

iFCL metering System with 63-zone Dual-layer Metering Sensor

Quick Control screen to change shooting settings

Exposure compensation +/-5 stops.

Select maximum value for Auto ISO

External Microphone socket

Movie crop function

Eye-Fi connected functions compatibility

Pricing and Availability

The EOS 550D body only is available from 24th February 2010 priced at £799.99.00 / €899.00 RRP inc. VAT.

The EOS 550D, EF-S 18-55mm f/3.5-5.6 IS lens kit is available from 24th February 2010 priced at £899.99.00 / €999.00 RRP inc. VAT.

The EOS 550D, EF-S 18-135mm f/3.5-5.6 IS lens kit is available from 24th February 2010 priced at £1,099.99.00 / €1,249.00 RRP inc. VAT.

The EOS 550D, EF-S 18-55mm f/3.5-5.6 IS & EF-S 55-250 f/4-5.6 IS double lens kit is available from 24th February 2010 priced at £1,199.99.00 / €1,349.00 RRP inc. VAT.

The BG-E8 battery grip for the EOS 550D is available from 24th February 2010 priced at £159.99.00 / €179.00 RRP inc. VAT.

The LP-E8 battery pack for the the EOS 550D is available from 24th February 2010 priced at £49.99.00 / €49.99 RRP inc. VAT.

The RC-06 remote price is TBA.

Post from: Digital Photography School - Photography Tips.

Canon EOS 550D Announced

Diptychs and triptychs are a brilliant tool for photographic storytelling. They present two or three images which can be from the same session or they can be polar opposites to show opposition or contrasting ideas. Below are 5 such images and what we can get out of them to help us form our own effective diptychs and triptychs.

1. {Zoom} This beautiful diptych uses zoom to focus on the two main elements of the image and cuts out the space in between.

2. {Tell a story} Or a joke for that matter! This clever diptych from Kimberly Chorney was created to illustrate her son’s joke: What do snowmen eat for breakfast? Frosted flakes!

3. {Lapse} Illustrate a lapse in time or activity. Morning vs. night, old vs. new, dirty vs. clean.

4. {Succession} This triptych is three frames in succession to show you more than just one nanosecond in time. I find this style very effective for shots of children who move so quickly and change their expressions continuously.

5. {Oops} experiment with the mistakes. When first going through the images caught in this session with my kids, I could have easily discarded the out of focus shot on the left. But paired with the in-focus on the right, it just seems ‘right’ somehow. Experiment and withhold the urge to hit ‘delete’. You might find the mistakes are actually keepers when paired in a diptych.

We would love to see your examples. Did you know you can add images to the comments below? Give it a try!

Post from: Digital Photography School - Photography Tips.

Diptychs & Triptychs – 5 Prime Examples

Here are the results:

I was actually a little surprised by the numbers that did have a photoblog – I guess the many in the DPS audience have discovered the joys of sharing their best shots online!

Post from: Digital Photography School - Photography Tips.

40% of Our Readers Have PhotoBlogs

I’d like to talk today about the potential offered by Neutral Density filters, and how they can make your photos more unique.

Ruined Harbour II by Duncan_Smith (used with permission)

The smooth watercolour feel in the above photo is due to a Neutral Density 64 Filter. This filter has interested me lately and this photo demonstrates one of its primary uses: to smooth out water and skies without the use of post-processing. I think the results are perfect, and I’d love to have this on my wall.

A Neutral Density Filter is one designed to block out a substantial amount of light. This enables the photographer to slow down his shutter speed and/or shoot at a faster F-stop.

Most photographers will use what is called an N2, N4, or N8 filter to smooth out waterfalls, rivers, oceans. This photographer has used an N64 filter which is far stronger, letting him have an exposure of 60 seconds at f/16 for this image. Without the filter, the photographer would have had to use f/2 to get away with a 60-second image, or less than a second at f/16.

An N64 filter allows for 1.5% of available light to enter the lens. Here is comparison table for the other filters, courtesy of wikipedia:

Filter Name F-Stop Reduction % of Light Transmitted

ND2 has an F-Stop Reduction of 1 which means 50% of the light gets through
ND4 has an F-Stop Reduction of 2 which means 25% of the light gets through
ND8 has an F-Stop Reduction of 3 which means 12.5% of the light gets through
ND64 has an F-Stop Reduction of 6 which means 1.56% of the light gets through
ND1000 has an F-Stop Reduction of 10 which means .1% of the light gets through

Options

It’s important to remember that filters are designed to fit your lens diameter. Look at the front part of your lens and check for a 2-digit number followed by mm. Common diameters are 77mm, 72mm, and 52mm.

Robin Ryan is a Vancouver-based photographer always hunting for beauty through the rain. Or in it. Anyways, he runs “Your 1000 Words” and his portfolio is found at www.robinryan.ca

Post from: Digital Photography School - Photography Tips.

Neutral Density Filters

After all, fear of the unknown took her outside her comfort zone. Treading on new territory, pushing the boundaries of her photography, and allowing herself to be stretched would take all the courage she could muster. In her mind, there were a good many others more qualified. In the end, none of that mattered, she would do it anyway.

Tasra Dawson** climbed onto the bus with 33 other photographers. They had met for the Pictage PartnerCon (a photography conference) in New Orleans, taking 4 days to network, learn, and be inspired by massively successful pros in the industry. Tasra herself had spoken, and helped write and produce a film series for the event along with her husband Ron, but the experience she was about to walk into was less familiar and more daunting than standing on that stage before hundreds of people:

Shooting street images of strangers… with their permission.

She would meet her goal while out on a photo walk. It was the first she had ever done. It was to be a time when photographers pile onto a bus, travel across the city, and take pictures of various things, places, and people.

The fact that this photo walk was in New Orleans was surreal for her. When Hurricane Hurricain Katrina had hit in 2006, her parents had been on the Gulf Coast of Mississippi. Being in a place that had been touched by the same destruction near to her parents, made her feel as though she was experiencing family history. She was seeing it all with her own eyes. She would be documenting it with her own eyes too.

Tasra breathed. She had her camera. She had her gear. She had comrades. Together, they could embark on this adventure, and she was excited about what might come her way. The sense of adventure motivated her. She was a capable and successful photographer. The confidence she always instilled in her students and blog readers would have to be placed in herself.

The tour would cover the lower 9th ward – one of the places hit hardest by Hurricane Katrina. The first stop was Flood Street. She had ten minutes. She got off the bus, and didn’t allow herself any thought but one: Take pictures and go wherever it may lead.

She began to shoot. After a few shots, she turned and began taking pictures of what looked like a building just after destruction had passed – not years later. As she photographed, she noticed a man coming toward her. Her heart began to race wondering if he’d tell her to stop or get mad. She looked around for support but found herself alone.

This is it.

She took her courage and started a conversation. “Were you here during Katrina?” She asked him and received a nod in response. “Do you live around here?” His response “Not around here. I live here,” and he motioned to the building she had been photographing. He was there during the rising of the waters. He was there, in the top story of his house, when the water was up to his waist. He just couldn’t bring himself to leave, even in the face of danger; he had to stay.

For Tasra, the moment of truth came at that moment: “Would you mind if I took your picture in front of the house?”

To her relief, he said yes. After a few shots, the man asked if she wanted to go inside – inside his house. Her heart jumped. She was amazed. Amazed that the moment was not nearly as intimidating as she thought. She wondered if there were other moments and opportunities she missed because of her lack of confidence. She knew there were.

She walked into the house with a few other photographers. The first image she saw was the broken roof on the right side of the house. The light was streaming through the vacant opening, creating a beautiful shaft of light. As she took pictures, she asked about the different rooms, and the man shared. She could hardy believe how much she was able to document such a precious story of a man who would have rather died than leave his home. His courage was inspiring.

And she was able to experience this simply because she stepped out of her comfort zone.

The time passed quickly. After 15 minutes, she heard the bus honking for the return. She didn’t want to leave. The time had been unreal. As she walked back through to exit, the man passed through the light shaft – first image she had seen upon arrival. A quick snap captured one of her most precious images; not because of the rising smoke in the light, and the intense contrast of the textures, but because encapsulated in this one image was the entire story of a courageous man.

Tasra walked away with a new sense of confidence. She could be the photographer she had always wanted to be, but never thought she was. A photographer who captured beauty in stories and experiences that other people may not have. As she got back on the bus, she was content. They had only finished their first stop but she felt as though she had her story – the one she came for.

The lesson ushered in a new level for Tasra. She realized that situations may require certain risk, but sometimes the risk is not the end. There are rewards for stepping outside ones comfort zone. And often, those rewards are priceless.

** Tasra Dawson is a nationally acclaimed Senior Portrait photographer from Georgia. Tasra is involved with her husband Ron as a Creative team member for DareDreamer Media, and spends full time work as a photographer, blogger, and artist. Tasra takes part in “Pro: You”, a series of lessons learned on the road of professional photography. Her daily work can be found online at: www.TasraMar.com and www.TeenIdentity.com.

DPS thanks Tasra for the time she invested interviewing for this story.

Post from: Digital Photography School - Photography Tips.

A Story of A Photographer Leaving Her Comfort Zone

We finished up a weekly assignment that took us back to the basics and looked at how different compositions can create an entirely different feel to a photo. We focused on photos with Centered Compositions. Having a centered composition can be dangerous because it can make your subject look very static, but used well, it can create a lot of interest in a shot as well. We actually had a 3 way tie this week! So, in no particular order, our winners. First up is inkiest’s Planet Lake Hodges. This is a great example of a “little planet” shot where a panoramic shot becomes a little planet. This kind of shot really takes centered composition to the next degree, and the rock in the middle really further emphasized the center nature of the shot. Our next winner is Obijuan’s Trapped Orange Slice. This still life was different than many of the shots and it really considered the use of centered composition well. Not only was the orange in the middle, but the holder was also (and the orange was in the middle of the holder!). And finally, last, but not least was GadgetVirtuoso’s Escalator Girl. The symmetry, the reflections, and the leading lines all lead to the subject. Add in the fantastic colours and you’ve got a great shot! Congrats everyone! It was definitely a good week!

We also started our month of food photography. This week, we’re focusing on Food Photography – Desserts. Food photography is one of those things that is deceptively easy, so to get you started, there are a number of tips listed on the assignment thread. We not only want to see a tasty dessert, but we want to see it in a way that makes us drool! Just a quick reminder of the rules, your photo must have been taken between 27 January – 10 February 2010. Second, your post must contain the words “Assignment: Food Photography – Desserts” and the date the photo was taken. Finally, your EXIF should be intact and it’s helpful if you can include some of the main points such as shutter speed, ISO, aperture, lens, camera, etc. Next week’s assignment will continue food photography, but it will be Food Photography – Fruits & Vegetables, so get out those veggies and see if you can make them as appealing as a nice dessert!

Hot Threads

• dPS Photography Competition: Life (Week 2): In case you missed it last week, dPS in conjunction with DigitalRev is running a competition where you can win your share of $2900 worth of prizes. You can enter 1 photo per week during the four weeks, so choose carefully! Best of luck!
• Post-It Notes: They’re good for jotting down your grocery list, notes to your family, and reminders for yourself, but did you know that they can make great camera accessories too? Gonzo13 shows us how to use colourful Post-It notes to add colours to your flash and subject. Check it out if you’re looking for some creative lighting ideas.
• Ratio of Good Images: This is a discussion that comes up every once in a while, and as we all know, the answer not only varies from person to person, but may change as you progress in your photography. Come share with us what kind of photography you do and what your ratio of keepers is. Then tell us whether you think that’s good or bad, or if it just is what it is.
• Photographs of Planets: Astrophotography is one of those types of photography that can be incredibly impressive. This thread has some great shots and great information about how you can take shots of the stars, planets, and other heavenly bodies. If you’re interested in astrophotography or you do it yourself, come join in the thread over in the forum.
• What Would You Do: As usual, we have another week of WWYD photos. This is your chance to edit the photo of another forum member and show us what you would do. These threads are a great chance to practice and hone your post-processing skills in ways you may not be able to do on your own photos.

Post from: Digital Photography School - Photography Tips.

This Week in the Digital Photography School Forums (31 Jan – 6 Feb ‘10)

This weekend your challenge is to create a motivational poster of your own and to share it.

Image by kkimpel

You might choose to make a serious motivational poster or do a funny one (my personal favorite)- the choice is completely up to you.

Once you’ve taken your shot and created your poster come back to this post

Once you’ve taken your photo and created your poster, upload it to your favourite photo sharing site and either share a link to it below or embed it in the comments using the our new tool to do so.

If you tag your photo on Flickr, Twitter or other sites with Tagging tag it as #DPSMotivate to help others find it. Linking back to this page might also help others know what you’re doing so that they can share in the fun.

Image by Oplotnik

Image by ellie_4_jc

Image by lintmachine

Post from: Digital Photography School - Photography Tips.

Motivational Posters: Weekend Photography Challenge

I wanted to use this post to give extra attention to two skills I think sometime see less awareness than other components of photography – kindness and hard-work. Combined, the two are an incredibly powerful force. The reason behind this post came after asking a few Facebook fans what I could help them with from my own experiences as I continue to forge my own path into the professional arena. The overwhelming response was, “How to make a buck with a camera.”

The variety of marketing plans and methods to get your work seen where it will sell, seems as varied as each photographer. Social media, hard portfolios, promo cards, word-of-mouth and more all fit into the puzzle. All important information to know, but to answer this question what I really wanted to hone down on was the principles of successful people, and how you can bring them into your own photography.

Give more to get more

On January 20, 1961, American President John F. Kennedy took to the podium for his inaugural address and delivered a phrase that holds a deeper meaning as a core principle of success – “ask not what your country can do for you – ask what you can do for your country.” In essence, instead of simply seeking out how other people can help you, learn how you can help others. Apply it to your photography. By doing so, I guarantee it will open new doorways for you.

Personally, it has given me an incredible amount of opportunities in a very short time period, and the chance to have a dialogue with many of the photographers I admire most. What I’ve taken from those conversations and opportunities has been invaluable. What I’ve also found pretty consistent among those photographers I admire most is they want to know how they can help me as well. It’s an attitude that’s served them well throughout their careers. Apply it to yours.

Show up to every job

Here is the crux. Be prepared and ready to deliver the help you offered with hard work and enthusiasm. Take a moment to reflect and be ready with a great attitude. Be persistent in following-up, but don’t be a pest either. If you offer to help a photographer, art director or someone else you admire, be sure you can actually deliver on that offer! Don’t propose to assist a photographer and then flake on the day of. Consider your chance with this photographer or team blown for good if you do. Prove you are good to your word and prepare to be there with your A+ game.

The same goes x10 for any client you book. These are the people or groups putting out their hard earned money for your product. Earn it. That small $500 client may be connected to a buyer or newly engaged couple that has the potential to book you for a $5,000 wedding or $25,000 commercial job. People pass along the word when you deliver not only a great product, but a great experience as well. Don’t just be there, show up for them.

Position yourself in ways to give back

Image by Nick Onken

It’s unrealistic to expect to get accepted by every photographer you ask to assist or art director you’d like to work for. These are incredibly busy people and the higher up the “food chain” they are, the more often they receive offers from enthusiastic and good-natured people just like you. Or you may just not fit the mold of what they’re looking for. Don’t be discouraged. Find some way to stand out amongst the pack. Always ask yourself, “What is it that’s unique about me that I can bring to this client or team?” Pursue the opportunities that will put you in a position to help or just say, “Thanks.” Give without any expectation of receiving.

One of those opportunities allowed me to get in contact with a photographer who has been a big inspiration behind my own work, Nick Onken. Being a writer for Digital Photography School has given me the chance to review his upcoming book, Photo Trekking, as my thanks for the great information I’ve learned from reading his blog. If you’re interested in the world of commercial and travel photography his blog is a must read.

Opportunities like this are available to each and every one of you if you search for them. Believe it! Being an arm-chair activist won’t get you there though; seek out the positions or unique skills that will elevate your game wherever you can.

Learn from Conan

Art by Mike Mitchell

Be open, be engaging and be kind. Good things come to good people who treat others well and live positively. I firmly believe that. You’ll notice you admire your favorite photographers not only because of their great work, but because they are genuinely great people too. We gravitate towards individuals who bring the right energy and attitude each and every day.

Conan O’Brien said it best. “Nobody in life gets exactly what they thought they were going to get. But if you work really hard, and you’re kind, amazing things will happen. I’m telling you, amazing things will happen.”

Work hard, be kind and soon you will find yourself on the path to both photographic and personal success.

Post from: Digital Photography School - Photography Tips.

Develop an Attitude of Success