Film - 19th century

Soon there were small, portable camera obscuras, but an important piece was missing..

Then in 1827 Joseph Nicéphore Niépce added the final touch. He added *film* to create the first successful photograph, and the modern camera was born:



glass lens, a dark box, and film.

source : http://www.photonhead.com/beginners/cameras.php

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Lenses and Optics - 17th century

In the 17th century, the modern camera came one step closer when Isaac Newton and Christian Huygens perfected the understanding of optics and the process of making high quality glass lenses.




source : http://www.photonhead.com/beginners/cameras.php

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The Box - approx 500 BCE

In ancient times, Greek and Chinese philosophers discovered a curious optical effect, and it worked like this:


Inside a completely dark room, a tiny hole is created in one wall. Through the hole light is focused, and the outside scene is projected (upside down) on the opposite wall.

The effect came to be known as the "camera obscura" which is Latin for "dark room". This was the first camera. The hole acted like a lens, focusing and projecting light onto the wall of the dark chamber.

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Canon EOS 30D Digital LSR

Specifications
Type
Type
Digital AF/AE SLR
Recording Medium
CompactFlash (CF) Card Type I & II
Image Format
0.89 x 0.59 in./22.5 x 15.0mm (APS-C size sensor)
Compatible Lenses
Canon EF lenses (including EF-S lenses)
Lens Mount
Canon EF mount
Lens Focal Length Conversion Factor*
1.6x
Image Sensor
Type
High-sensitivity, high-resolution, single-plate, CMOS sensor
Pixels
Approx. 8.20 megapixels
Total Pixels
Approx. 8.50 megapixels
Aspect Ratio
3:2 (Horizontal : Vertical)
Color Filter System
RGB primary color filters
Low-pass Filter
Fixed position in front of the CMOS sensor
Recording System
Recording Format
JPEG, RAW and RAW+JPEG simultaneous recording provided. The RAW and JPEG images are saved as separate files in the CF card.
Image Format
JPEG, RAW, Canon .CR2
File Size
(1) Large/Fine: Approx. 3.6MB (3,504 x 2,336) (2) Large/Normal: Approx. 1.8MB (3,504 x 2,336) (3) Medium/Fine: Approx. 2.2MB (2,544 x 1,696) (4) Medium/Normal: Approx. 1.1MB (2,544 x 1,696) (5) Small/Fine: Approx. 1.2MB (1,728 x 1,152) (6) Small/Normal: Approx. 0.6MB (1,728 x 1,152) (7) RAW: Approx. 8.7MB (3,504 x 2,336)
Folders
Automatic folder creation/selection; up to 9,999 images per folder (new folder can be created with Manual reset option at any time)
File Numbering
(1) Continuous numbering (2) Auto reset (3) Manual reset (new folder created, with file numbering reverting to 0001)
Color Space
Selectable between sRGB and Adobe RGB
Interface
USB 2.0 Hi-Speed, NTSC/PAL for video output
White Balance
Settings
Auto, Preset (Daylight, Shade, Cloudy, Tungsten Light, White Fluorescent Light, Flash), Manual (Custom, or user-set Color Temperature)
Auto White Balance
Auto white balance with the image sensor
Color Temperature Compensation
White balance bracketing: +/- 3 stops in 1-stop increments
White balance correction: blue/amber bias +/- 9 magenta/green bias +/- 9 levels
When blue/amber bias and magenta/green bias set with White balance correction, white balance bracketing cannot be set to more than +/- 9 levels
Viewfinder
Type
Eye-level SLR with fixed pentaprism
Coverage
Approx. 95% horizontally and vertically (coverage against JPEG Large)
Magnification
0.9x (-1 dpt with 50mm lens at infinity)
Eyepoint
Approx. 20mm
Dioptric Adjustment Correction
-3.0 to +1.0 diopter
Focusing Screen
Fixed, Precision Matte screen (non-interchangeable)
Mirror
Quick-return half mirror (Transmission: reflection ratio of 40:60, no mirror cut-off with lenses up to EF 600mm f/4L USM)
Viewfinder Information
AF (AF points, focus confirmation light), Exposure (shutter speed, aperture, spot metering circle, exposure level, AE lock, exposure compensation, AEB level, bulb, ISO speed), Flash (flash ready, red-eye reduction lamp on, high-speed sync, FE lock, FEB shooting, flash exposure compensation, insufficient flash warning during FE lock), White balance correction, Maximum burst, CF card full warning, CF card error warning, No CF card warning
Depth-of-Field Preview
Enabled with depth-of-field preview button (with Speedlite 580EX, 430EX, MR-14EX or MT-24EX; pressing the depth-of-field preview button fires a modeling flash)
Eyepiece Shutter
None (eyepiece cover provided on strap)
Autofocus
Type
TTL-CT-SIR AF-dedicated CMOS sensor
AF Points
9 AF points
AF Working Range
EV -0.5-18 (ISO 100 at 68°F/20°C)
Focusing Modes
Autofocus: One-Shot AF, Predictive AI Servo AF, AI Focus AF (automatic switching between One-Shot/Predictive AI Servo AF); Manual Focus (MF)
AF Point Selection
Automatic selection, Manual selection
Selected AF Point Display
Superimposed on viewfinder and LCD panel
AF-assist Beam
Intermittent firing of built-in flash (must be manually raised in P, Tv, Av, M and A-DEP Exposure modes)
Exposure Control
Metering Modes
Max. aperture TTL metering with 35-zone SPC
(1) Evaluative metering (linked to all AF points)
(2) Partial metering (approx. 9% at center of viewfinder)
(3) Spot metering (approx. 3.5% at center of viewfinder)(
4) Center-weighted average metering
Metering Range
EV 1-20 (ISO 100 at 68°F/20°C with EF 50mm f/1.4 USM lens)
Exposure Control Systems
Program AE (shiftable), Shutter-priority AE, Aperture-priority AE, Auto Depth-of-field AE (non-shiftable), Full auto (non-shiftable), Programmed image control modes, Manual exposure, E-TTL II autoflash program AE
ISO Speed Range
Basic Zone: automatically set by the camera; Creative Zone: equivalent to ISO 100-1,600 (in 1/3-stop increments, ISO speed can be expanded to ISO 100-3,200)
Exposure Compensation
(1) User-set with multi-controller (2) AEB (Auto Exposure Bracketing)
Bracketing range: +/- 2 stops in 1/3- or 1/2-stop increments
AE Lock
Auto: Applied in One-Shot AF mode with evaluative metering when focus is achieved
User-set: Applied with AE lock button
Shutter
Type
Vertical-travel, mechanical, focal-plane shutter with all speeds electronically controlled
Shutter Speeds
1/8000 to 30 sec. (1/3- and 1/2-stop increments), X-sync at 1/250 sec.
Shutter durability: Approx. 100,000 exposures
Shutter Release
Soft-touch electromagnetic release; shutter "lag time" approx. 65 msec.
Self-timer
10 sec. delay, 2 sec. delay with C.Fn-12-1 (mirror lockup)
Remote Control
Remote control with N3-type terminal
Built-in Flash
Type
Auto pop-up, retractable, built-in flash in the pentaprism
Guide Number
43 ft./13m (ISO 100)
Recycling Time
Approx. 3 sec.
Flash-ready Indicator
Flash-ready indicator lights in viewfinder
Flash Coverage
17mm lens focal length (equivalent to 27mm in 35mm format)
Flash Metering System
E-TTL II autoflash
Flash Exposure Compensation
+/-2 stops in 1/3- and 1/2-stop increments
External Speedlite
EOS External Flash or Dedicated Speedlites
E-TTL II autoflash with EX Series Speedlites
PC Terminal
Provided; not sensitive to flash polarity
Drive System
Drive Modes
Single, Continuous (high-speed approx. 5 fps / low-speed approx. 3 fps), Self-timer
Continuous Shooting Speed
High-speed approx. 5 fps / low-speed approx. 3 fps (at a shutter speed of 1/250 sec. or faster)
Max. Burst During Continuous Shooting
JPEG: high-speed approx. 30 frames (Large/Fine)
RAW: high-/low-speed approx. 11 frames
RAW+JPEG: high-/low-speed approx. 9 frames
LCD Monitor
Type
TFT color, liquid-crystal monitor
Screen Monitor size
2.5 in. diagonal with a viewing angle of approx. 170° vertically and horizontally
Pixels
Approx. 230,000 pixels
Coverage
100%
Brightness Control
5 levels provided
Playback
Image Display Format
Single image, 9-image index, Magnified zoom (approx. 1.5x to 10x), Auto play, Auto play right after shooting
Highlight Alert
In the single image (INFO) display mode, the areas with highlights containing no image information will blink
Image Protection and Erase
Protection
A single image can be protected or unprotected
Erase
A single image or all images stored in a CF card can be erased if they are unprotected
Direct Printing from the Camera
Enabled with the Print/Share button
Compatible Printers
CP and SELPHY Compact Photo Printers, PIXMA Photo Printers and PictBridge compatible printers (via USB Interface Cable IFC-400PCU)
Settings
Print quantity, style (image, paper, borders, date), trimming
Menus
Menu Categories
Shooting menu: redPlayback
menu: blueSetup menu: yellow
LCD Monitor Language
15 languages provided (English, German, French, Dutch, Danish, Finnish, Italian, Norwegian, Swedish, Spanish, Russian, Simplified Chinese, Traditional Chinese, Korean, Japanese)
Firmware Update
Enabled by the user (in Creative Zone only)
Power Source
Battery
One Lithium-Ion Battery Pack BP-511A/BP-514/BP-511/BP-512
Number of Shots
Approx. 1,100 (68°F/20°C, flash off), approx. 900 (32°F/0°C, flash off)
The above figures comply with CIPA testing standards and apply when a fully-charged Battery Pack BP-511A is used.
Battery Check
Automatic
Power Saving
Provided; power turns off after set time of 1, 2, 4, 8, 15 or 30 min.
Back-up Battery
One CR2016 Lithium Battery
Dimensions and Weight
Dimensions (W x H x D)
5.7 x 4.2 x 2.9 in./144 x 105.5 x 73.5mm
Weight
24.7 oz./700g (body only)
Operating Environment
Operating Temperature Range
32-104°F/0-40°C
Operating Humidity Range
85% or less
Note: All the specifications above are based on Canon's Standard Test Method.
The camera's specifications and physical appearance are subject to change without notice.

source : http://www.usa.canon.com
/consumer/controller?act=ModelInfoAct&fcategoryid=139&modelid=12929#
ModelTechSpecsAct

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EOS 5D

Specifications
Type
Digital AF/AE SLR
Recording Medium
CompactFlash (CF) Card Type I and II
Image Format
1.41 x 0.94 in./35.8 x 23.9mm
Compatible Lenses
Canon EF lenses (except EF-S lenses)
Lens Mount
Canon EF mount
Lens Focal Length Conversion Factor*
1.0x
Image Sensor
Type
High-sensitivity, High-resolution, Single-plate CMOS Sensor
Pixels
Approx. 12.8 megapixels
Total Pixels
Approx. 13.3 megapixels
Aspect Ratio
3:2 (Horizontal : Vertical)
Color Filter System
RGB primary color filters
Low-pass Filter
Fixed position in front of the image sensor
Recording System
Recording Format
JPEG, RAW and RAW+JPEG simultaneous recording provided. Backup image recording enabled (Same image recordable on CF card standards)
Image Format
JPEG, RAW
File Size
(1) Large/Fine: Approx. 4.6MB (4,368 x 2,912) (2) Large/Normal 2.3MB (4,368 x 2,912) (3) Medium/Fine: Approx. 2.7MB (3,168 x 2,112) (4) Medium/Normal: Approx. 1.4MB (3,168 x 2,112) (5) Small/Fine: Approx. 2.0MB (2,496 x 1,664) (6) Small/Normal: Approx. 1.0MB (2,496 x 1,664) (7) RAW: Approx. 12.9MB (4,368 x 2,912)
Folders
Folder creation/selection enabled
File Numbering
(1) Continuous numbering (2) Auto reset (3) Manual reset
Color Space
Selectable between sRGB and Adobe RGB
Image-processing Parameters
Six preset Picture Style settings plus three user-defined custom Picture Style function with individual adjustments for sharpness, contrast, saturation and color tone
Interface
USB 2.0 Hi-Speed, NTSC/PAL for video output
White Balance
Settings
Auto, Preset (Daylight, Shade, Cloudy/Twilight/Sunset, Tungsten Light, White Fluorescent Light, Flash), Manual (Custom, Color Temperature)
Auto White Balance
Auto white balance with the image sensor
Color Temperature Compensation
White balance bracketing: +/-3 stops in full-stop increments
White Balance Correction: Blue/Amber bias +/- 9 levels
Magenta/Green bias +/- 9 levels

Blue/Amber bias and Magenta/Green bias cannot be set together during White Balance Bracketing
Viewfinder
Type
Eye-level SLR with fixed pentaprism
Coverage
Approx. 96% horizontally and vertically (coverage against JPEG Large)
Magnification
0.71x (-1 dpt with 50mm lens at infinity)
Eyepoint
20mm
Dioptric Adjustment Correction
-3.0 to +1.0 diopter
Focusing Screen
Standard focusing screen: Ee-A
Mirror
Quick-return half mirror (Transmission: reflection ratio of 40:60, no mirror cut-off with EF 600mm f/4 or shorter lens)
Viewfinder Information
AF (AF points, focus confirmation light), Exposure (shutter speed, aperture, spot metering circle, exposure level, AE lock, exposure compensation, AEB level), Flash (flash ready, red-eye reduction lamp on, high-speed sync, FE lock, FEB shooting, flash exposure compensation, insufficient flash warning during FE lock), White balance correction, Maximum burst, CF card full warning, CF card error warning, No CF card warning
Depth-of-Field Preview
Enabled with depth-of-field preview button (with Speedlite 580EX, 550EX, 430EX, MR-14EX, or MT-24EX, pressing the depth-of-field preview button fires a modeling flash)
Eyepiece Shutter
None (eyepiece cover provided on strap)
Autofocus
Type
TTL-CT-SIR AF-dedicated CMOS Sensor
AF Points
9 AF points (plus 6 invisible Supplemental AF points)
AF Working Range
EV -0.5-18 (at ISO 100 at 20°C/68°F)
Focusing Modes
Autofocus, (One-Shot AF, Predictive AI Servo AF, AI Focus AF (automatic switching between One-Shot/Predictive AI Servo AF)), Manual Focus (MF)
AF Point Selection
Manual selection, Automatic selection
Selected AF Point Display
Superimposed in viewfinder and indicated on LCD screen
AF-assist Beam
Emitted by the dedicated Speedlite
Exposure Control
Metering Modes
Max. aperture TTL metering with 35-zone SPC
(1) Evaluative metering (link to all AF points)
(2) Partial metering (approx. 8% of viewfinder)
(3) Spot metering (approx. 3.5% of viewfinder)
(4) Center-weighted average metering
Metering Range
EV 1-20 (at 68°F/20°C with 50mm f/1.4 lens, ISO 100)
Exposure Control Systems
Program AE (Shiftable), Shutter speed-priority AE, Aperture-priority AE, Full Auto, E-TTL II autoflash program AE, Manual exposure
ISO Speed Range
Equivalent to ISO 100-1600 (in 1/3-stop increments), ISO speed can be expanded to ISO 50 and 3200
Exposure Compensation
(1) Manual, (2) AEB (Auto Exposure Bracketing)Bracketing range: ±2 stops in 1/2- or 1/3-stop increments
AE Lock
Auto: Applied in One-Shot AF mode with evaluative metering when focus is achieved
Manual: By AE lock button
Shutter
Type
Vertical-travel, mechanical, focal-plane shutter with all speeds electronically-controlled
Shutter Speeds
1/8000 to 30 sec. (1/3-stop increments), X-sync at 1/200 sec.
Shutter Release
Soft-touch electromagnetic release
Self-timer
10 sec. delay
Remote Control
Remote control with N3 type terminal
External Speedlite
EOS External Flash or Dedicated Speedlites
E-TTL II autoflash with EX-series Speedlite
PC Terminal
Provided
Drive System
Drive Modes
Single, Continuous (approx. 3 fps), Self-timer
Continuous Shooting Speed
Approx. 3 fps (at 1/250 sec. or faster for all recording quality settings)
Max. Burst During Continuous Shooting
JPEG: Approx. 60 frames (JPEG/Large)
RAW: Approx. 17 frames
RAW+JPEG: Approx. 12 frames
LCD Monitor
Type
TFT color liquid-crystal monitor
Screen Monitor size
2.5 in.
Pixels
Approx. 230,000
Coverage
100% for JPEG images
Brightness Control
5 levels provided
Playback
Image Display Format
Single image, 9-image index, Magnified zoom (approx. 1.5x to 10x), Auto play, Auto play right after shooting, Rotated, Jump
Highlight Alert
In the single image (INFO) mode, the highlight portions containing no image information will blink
Image Protection and Erase
Protection
A single image can be protected or unprotected
Erase
A single image or all images stored in a CF card can be erased if they are unprotected
Direct Printing from the Camera
Enabled
Compatible Printers
CP Direct, Inkjet direct, and PictBridge-compatible printers
Settings
Printable images: JPEG images (Print ordering enabled with DPOF version 1.1)
New Features
Dust Delete Feature
None
Picture Style
N/A
Recording Time
N/A
Power Source
Battery
One Battery Pack BP-511A/BP-514/BP-511/BP-512
Number of Shots
Approx. 800 (68°F/20°C), approx. 400 (32°F/0°C)
* The above figures comply with CIPA standard and apply when a fully-charged Battery Pack BP-511A is used.
Battery Check
Automatic
Power Saving
Provided. Power turns off after 1, 2, 4, 8, 15, 30 min.
Back-up Battery
One CR2016 Lithium Battery
Dimensions and Weight
Dimensions (W x H x D)
6.0 x 4.4 x 3.0 in./152 x 113 x 75mm
Weight
28.6 oz./810g (Body only. Battery: 2.9 oz./82g)
Operating Environment
Operating Temperature Range
32-104°F/0-40°C
Operating Humidity Range
85% or less
Note: Note: All the specifications

source : http://www.usa.canon.com/consumer/
controller?act=ModelInfoAct&fcategoryid=139&modelid=11933#ModelTechSpecsAct

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EOS 40D Digital SLR

Specifications

Type

Digital AF/AE SLR
Recording Medium
CF Card Type I and II and external media (USB v.2.0 hard drive, via optional Wireless File Transmitter WFT-E3A)
Image Format
0.87 x 0.58 in./22.2 x 14.8mm (APS-C size sensor)
Compatible Lenses
Canon EF, EF-S, TS-E, and MP-E lenses
Lens Mount
Canon EF mount
Lens Focal Length Conversion Factor*
1.6x
Image Sensor
Type
High-sensitivity, high-resolution, single-plate, CMOS sensor
Pixels
Approx. 10.10 megapixels
Total Pixels
Approx. 10.50 megapixels
Aspect Ratio
3:2 (Horizontal : Vertical)
Color Filter System
RGB primary color filters
Low-pass Filter
Fixed position in front of the CMOS sensor
Recording System
Recording Format
DCF 2.0 (Exif 2.21): JPEG, RAW and RAW+JPEG simultaneous recording possible. Multiple options for recording images on a memory card.
Image Format
JPEG, RAW (Canon CR2)
File Size

1. JPEG/Large: Approx. 3.5MB (3,888 x 2,592)
2. JPEG/Medium: Approx. 2.1MB (2,816 x 1,880)
3. JPEG/Small: Approx. 1.2MB (1,936 x 1,288)
4. RAW: Approx. 12.4MB (3,888 x 2,592)
5. sRAW: Approx. 7.1MB (1,936 x 1,288)

Folders
Automatically created by camera; can be user-created with "Manual Reset" file naming setting
File Numbering

1. Continuous numbering
2. Auto reset
3. Manual reset (the image numbering is reset to 0001, a new folder is created automatically)

Color Space
Selectable between sRGB and Adobe RGB
Interface
USB 2.0 Hi-Speed, mini-B port. NTSC/PAL for video output
White Balance
Settings
Auto, Daylight, Shade, Cloudy, Tungsten, White Fluorescent Light, Flash, Custom WB setting, user-set Color Temperature (2,500~10,000K)
Auto White Balance
Auto white balance, taken from imaging sensor
Personal White Balance
White balance bracketing: Three consecutive images written to CF card for each firing of shutter; Up to +/- 3 levels in 1-step increments
White balance shift: blue/amber bias and/or magenta/green bias +/- up to 9 levels; manually set by user
Viewfinder
Type
Eye-level SLR with solid glass pentaprism
Coverage
Approx. 95% horizontally and vertically
Magnification
0.95x (-1 dpt with 50mm lens at infinity)
Eyepoint
Approx. 22mm
Dioptric Adjustment Correction
-3.0 to +1.0 diopter
Mirror
Quick-return half mirror (Transmission: reflection ratio of 40:60)
Viewfinder Information
AF (AF points, focus confirmation light), Exposure (shutter speed, aperture, ISO speed, AE lock, exposure level, spot metering circle, exposure warning), Flash (flash ready, flash exposure compensation, high-speed sync, FE lock, red-eye reduction light), Image (monochrome shooting, maximum burst, white balance correction, CF card information)
Depth-of-Field Preview
Enabled with depth-of-field preview button; possible in Live View Function
Eyepiece Shutter
None
Autofocus
Type
TTL-CT-SIR AF-dedicated CMOS sensor
AF Points
9 cross-type AF points, including center AF point; fully functional with f/5.6 or faster lenses

Additional high-precision, diagonal cross-type sensor at Center AF point, used with lenses f/2.8 or faster
AF Working Range
EV -0.5 ~18 (ISO 100 at 73°F/23°C)
Focusing Modes
Autofocus (One-Shot AF, Predictive AI Servo AF, AI Focus AF), Manual Focus (MF)
AF Point Selection
Automatic selection, Manual AF point selection
Selected AF Point Display
Superimposed red illumination in viewfinder; also visible on top or rear LCD panel when AF point select button is pressed
AF-assist Beam
Intermittent firing of built-in flash
Exposure Control
Metering Modes
35-zone TTL full aperture metering

1. Evaluative metering (linked to all AF points)
2. Partial metering (approx. 9% of viewfinder)
3. Spot metering (approx. 3.8% of viewfinder)
4. Center-weighted average metering


Metering Range
EV 0-20 (ISO 100 at 73°F/23°C with EF 50mm f/1.4 USM lens, ISO 100)
Exposure Control Systems
Program AE (shiftable), Shutter-priority AE, Aperture-priority AE, Auto Depth-of-field AE (non-shiftable), Full auto (non-shiftable), Programmed image control modes, Manual exposure, E-TTL II autoflash program AE
ISO Speed Range
Equivalent to ISO 100-1600* (in 1/3-stop or whole stop increments), ISO speed can be expanded to ISO 3200

* Standard output sensitivity. Recommended exposure index.
Exposure Compensation
Exposure Compensation (user-set): +/-3 stops in 1/3- or 1/2-half increments
AE Lock
Auto: Applied in One-Shot AF mode with evaluative metering when focus is achieved
Manual (user-set): By AE lock button in all metering modes
Shutter
Type
Vertical-travel, mechanical, focal-plane shutter with all speeds electronically controlled
Shutter Speeds
1/8000 to 30 sec. (1/3-stop increments), X-sync at 1/250 sec.
Shutter Release
Soft-touch electromagnetic release
Self-timer
10 sec. delay, 2 sec. delay
Remote Control
Canon N3 type terminal
Built-in Flash
Type
Auto pop-up, retractable, built-in flash in the pentaprism
Guide Number
13/43 (ISO 100 in meters/feet)
Recycling Time
Approx. 3 sec.
Flash-ready Indicator
Flash-ready indicator lights in viewfinder
Flash Coverage
17mm lens focal length (equivalent to 27mm in 35mm format)
Flash Metering System
E-TTL II autoflash
Flash Exposure Compensation
+/-2 stops in 1/3- and 1/2-stop increments;

Can be set on EOS 40D body or with most EX-series speedlites
LCD Monitor
Type
TFT color, liquid-crystal monitor
Screen Monitor size
3.0 in.
Pixels
Approx. 230,000 pixels
Coverage
Approx. 100%
Brightness Control
7 levels provided
Playback
Image Display Format
Single image, 4-image index, 9-image index, Jump, Magnified zoom (approx. 1.5x to 10x), Histogram, AF point display, Auto rotate, Rotate
Live View: View image before shooting on LCD monitor; live histogram and live simulation of exposure level possible with C.Fn IV-7-1
Highlight Alert
In the single image display and (INFO) display, over-exposed highlight areas will blink
Image Protection and Erase
Protection
Single image or all images in the memory card can be protected or cancel the image protection
Erase
Single image, select images, all images in a CF card or unprotected images
Direct Printing from the Camera
Enabled with the Print/Share button
Compatible Printers
CP and SELPHY Compact Photo Printers, PIXMA Photo Printers and PictBridge compatible printers (via USB Interface Cable IFC-200U, included with camera kit)
Settings
Print quantity, style (image, paper size, paper type, printing effects, layout), trimming, tilt correction (compatibility varies, depending upon printer in use)
Menus
Menu Categories

1. Shooting
2. Playback
3. Setup
4. Custom function/My Menu

LCD Monitor Language
18 (English, German, French, Dutch, Danish, Portuguese, Finnish, Italian, Norwegian, Swedish, Spanish, Greek, Russian, Polish, Simplified/Traditional Chinese, Korean, Japanese)
Power Source
Battery
One dedicated Battery Pack BP-511A
AC power can be supplied via the optional AC Adapter Kit ACK-E2
Number of Shots
Normal shooting, at 73°F/23°C:
No flash: approx. 1100 images
50% flash use: approx. 800 images

at 32°F/0°C:
No flash: approx. 950 images
50% flash use: approx. 700 images

(tests comply with CIPA industry test standards)

The above figures apply when one fully-charged Battery Pack BP-511A is used
Battery Check
Automatic
Power Saving
Provided. Power turns off after 1, 2, 4, 8, 15, 30 min.
Back-up Battery
One CR2016 coin-type lithium battery. Battery life approx. 5 years
Dimensions and Weight
Dimensions (W x H x D)
5.7 x 4.2 x 2.9 in./145.5 x 107.8 x 73.5mm
Weight
26.1 oz./740g
Operating Environment
Operating Temperature Range
32-104°F/0-40°C
Operating Humidity Range
85% or less

source : http://www.usa.canon.com/consumer/
controller?act=ModelInfoAct&fcategoryid=139&modelid=
15653#ModelTechSpecsAct

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Make Money With Black And White Digital Photography

Black and white photography has long been a staple product of the art world. There is something about capturing the world around us and rendering it, and the people in it, in such a stark medium as black and white. In a way, this type of art takes away any preconceptions one might have about the given subject and allows the viewer to see the content as it really is, and even add their own ideas.

It’s important to note that black and white photography was the beginning of photography and holds a special place in many photographers’ hearts. This is one of the reasons why it has become a bit of a trendy thing to do nowadays. Basically beginner photographers are starting to take up black and white photography more often than normal photography. Why? Mainly because they are still able to use the most advanced, up to date cameras while creating amazing black and white photos.

The latest camera models have settings for black and white photography and some photo editing software enables photographers to change color photographs into black and white. Any of these methods can be used to achieve the classic black and white look that can impress any viewer.

The scope of black and white digital photography is not only about portraits and landscapes. There are thousand and one things that you can express with black and white photographs. So the next time you have the digital camera in hand, focus on abstract shoots. Treat black and white digital photography, as a mode to portray the world in a different light and you will never be short on potential photography subjects.

To start with your own black and white digital photography shots, you will not need extra effort and complications other than shooting as is. Take the shot in color then you can switch the setting of the digital image in an editor, using array of choices. If you are using Photoshop or Fireworks, you can change the whole image into black and white by editing “Hue and Saturation” or simply switching it to “grayscale” format.

Since black and white digital photography doesn’t rely on color to tell the story, the contrast of shades will need to be relied upon. This is one of the most important black and white shooting tips to learn. It is important to make sure subjects stand out even more so in black and white than in color. While a dark blue shirt might look awesome against a dark green setting in color, it will likely get lost in the shuffle in black and white.

While that dark shirt and dark background can present problems in contrast, lighting can help fix the issue. The best way to master lighting for this type of digital photography is to play around and be willing to experiment to see what works and what doesn’t. Try using the black and white settings in all kinds of situations to really master what needs to be done under different circumstances to effectively light up a shot.

Why not make money from your digital photography and get paid to submit your photos to the internet or start up your own photography business.

Remember a black and white picture of a single flower can be breathtaking.

source : http://www.articlephotography.com/photography/black-and-white-photography/
make-money-with-black-and-white-digital-photography/

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Back Focus

If you find that your focus is sharp when you are zoomed in but soft when zoomed out, your back focus needs adjusting. This normally only happens to cameras with detachable lenses — consumer-level camera users shouldn't have to worry about it.

Technical Note: Back focus refers to the "focal flange length". This is the distance between the rear lens element and the CCD.

You will need:

* A camera with a back focus ring. It will be located toward the rear of the lens housing.
* A back focus chart like the one pictured is helpful, but any object with sharp contrast will do

How to Adjust the Camera Back Focus

1. Set your camera on a tripod or stable mount, with your subject (back focus chart or other contrasting object) at least 20 metres/70 feet away (or as far as possible).

2. Your iris should be wide open, so it's better to perform this operation in low light. Alternatively, add some shutter speed or a ND filter.

3. If your lens has a 2X extender, switch it to 1X.

4. Zoom in on your subject.

5. Adjust the focus normally until the picture is sharp. If you're using a back focus chart, the centre of the chart will appear blurry - your focus is sharpest when the blurred circle is smallest. (You can simulate this effect by looking at the chart above and defocusing your eyes.)

6. Zoom out.

7. Loosen the back-focus ring's locking screw, and adjust the ring until the picture is sharp.

8. Repeat steps 3-6 until the focus is consistently sharp.

9. Tighten the back-focus locking screw.

source : http://www.mediacollege.com/video/camera/focus/back-focus.html

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Video Camera Focus

First of all, locate the focus control. Professional cameras usually have a manual focus ring near the front of the lens housing. Consumer-level cameras usually have a small dial (Note: you may need to select "manual focus" from the menu).

1. Make sure the camera is set to manual focus.
2. Zoom in as tight as you can on the subject you wish to focus on.
3. Adjust the focus ring until the picture is sharp. Turn the ring clockwise for closer focus, anti-clockwise for more distant focus.
4. Zoom out to the required framing — the picture should stay nice and sharp.
5. If the picture loses focus when zoomed out, check the back-focus and make sure the macro focus is not engaged.

If you need to adjust your focus on the fly (for example, you're in the middle of shooting the Prime Minister's speech when you realise her face is soft), it helps to know which way to turn the focus ring. If you go the wrong way and defocus more, even if you correct yourself quickly you've drawn attention to your camera work. Try comparing the background and foreground focus. If the background is sharper than the subject, then you need to pull focus to a closer point (and vice versa).

Note: You will usually find the sharpest focus occurs at about the middle iris position.

Difficult Focus Conditions

You'll notice that focusing is more difficult in certain conditions. Basically, the more light coming through the lens, the easier it is to focus (this is related to depth of field). Obviously it will be more difficult to focus in very low light. If you're really struggling with low-light focus, and you can't add more lighting, try these things:

* Make sure your shutter is turned off.
* If your camera has a filter wheel, make sure you're using the correct low-light filter. Remove any add-on filters.
* If your camera has a digital gain function, try adding a little gain (note: this compromises picture quality).
* Stay zoomed as wide as possible. If your lens has a 2X extender, make sure it's on 1X.

source : source : http://www.mediacollege.com

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Camera Angles

The term camera angle means slightly different things to different people but it always refers to the way a shot is composed. Some people use it to include all camera shot types, others use it to specifically mean the angle between the camera and the subject. We will concentrate on the literal interpretation of camera angles, that is, the angle of the camera relative to the subject.
Eye-Level

This is the most common view, being the real-world angle that we are all used to. It shows subjects as we would expect to see them in real life. It is a fairly neutral shot.
High Angle

A high angle shows the subject from above, i.e. the camera is angled down towards the subject. This has the effect of diminishing the subject, making them appear less powerful, less significant or even submissive.
Low Angle

This shows the subject from below, giving them the impression of being more powerful or dominant.
Bird's Eye

The scene is shown from directly above. This is a completely different and somewhat unnatural point of view which can be used for dramatic effect or for showing a different spatial perspective.

In drama it can be used to show the positions and motions of different characters and objects, enabling the viewer to see things the characters can't.

The bird's-eye view is also very useful in sports, documentaries, etc.
Slanted

Also known as a dutch tilt, this is where the camera is purposely tilted to one side so the horizon is on an angle. This creates an interesting and dramatic effect. Famous examples include Carol Reed's The Third Man, Orson Welles' Citizen Kane and the Batman series.

Dutch tilts are also popular in MTV-style video production, where unusual angles and lots of camera movement play a big part.

source : http://www.mediacollege.com/video/camera/angles/

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Make Your Amateur Photos More Professional

With everyone and their grandmother having a digital camera you can make almost anybody look like a professional photographer, well, better-than-amateur at least. You can use this simple process on almost any photo you take.

Let's start with our regular, old, point-and-shoot photo. This one was taken with a little higher-end camera, but it can still use a lot of work.



First, we're going to sharpen our image a bit using the Unsharp Mask Filter > Sharpen > Unsharp Mask. We don't want anything too drastic, so I used some low settings. Amount: 40%; Radius: 0.9 pixels; Threshold: 1 level. You basically want enough to make a difference, but you don't want any glowing or hard edges.

source : http://www.photoshoplab.com/tips/

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Lighting

Lighting your Subject

The lighting possibilities are virtually limitless in photography, but the amount of control you have over the lighting conditions depends on your location and your resources. If you are shooting indoors, you likely have the choice of shooting with or without a flash, near a window, lamp, or overhead light, or you may have access to specialized lamps and reflectors. Outdoor lighting is more dependent on the weather conditions (i.e. sunny, overcast, dawn, high noon, dusk, etc.), but you still have the option of shooting in the shade or in the open, or towards or away from the sun.

The best time of day for outdoor photography is in the early morning or late afternoon. The morning light is softer, casting longer shadows, and enhancing your subjects with a warm, rosy glow. Just after sunset the colors will be intensified by the sunlight shining up at the sky. Midday is less pleasing, when the strong sun casts harsh shadows, increasing contrast.

No matter the time of day or the location, you can dramatically change the tone of the photograph simply by shifting the illumination of your subject. Frontlighting the subject will provide even lighting, while lighting from the side will enhance the three dimensional qualities of the subject. Backlighting can produce a pleasing effect, but may require some practice to get the result you want. When not done properly, the subject may appear too dark as the camera sets the exposure to match the surrounding light. To correct this, approach the subject and take an exposure reading with the camera. Next, "lock" the exposure setting values (you may need to place your SLR in manual mode for this). Step back from the subject, and take the photograph using the exposure settings obtained from the reading. If you do not follow this procedure, the subject will appear as a dark silhouette, which in itself can be a very pleasing effect.

Don't be reluctant to photograph outdoors if it is not a sunny day. The even, soft light of an overcast sky is ideal for portraits, producing soft shadow that can flatten your subject. This type of lighting can give a cool blue cast to your photos.
Using a flash

Very fast film (such as ISO 1000) may be used without a flash even in low light conditions, although the prints may look grainy. In low light conditions with a slower film speed, it is necessary to use a flash for correct exposure. However, photographs taken with a built in flash can sometimes look harsh if there is no other light source. This effect can be seen in passport photos, or outdoor night shots. If other light sources are available, such as a living room lamp, they can soften the flash effect.

Some flash attachments for SLR's have adjustable aim, where you can bounce the light off a ceiling or wall. This results in a more natural light appearance. In cases such as this, the light has further to travel than if it were aimed directly at the subject. The aperture should therefore be opened to compensate for the reduced amount of light reaching the subject. Using this flash technique can eliminate the risk of 'red-eye' in your subject.

'Red eye' is a common problem with flash photography. It is caused by light from the flash reflecting off the blood vessels in the subject's retina. Because their pupil will be larger in a room with dim light, the subject's eyes will reflect more of the bright light from the flash. Some cameras feature a red eye reduction mode, whereby a prelight or multi-flash is activated, to reduce the size of the subject's pupil in preparation for the regular flash and exposure an instant later.

Remember that the light from a flash will reflect off shiny surfaces such as water or glass. When shooting through a window, try shooting the subject from an angle to reduce the amount of direct reflected light. Otherwise, the reflected glare may ruin what might have been a good photo.

When taking multiple flash photographs, wait for the flash to recycle and the red 'flash ready' light to go on before you take another photo.

source : http://www.timebanditphoto.com/lighting.htm

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Composition

Contrast

When trying to emphasize a subject, it is best not to photograph it against a cluttered background. Compare a photo of someone taken at an amusement park, with dozens of people in the background, with a portrait. The portrait has a very subdued background that lets the observer concentrate on the subject. This is not to say that you should try to make the background as plain as possible. Other people and objects in the background can make the photo more interesting, but taking a moment to think of how the photo will look will give you the chance to improve its composition. Even in the amusement park example, the photographer can try to find a less cluttered background to improve the contrast of the photo. Another method would be to 'crop' the photo, so that the subject fills more of the frame. The subject can also be emphasized using an exposure control such as selective focus (depth of field).
Rule of thirds

When framing your photo, it is usually best not to have the subject exactly in the center of the frame. A subject that is off-center encourages the eye to explore the photograph. Following the rule of thirds can help you compose a more artistic looking photo.

Mentally divide the scene into a grid, like a tic-tac-toe pattern. This will consist of two vertical and two horizontal lines. For photographing the horizon, align the horizon along the top or bottom line, depending on whether you want more of the sky or ground in the photo. You should end up with a photo that is proportioned with two-thirds sky or land (depending on the one you wish to emphasize), which is much more pleasing to the eye than having the scene split evenly.

With vertical subjects such as a people, trees, buildings, and monuments, align them with the left or right imaginary line. When photographing people, have the person face slightly inward, towards the center of the scene.

Experiment with placing the subject at the intersection point of the lines, which are strong positions for your center of interest. With some compositions, you can utilize both the vertical and horizontal lines and intersection points.

Framing your Subject

A subject is framed if the photographer is able to include and crop surrounding objects so that the resulting lines and shapes lead to the subject. For example, you could take a photograph through a wooden fence overlooking a horse in a farmer's field. The fence will be cropped, so that not much of it is visible, because its role in the photo is to frame the horse in the field. You can follow the rule of thirds here as well, having the horse slightly offset from the center of the frame.
Lines and Curves

Lines and curves present in your photo, whether in the subject itself or in the area leading to the subject, lend a pleasing aesthetic quality to the scene. As in the rule of thirds, the eye is naturally drawn to asymmetry, following the lines and curves to examine the scene. This can add interest to an otherwise simple image and can emphasize a particular feel in the subject.
Point of view

When you look up at a large object such as a building or statue, the object conveys a message of dominance and power. Conversely, when looking down upon a subject, such as small children or pets, the message is more deferential or humble. Try taking photographs of these subjects at their eye level for a different, perhaps more realistic perspective. You will notice a difference.

Experiment by shooting buildings from a distance using a telephoto lens, and then shooting upwards from the structure's base. Each view will give you a vastly different perspective.

source : http://www.timebanditphoto.com/composition.htm

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How to Take Bad Pictures

Simple formula for poor pictures: put a building in the shot, then don't aim level. You end up with what is called "converging lines." The left and right side of the building seem to meet somewhere above the picture. If that's what you wanted, fine.
If not, get it under control.



The Band-Aid



Level off. You need to have the lens (and film plane) parallel to the edges that you don't want converging. (You don't actually have to be parallel to a side of the building, just an edge.) For most buildings this means vertical. You probably have zero height compared to a building, so for practical purposes this means aiming at the base of the building. But, when you do this, you are probably cutting off the top. So, you will back up quite a ways to get it to fit in. This makes it small.

You'll notice now that the building is only using the top half of the film. My example image shows beautiful green meadow, but you've got parking lots and hot dog stands. At the very least, you will have to crop half the shot away, and enlarge your grain twice as much as needed. Is there a better way?
Film Geometry

Before looking at the real answer to this stumper, look at the numbers in image 2. "35mm" film has images 36mm wide by 24mm tall. The "centerline" of each shot is exactly half that: 12mm down for horizontal compositions and 18mm down for vertical compositions.
Shift Lenses

Shift lenses do a few tricks but perhaps the main professional gimmick is letting you control that centerline. Within limits, you can put it where you want it, without changing the angle of your camera (and screwing up the perspective).

Shift lens documentation should tell you how much they shift. Let's look at the Canon TS-E 24mm/3.5L. Like the other TS-E lenses, it shifts up to 11mm. This is the distance the lens elements move up, but that also means the image moves exactly that much on the film. Since film images are upside-down, moving the lens up moves the image down. This means... fewer parking lots and hot dog stands. And you can go back to your original vantage point and get a bigger image.
How Close?

How far from your target do you need to be to get the desired shot without twisting the perspective? Believe it or not, no trigonometry is needed. It depends on the height of the target above your eye level, the height of the film above the centerline (red, above), and the lens' focal length.

Distance / TargetHeight = FocalLength / HeightAboveCenterline

Using that, solve for anything if you know the other three. In practice, you know the focal length and height-above-centerline numbers exactly, or can dial in the height-above-centerline you need with a shift lens. Distance may be harder to estimate, and height can be tricky. With buildings, you can usually guess 5 meters or 15 feet per story for commercial structures.

For now, this can help you picture what shots a given shift lens lets you take. For instance, since the height-above-centerline is 12mm for a normal lens and twice that (well, 23mm) for the TS-E lenses with maximum shift... we can get twice as close to our target. Or, shoot a target twice as tall. Or use twice the focal length (say, the TS-E 45mm instead of a normal EF 24mm).

Later, on a shoot, this can avoid a certain amount of trial-and-error. For instance, say you have a 24mm lens with 11mm of shift, and a four story building on a city street. You can back up to 65 feet away from your 60 foot target. The formula says 65/60 = 24/X. X is about 22mm. You know that's right at the limit of your shifting and the corners may darken somewhat. On the other hand, you not to even bother getting your 1.4x TC out unless a vertical composition would work (vertically, 65/60 = 36/X, X would be 33.3mm, and a you could get a maximum height-above-centerline of 18mm + 11mm x 1.4, or 33.4mm).
Drawbacks

When maximum shift is employed, shift lenses (with their unnaturally wide field of view) can show some light falloff in the corners, due to basic optical properties. In addition, even the widest filters may be visible in the corners of the shot. Smaller apertures typically fix the first problem but accentuate the second. Hopefully you have the option of backing away from your target and reducing shift slightly. If not, consider using an auxiliary filter holder instead of screw-on filters.

There are not yet any auto-focus shift lenses, even the Canon TS-E lenses with the auto-focus mount. Some shift lenses are a bit more primitive, making you stop down manually before shooting. This will be true for any "old" mount with manual aperture control, because it would take Rube Goldberg hardware to translate the mechanical movement at the mount to movement at the aperture, when half the lens moves up and down.

You will be paying quite a bit extra, both for the optics that make a larger, shift-able image, and the hardware on the lens that let you move the glass up and down. Even then, the lens will probably have a smaller maximum aperture than you'd expect. For instance, a Canon 24mm/2.8 is about $500 while the shifting 24mm/3.5 is more like $1200 on the street. If its any consolation, the makers are probably losing money on every one they make due to the low volume of production. You'll see all three Canon TS-E lenses for the same price, even with their vastly different optics, because Canon is offering them to complete its lineup, and not attempting to price them to recoup their cost.
Tele-Converters

A tele-converter (TC) is a lens group that attaches between your objective lens and camera body. They typically magnify the image size by a factor of 1.4x, 1.5x, 2x, or 3x. TC's also (sadly) increase your f-stop by the same factor. Generally any older TC or 2x TC with less than seven elements will be crap.

On shift lenses, a TC will also (for practical purposes) increase the amount of your shift. The Canon TS-E lenses go from 11mm shift to 15.4mm (1.4x) or 22mm shift (2x). Looking at image #3, guess where you can now place your ground level. The horizontal format can suddenly lose the bottom third of your building, when the centerline moves to 10mm below the bottom of the frame with a 2x. The vertical format can move the centerline to 4mm below too. (Just as lens specs are not exact, teleconverter specs can be pretty loose. A nominally 2x converter may be 1.8x or 1.9x. Never seem to be better than advertised, even for Leitz and Zeiss.)

Now, compare the Canon TS-E 45mm/2.8 vs. the TS-E 90mm/2.8. With a 2x TC, the 45mm/2.8 turns into a 90mm/5.6... but with 22mm shift possible instead of 11mm. Which sounds like more fun?

Since TC's in effect take their picture from the center of the objective lens' image, they avoid problems that tend to arise in the corners of the objective.
But Wait! That's not All!
Any Shot with Lines!

The example buildings can be replaced with trees. Show those forest canopies while avoiding the "acid trip trees" look. Or any other shot where there are two parallel lines... and if that sounds like "most shots" you get the picture. Back before rolls of film were invented, there was a time when all camera lenses shifted, and truing perspective was considered as important as focus and selecting shutter speed and aperture. (Back then, they also used a variety of terms for shift: rise was shift up, etc. Archaic people still do so today 8-)

With the first professional-use "box" cameras (as opposed to bellows cameras), a generation of photographers - and photograph viewers - grew up not having this advantage.

As time went on, all the serious 35mm camera marques issued "perspective correction" lenses. Or perhaps I should say, lens, usually with a focal length of 35mm. Zeiss does a 35mm for Contax, Leitz does a 35mm for Leica. Olympus and Pentax have one too. Minolta made a 35mm for the old manual lens mount, but doesn't have one for the auto-focus cameras. Nikon made (and makes) the 28mm and 35mm. Canon had the TS 24mm and 35mm for the manual mount, and the TS-E 24mm, 45mm, and 90mm for the current electronic mount.
Distortion!

Besides fixing perspective, you can use the same feature to screw up normal perspective. I took a band's CD cover picture, where the guitars are the size of battleships and the guitarists' heads are the size of gnats. Art is Truth.
Panoramas!

Look at the example vertical image #3. Assuming your shift lens shifts left and right (Canon TS-E's do), you can take the left half and right half of a panorama on separate frames, and combine the images in the darkroom or a photo touch-up program. There will be some overlap to help you assemble the halves into the final image. This overlap can be nominal if you use a TC.

You can end up with a scene that uses about 70mm width and 24mm height. This will give you strictly higher image quality that you'd get with a 6x6 medium format camera and cropping to get a panoramic slice - merely 55mm x 20mm. If anyone cares, that’s 1.5x larger negative... advantage 35mm.

The Canon TS-E lenses will shift in any direction, and have clicks every 30 degrees. You can thus also get a shift somewhat up or down at the same time you shift hard left to get one half, and reproduce the exact shift amount and angle to take the second half.
Unsightly Blemishes!

Normally you can change your viewing angle to select the foreground and background that surround your actual subject. You may have artistic conflict, however, if there is a strong rectangular element in the subject that you want to render squarely. Examples are mirrors, railings, and windows.

If you face a mirror head on, you will be in the shot. If you move to the side, it turns into a parallelogram. With a shift lens mounted, move the camera to the side, turn the film and lens parallel to the mirror, then use shift to get the original composition back (more or less).

Sometimes you have limited access to a fixed display, especially in tight interiors. There might be a ceiling support exactly where you'd like to stand. Set up to one side and shift horizontally to reframe.
Depth of Field!

Besides shifting in any direction, the Canon TS-E lenses also tilt. Actually, this has nothing to do with the above shift stuff, except that the only lenses that tilt are the Canon TS-E's. What does tilt do for you?

Normally, everything in a plane a set distance from, and perpendicular to your lens will be in focus. When you use lens tilt, you forego the "perpendicular" constraint. You can tilt that plane quite severely if desired. The plane of the back element of the lens, the film plane, and the focus plane will all intersect.

The classic example is for landscapes. You have wildflowers at your feet and Alps at infinity. f/22 won't give you the depth of field you need (well, it would at 24mm but at the sacrifice of sharpness). As its just after sunset there's not much light, and there is also a wind moving the flowers so a long exposure won't work. Fast shutter dictates big aperture, which means lousy depth-of-field... normally.

As you tilt the lens, you make the focus plane tilt. However, a small tilt of the lens creates a huge tilt in the focus plane. Just 10 degrees of lens tilt can rotate the focus plane to the point that wild flowers a meter away, at the bottom of the frame, are perfectly focused as are distant alps.

There are very mathematical explanations to calculate all the exact effect, but I don't know how you could use them accurately in the field. It would be nice if there was a focusing screen with a half-prism focusing aid at both the top and bottom of the frame. But there's not. The camera could also calculate this information for you and display it.

The other tilt trick is just the opposite. Say you want everything out of focus except for the subject. Say there is a row of columns ahead of you, running left to right. Tilt like mad, focus one column, and the equally distant neighbors to the left and right will be fuzzy.
Why You Can't Get a Good Exposure

Wide angle lenses get darker the further from center you get. This is called "cos^4 vignetting" and is due to the light hitting the film at an angle. This is a problem when the lens->film distance is small compared to the image width.

On SLR's, wide angle cameras use a "reverse telephoto" group at the back, so the rear of the lens is far enough away to leave room for the mirror. This extra glass hurts quality, but means that even a EF14mm/2.8L is about 40mm from the film, which is 36mm wide... which means "cos^4" is NOT visible on SLR wide-angles. Rangefinders like Leica M and Contax G and Mamiya 7 have no telephoto group, so their images are sharper - but the back of the lens is VERY close to the film, and the corners are much darker.

So what does this have to do with your shift lens? Everything! Shift lenses make a picture much wider than a normal lens, but the distance from lens to film is still about 40mm. Your lens shifts 11mm, so the image is 36mm (film) + 11mm * 2 = 58mm or so. Unshifted, only the center 24mmx36mm of the image hits the film, and has no more cos^4 vignetting than a normal 35mm. However, as you shift, the darker part of the total image hits the film.

If you externally meter, then a meter reading good for a centered shot will be too short an exposure for a shifted shot. How much too short? Who knows, bracket! 8-) On the other hand, the camera meter depends on taking readings of light off of partial reflections, and depend on the angle the light hits the sensors. When you shift, the light comes from a different direction and the sensors may see none of it (or too much), so they will suggest a bad exposure.
How to Get a Good Exposure

If you don't want to bracket, you need to build up some base-line cos^4 data for your lens. Perhaps the following might be agreeable:

1. Build comparison series: on slide film, photograph a grey card metered with 0 shift and no exposure compensation, then -1/3, -2/3, -1, -1 1/3 stop. (either internal meter or external is fine)
2. Find worst-case dropoff: shift maximum (horizontally if you can shift sideways), and use the same shutter and aperture as the first shot of your comparison series.
3. Develop these shots.
4. Using the center of the series shots, determine whether the maximum shift is -2/3 darker or whatever. That maximum shift is 36mm(width)/2+11mm(shift)= 29mm from image center. If you want, measure the falloff at other distances.

Then: after metering a scene with a handheld meter or unshifted lens, set the exposure manually but with the test-result compensation. This should be perfectly accurate with one caveat: Because the darkening is progressive, the maximally-shifted side will always be somewhat darker. For arrchitecture, this is perfect - it saves you from using an actual graduated filter to bring the sky and ground brightness closer.

Since you may not be able to see this difference in the viewfinder, your probably still want to bracket, but bracket from the external/unshifted exposure to your test-result maximum compensation. Some picture in that range should be ok.
Wish List

The only return I get on writing an article like this is the right to voice my own opinions - and hopefully Canon's listening!
New Lens

More than anything in the world, I want a 35mm tilt-shift lens. The gap between the 24mm and 45mm is just too great. And, the 24mm is not sharp enough to have its images cropped 50% without pain. This lens physically works with the Extender EF 1.4x teleconverter (TC), but resolution seems to suffer somewhat. In effect, the TC creates a very expensive, 35mm f/4.9 lens with less than ideal sharpness. Instead, a one-piece TS-E 35mm F/2.8 or 3.5 lens should have much better optical quality (no TC), as well as being cheaper (no TC), lighter (no TC), and brighter (no TC).

It would be nice if the TS-E lenses became TS-EF - autofocus. I firmly believe that everyone's 24mm (and 35mm...) lens should have tilt and shift, for when they are needed, but autofocus when they aren't. Canon, with their great all-electronic mount, could easily allow this.
New Focusing Screens

We need a new focusing screen for shifted composition. Canon makes a screen with a grid, for verifying perspective. This is great, except the TS-E lenses are all manual focus, and the grid screen doesn't have a focus aid. There is a perfectly good screen with the usual split-circle, but no grid lines of any sort. So, we are left estimating ranges and looking at the distance scale on the focus ring.

For tilted composition, the situation is even worse - the distance scale only tells us what is happening at the image center. The scale might say 3 meters when the lens is actually focused at infinity on one edge and 50cm at the other. Calculating lens tilt mathematically is practically a black art. I only know a couple people that even know how, and they don't do it in their head on the scene. They guess a tilt, then squint at the viewfinder trying to guess if it is sharp enough. This is hard at f/3.5 (the Canon 24mm lens) or f/4.9 (same with 1.4x TC). I'd like a focusing screen with the normal split-circle focus aid, but instead of merely the image center, have a circle (or major portion thereof) at each corner or perhaps centered on each of four sides.

More Advanced Camera Electronics

An second alternative would be a camera that tells us what focus we're at, at the extreme edges of the camera. This would involve the camera asking the lens 1) focus distance, 2) tilt, 3) rotation of tilt, and 4) a constant or two related to focal length. The camera then calculates the focus distance extremes and displays them on the LCD. A photographer who could estimate ranges accurately could adjust the lens until the readout matches his estimates.

A third alternative would have two focusing rings for near and far focus. It would use Canon "E-M". (This means that the focusing ring is just an electronic input sensed by the computer, that drives a motor to change focus.) We would get a focus motor, and a second motor that tilts the lens appropriately. The focus rings would be right next to each other, so normal operation would involve grabbing both simultaneously.

If this two-ring lens had autofocus (in untilted mode), Canon wouldn't mark distances on the focus rings, making the split focus screen mandatory. If the lens was manual focus only, the rings would have full markings, and ranges would be estimated by the photographer. I don't even postulate a camera with AF sensors at the frame's extreme corners, that attempted to tilt, rotate, and focus, simultaneously 8-)

Adding electric control of the current tilt probably would be awful. Hopefully, just as many lenses are now internal or rear focus, the tilt effect could be accomplished simply by tilting one internal group.
Conclusion

source : http://photo.net/equipment/canon/tilt-shift
by Frank Sheeran; created 1997

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Tips for Using a Point & Shoot Camera

Do you feel inadequate because you have a puny Canon SD900 or Fuji F30 in your pocket while your friend is lugging around a digital SLR?
Don't.
You can get a better picture than he can, for the following reasons:

* Your camera is light and compact enough that you have it with you at all times.
* You have about as good a lens as he does; like most first-time SLR owners, he hasn't bothered to upgrade from the cheap low-contrast zoom lens that was included in a kit with his camera body.
* He is using the pop-up flash on his camera as his primary light. You would never be that uncreative (at least not after reading the rest of this article).
* Your camera has a better system for combining light from the flash with ambient light ("fill-flash").

MIT Graduation 1998 A professional photographer with a pile of $1500 lenses and a tripod is going to be able to do many things that you aren't. But rest assured that he carries a P&S camera in his pocket as well.

The photo at left shows Bill Clinton handing out a diploma at MIT's 1998 graduation ceremony. I was in the press box with a Canon EOS-5 (film!), 70-200/2.8L lens, and 1.4X teleconverter ($2500 total). In the upper right of the frame is a woman with a point and shoot camera. I would venture to guess that her pictures of Clinton are better than mine.

Think about Light

"He spoke with the wisdom that can only come from experience, like a guy who went blind because he looked at a solar eclipse without one of those boxes with a pinhole in it and now goes around the country speaking at high schools about the dangers of looking at a solar eclipse without one of those boxes with a pinhole in it."
-- Joseph Romm

My personal definition of photography is "the recording of light rays." It is therefore difficult to take a decent picture if you have not chosen the lighting carefully. Read the photo.net tutorial chapter on light.

Just say no
Amy, Philip, Paula, at Aspects of Love in Minneapolis Just say "no" to on-camera flash. Your eye needs shadows to make out shapes. When the light is coming from the same position as the lens, there are no shadows to "model" faces. Light from a point source like the on-camera flash falls off as the square of the distance from the source. That means things close to the camera will be washed-out, the subject on which you focussed will be properly exposed, and the background will be nearly black.

We're at a theater. Can't you tell from the background? That's me in the middle. The guy with the flat face and big washed-out white areas of skin. Part of the problem here is that the camera was loaded with ISO 50 film and therefore doesn't capture much ambient light (i.e., the theater background).

Virtually all point and shoot cameras allow you to control the on-camera flash. What you want to do most of the time is press the tiny lightning bolt button until the "no flash" symbol is displayed. The "no flash" symbol is usually a lightning bolt with a circle around it and line through it. Now the camera will never strobe the flash and will leave the shutter open long enough to capture enough ambient light to make an exposure.

A good point and shoot camera will have a longest shutter speed of at least 1 second. You can probably only hold the camera steady for 1/30th of a second. Your subjects may not hold still for a full second either. So you must start looking for ways to keep the camera still and to complete the exposure in less time. You can:

* look for some light. Move your subjects underneath whatever light sources are handy and see how they look with your eyes.
* set a higher ISO sensitivity, e.g., ISO 400 or ISO 800 (currently only Fuji F30 and rather expensive compact digicams are designed to give good quality at higher ISO settings; the rest just give you a lot of digital "noise")
* steady the camera against a tree/rock/chair/whatever as you press the shutter release
* leave the camera on a tree/rock/chair/whatever and use the self-timer so that the jostling of pressing the shutter release isn't reflected on film. This works well for photographing decorated ceilings in Europe. Just leave the camera on the floor, self-timer on, flash off.
* use a little plastic tripod, monopod, or some other purpose-built camera support

Yes it was dark in Bar 89. But I steadied the camera against a stair railing and captured the scene with a Minolta Freedom Zoom 28-70 (current eBay value $5?). Note that not using flash preserves the lighting of the bar.

Just say yes
Just say "yes" to on-camera flash. Hey, "consistency is the hobgoblin of little minds" (Emerson; slightly out of context).

The on-camera flash on a compact digital camera is useful. It just isn't useful for what you'd think. As noted above, it is not useful for lighting up a dark room. However, it is useful outdoors when you have both shaded and sunlit objects in the same scene. A JPEG photo or a print cannot handle the same range of contrast as your eyes. A picture that is correctly exposed for the sunlight object will render the shaded portrait subject as solid black. A picture that is correctly exposed for the shaded portrait subject will render the sunlit background object as solid white.
Manhattan 1995. Here the chess players are being shaded by some overhead screens while the background foliage is not. The on-camera flash makes sure that the foreground players are bright. In fact they are a bit brighter than they probably should be and note the washed-out highlight on the leading edge of the table, which is close to the camera. This picture was taken by prefocusing on the shirtless player on the right, then moving the camera with the shutter release half-depressed to the final composition. Without the prefocusing the camera would have latched onto one of the chess tables in the center of the picture, quite far away. The foreground men would have been out of focus and also tremendously overexposed since an amount of flash adequate to illuminate a far away subject would have been used. [Note that many $1000 SLR cameras would not have been capable of making this picture except in a completely manual mode. Their flash metering systems look for light reaching the central area of the image rather than computing appropriate flash power from the focussed distance.]

Pressing the little buttons on a P&S camera until a single solid lightning bolt appears in the LCD display will keep the flash on at all times. Note that a side-effect of the "flash on" mode is that you also get the same long shutter speeds for capturing ambient light that you would with "flash off" mode. The standard illustrative picture for this has an illuminated building at night as the background with a group of people in the foreground who've been correctly exposed by the flash.
Sunglasses & ferris wheel. Coney Island. Sometimes it all comes together, as it did here in Coney Island. Without fill-flash, the ride operator would have been a silhouette. Prefocussed on the human subject's face. "Flash on" mode.

Prefocus
Market Street, San Francisco The best-composed photographs don't usually have their subject dead center. However, that's where the focusing sensor on a P&S camera is. Since the best photographs usually do have their subject in sharp focus, what you want to do is point the center sensor at your main subject, hold the shutter release halfway down, then move the camera until you like the composition.

Virtually all P&S cameras work this way but not everyone knows it because not everyone is willing to read the owner's manual.

A side effect of prefocusing is that most P&S cameras will preset exposure as well. Ideal exposure with a reflected light meter is obtained when the subject reflectance is 18% gray (a medium gray). If you don't want to wade into the exposure compensation menus, try to prefocus on something that is the correct distance from the camera and a reasonable mid-tone. I.e., avoid focusing on something that is pure white or black.

Burn Memory
Stockholm airport, hopskotch If a memory card is lasting for months, something is wrong. You aren't experimenting enough. An ideal memory card for has 50 pictures of the same subject, all of them bad. These prove that you're not afraid to experiment. And then one good picture. This proves that you're not completely incompetent.

It takes at least 10 frames to get one good picture of one person. To have everyone in a group photo looking good requires holding down that shutter release button. You should have pictures from different angles, different heights, flash on, flash off, etc.

Buy a stack of 2 GB SD cards and challenge yourself to fill them up!

Try to Buy a Decent P&S Camera
You can read our buyer's guide. My personal ideal point and shoot camera would have one of the following lenses:

* 24-50 zoom (35mm film equivalent; zooms out wide enough to capture a subject and the background context)
* 24-70 zoom
* a single focal length (non-zoom) because it is one fewer decision to make at exposure time

Sadly, the marketplace doesn't agree with me and compact cameras with these lenses aren't available. Almost always you get a zoom lens, which would be more useful on a full-sized SLR camera because the user interface is better/quicker (i.e., you can turn the ring on the lens instead of pushing little buttons to drive a motor)

http://photo.net/learn/point-and-shoot-tips
by Philip Greenspun; created 1997

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Blink 182

Blink-182 was an American trio that played pop punk[1][2][3] and punk rock[4][5] music. The band was originally formed in 1992 in Poway, California[6] (a northern suburb of San Diego) by Tom DeLonge (Vocals and Guitar) and Scott Raynor (Drums)[7] who quickly recruited Mark Hoppus (Vocals and Bass). Originally, the band's official name was "Blink" with the numerical three digit suffix being appended early in their career following an objection from an Irish band with the same name. In 1998, midway through a U.S. tour, Raynor announced that he was leaving the band, due to undisclosed reasons. Drummer Travis Barker, who was touring with The Aquabats on the same bill as Blink-182, joined the band permanently. DeLonge left the group in early 2005, with the band portraying it as an "indefinite hiatus". DeLonge went on to play alternative rock in a band called Angels & Airwaves, while Hoppus and Barker continued in a similar genre with their band +44.

Blink-182 were known for their catchy, simple melodies, teen angst and lyrical toilet humor. They have sold almost 40 million records worldwide and have gained a strong cult following since their establishment during the mid-90's and especially during the start of their "indefinite hiatus". Songwriters Hoppus and DeLonge cite punk rock bands such as NOFX, The Descendents, Unwritten Law, and Screeching Weasel[8] as their early influences although the band's songwriting and production was driven by a pop sensibility and they were primarily known for popular hits such as "All the Small Things", "Feeling This", "Adam's Song", "What's My Age Again", "The Rock Show", "Dammit", "I Miss You", and "Stay Together for the Kids".

source : www.wikipedia.org

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The Casualties

The Casualties formed in 1990 out of a desire to return to the heyday of punk, an era that hung on into the early '80s and then started to fall by the wayside in favor of the very early grunge movement, as well as hair metal, synth pop, and new wave. But the band's lineup was far from stable in the early days. The initial lineup consisted of singers Jorge Herrera and Colin, drummer Yureesh, guitarist Hank, and bassist Mark. Even this inaugural lineup was shaky, with Colin stepping out for several months to finish his education, and Rivits singer Rachel stepping in to take his place. During this period, the Casualties put together a demo. The following year, the core lineup consisted of Colin, Jorge, Yureesh, and Mark. The band added guitarist Fred when Hank dropped out, and went on to make an appearance on the compilation Benefit for Beer. Soon more changes were in the works, with new guitarist Fred heading off to school. C Squat's Scott temporarily filled Fred's shoes until he returned a short time later. During this period, guitarist Hank came and went a second time. Another guitarist, Steve, also played briefly with the group. The Casualties stabilized long enough in the fall of 1991 to put together an EP, 40 Ounce Casualty. By the following year, the band was touring frequently and building up a fan base in their hometown of New York City. In 1993, however, more shakeups were in the works. Guitarist Fred and bassist Mark were out, and Jake Kolatis and Mike were in to take their respective places. The following year, the band appeared on another compilation, Pogo Attack, and put together a second EP, Drinking Is Our Way of Life. The four-track EP was never issued but later was incorporated into the band's 1999 release, Early Years: 1990-1995. Stability remained elusive, and drummer Yureesh and singer Colin dropped out. Shawn stepped in to take Yureesh's place. The group put together a third EP, A Fuckin' Way of Life, in 1995, the same year that Rivits drummer Meggers (aka Mark Eggers) took Shawn's place. Temporarily settled in terms of their lineup, the Casualties traveled to London in 1996 for a performance on the stage of the Holidays in the Sun Festival. The following year, the band put out their first full-length album, For the Punx, and embarked on a tour where it supported the Varukers. Unfortunately, the lineup evolved again the following year, when the Krays' bassist, Jon, took over when Mike dropped out. Jon stayed long enough to help out on the Underground Army album, but jumped ship during the band's supporting tour across Europe in 1998. To take his place, the band recruited Dave Punk Core, who only stayed until 1999. With the addition of ex-Manix bassist Rick Lopez, the group (rounded out by Jorge Herrera, Jake Kolatis, and Meggers for those still following) started another tour. More tours of the U.S. and Europe followed in 2000 and 2001, along with the albums Who's in Control?, Stay Out of Order, and Die Hards, the last marking their debut on Side One Dummy. On the Front Line appeared in February 2004; two years later, the Casualties preceded Under Attack's late August release with a main stage slot on the Vans Warped Tour. ~ Linda Seida, All Music Guide

source : http://www.shazam.com/music/portal/media-type/html/page/discography/artistid/5680348/The+Casualties.html

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Funeral For a Friend

Welsh quintet Funeral for a Friend featured vocalist Matt Davies, guitarists Kris Roberts and Darran Smith, bassist Gareth Davies, and drummer Randy Richards. The quintet's energized blend of emo, metal, and post-hardcore first appeared in 2002 with a series of EPs and singles, including Between Order and Model, Four Ways to Scream Your Name, and "Juneau." The releases wound up landing them on the cover of Kerrang! magazine, instant hype that paid off in the shape of a record deal with Warner Music. Funeral for a Friend's debut full-length, Casually Dressed & Deep in Conversation, was issued in October 2003. It was not given a concurrent U.S. release; instead, the seven-track mini-CD Seven Ways to Scream Your Name (collecting non-album tracks from the earlier EPs) appeared domestically via the New Jersey indie Ferret. Meanwhile, Funeral for a Friend embarked on a series of high-profile touring engagements, including a series of European dates opening for Iron Maiden. Touring continued through summer 2004. The =Spilling Blood in 8mm DVD appeared in September with live footage, videos, and a band documentary. Funeral for a Friend returned in June 2005 with Hours, their second full-length; more touring followed, including the band's first stint on the Warped Tour. The guys also picked up that year's Kerrang! award for Best British Band. Back at home by the end of 2005, Matt Davies used some downtime from touring to work on material for his first side project, the alt-country-inspired the Secret Show, whose debut album was released in February 2007. Three months later, Funeral for a Friend issued their next album, Tales Don't Tell Themselves, subsequently jumping on the road for headlining dates in the U.K. and U.S. before spending summer on the Warped Tour. Ed Rivadavia, All Music Guide

source : http://www.starpulse.com/Music/Funeral_For_A_Friend/gallery/FUNERALFRIEND002/

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Rancid

One of the cornerstone bands of the '90s punk revival, Rancid's unabashedly classicist sound drew heavily from the Clash's early records, echoing their left-leaning politics and fascination with ska, while adding a bit of post-hardcore crunch. While some critics dismissed Rancid as derivative, others praised their political commitment, surging energy, and undeniable way with a hook. And, regardless of critical debate over their significance, the band's strengths made them perhaps the most popular neo-punk band after Green Day and the Offspring. Their third album, 1995's ...And Out Come the Wolves, made them a platinum-selling sensation and an inescapable presence on MTV and modern rock radio. While they never translated that success into an enormous blockbuster record (like the aforementioned bands who hit the mainstream first), that wasn't necessarily their ambition, choosing to stay with the independent punk label Epitaph and the creative freedom it allowed them. That decision helped them retain a large, devoted core audience as revivalist punk-pop began to slip off the mainstream's musical radar.

Rancid were formed in 1991 by San Francisco Bay Area punk scenesters Tim Armstrong (guitar/vocals) and Matt Freeman (bass). Lifelong friends and longtime punk fans, the two had grown up together in the small, working-class town of Albany, near Berkeley; they'd also played together in the legendary ska-punk band Operation Ivy, Armstrong as "Lint" and Freeman as Matt McCall. After Op Ivy disbanded in 1989, Armstrong and Freeman spent a few weeks in the ska-punk outfit Dance Hall Crashers, as well as Downfall; Freeman later briefly joined the hardcore band MDC. Meanwhile, Armstrong was waging a battle with alcoholism (but, fortunately, winning), and to help keep his friend occupied, Freeman suggested they escape their day jobs by forming a new band, which became Rancid. The duo added drummer Brett Reed, Armstrong's roommate and a familiar presence on the Gilman Street scene where Operation Ivy had cut their teeth. Just a couple of months later, Rancid were performing live around the area, and in 1992 they released a five-song debut EP on Lookout! Records.

The EP caught the attention of Brett Gurewitz and his well-respected Epitaph label, which signed Rancid to a highly favorable contract guaranteeing them a generous amount of creative control. The band's eponymously titled, first full-length album arrived in 1993, pursuing an up-tempo, hardcore/skatepunk style with few hints of early British punk. Rancid had been seeking a second guitarist, and Green Day's Billie Joe Armstrong even played live with the group at one show. They pursued Lars Frederiksen, a Bay Area resident who'd joined a later incarnation of U.K. Subs and was performing with the band Slip; Frederiksen initially declined Rancid's invitation to join, but when Slip disbanded, he quickly changed his mind and came along on Rancid's first tour. Frederiksen made his recording debut on the early-1994 EP Radio Radio Radio, a side dalliance on Fat Wreck Chords. Released later that year, Let's Go was the album that made Rancid's name in the punk underground. It marked the beginnings of their fascination with the 1977-era London punk scene, particularly the Clash, and it also provided their first widespread exposure when MTV picked up on the video for the single "Salvation." Let's Go quickly went gold, and with the breakout mainstream success of Green Day and the Offspring that year, major-label interest in Rancid quickly escalated into a full-fledged bidding war (even Madonna's Maverick imprint got in on the action). Ultimately, Rancid decided that no major could offer them the level of decision-making power that Epitaph had given them, and stayed right where they were.

Rancid scored a major success with their next album, 1995's ...And Out Come the Wolves, whose title was a reference to the near-predatory interest in signing the band. The Clash fetish was even more pronounced, augmented with a greater interest in the original Two-Tone ska revival the Clash had helped influence (bands like the Specials). "Ruby Soho" was a major MTV and radio hit, and "Time Bomb" and "Roots Radicals" were hits in their own right. The album went platinum and made Rancid one of the most visible punk bands around. They played the 1996 Lollapalooza Tour, and afterward took a short break, their first since becoming a quartet. During that time, Freeman played with former X singer Exene Cervenka in Auntie Christ, while Armstrong set up the Epitaph subsidiary Hellcat; he and Frederiksen both began doing production work for other bands they hoped to spotlight.

Rancid returned in 1998 with the even more ska-heavy Life Won't Wait, a guest-star-loaded affair that featured members of ska bands the Specials and Hepcat, Dicky Barrett of the Mighty Mighty Bosstones, dancehall reggae star Buju Banton, and Agnostic Front vocalist Roger Miret. While it didn't cross over on the level of ...And Out Come the Wolves, it demonstrated that Rancid retained a substantial fan base. For the 2000 follow-up, their second self-titled release, the group largely scrapped its ska-punk side, recording a visceral, hardcore-influenced album that blasted through 22 songs in under 40 minutes (in contrast to its two lengthy predecessors). Perhaps for that reason, Rancid received a highly positive response from the punk community. The band's installment in the BYO split series arrived in March 2002 alongside NOFX, each band covering six of the other's songs. Rancid's next full-length, Indestructible, followed a year later; though technically released through Hellcat, the album was their first that got additional support from a major label via Warner Bros. The highly personal album (songs were inspired by the deaths of family and friends, and Armstrong's bitter 2003 divorce from Distillers frontwoman Brody Dalle) hit number 14 on the Billboard charts, as "Fall Back Down" did well on radio and MTV.

Following the record's release, Rancid went on something of a hiatus, its members working on various side projects: Armstrong continued work with the Transplants, his band with Rob Aston and blink-182 drummer Travis Barker, and collaborated with various artists, including Pink; Frederiksen further played with his side band Lars Frederiksen and the Bastards; Freeman briefly joined Social Distortion from 2004-2005. By the spring of 2006, a revitalized Rancid regrouped; they toured worldwide starting that summer to the delight of fans. Several shows, however, had to be postponed and rescheduled after Frederiksen collapsed on-stage in Montreal, apparently suffering a seizure. Soon enough, though, he was back and the band continued on. Rancid promised a new record for the following year, and Armstrong released his first solo album, A Poet's Life, that fall through Epitaph by releasing songs online for free download over the course of several months. With the band getting back on track, it then came as a shock in November 2006 when Reed announced he was leaving Rancid after 15 years; the split appeared to be amicable and he was soon replaced behind the kit by ex-Used drummer Brandon Steineckert. Steve Huey, All Music Guide

source :http://www.shazam.com/music/portal/media-type/html/page/discography/
artistid/5680348/rancid.html

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