Introduction

The 18-megapixel Canon EOS 550D (marketed as the EOS Rebel T2i in North America) is the successor to last year’s 15-megapixel 500D / T1i. Putting aside the increase in pixel count, the 550D / T2i offers a 1,040,000-dot LCD screen with an aspect ratio of 3:2, a 63-zone metering sensor – identical to the one used in the higher-specified EOS 7D – subtly redesigned controls, standard ISO settings of 100-6,400 (expandable to 12,800), simplified Live View focusing and an improved video mode featuring 1080p Full HD recording at 24/25/30fps and 720p HD capture at your choice of either 50 or 60fps, with full manual control over exposure and gain. Supporting SD, SDHC and even SDXC memory cards.

Ease of Use

Outwardly, the Canon EOS 550D / Rebel T2i looks a lot like its predecessor. It is a fairly small camera with a largely plastic shell and a pretty narrow, thus mildly uncomfortable hand-grip. The emphasis is on the word “mildly”, though – in actual use, the size and shape of the grip proved not to be a real annoyance. In terms of build quality, the Canon EOS 550D / T2i certainly feels solid enough for a consumer-grade DSLR, although not in the same league as the semi-professional EOS 50D and 7D models. Like all of Canon’s APS-C digital SLR cameras, the EOS 550D / T2i is compatible with the manufacturer’s entire line-up of lenses, including both EF and EF-S glass. When changing lenses, EF lenses need to be aligned with the red dot on the lens mount, whereas EF-S lenses must be aligned with the white mark.

Most of the controls are in the same place as on the 500D, with the changes being mostly cosmetic in nature. The mode dial is now black instead of silver, the four-way controller has been subtly redesigned and now features matt rather than glossy buttons, and the Live View / Record button has found a new home closer to the thumb rest. The shape of some buttons has also changed somewhat, and there is a new Q button that provides quick access to the interactive status screen. The buttons are clearly labelled but, being flush to the body, can be a little hard to press at times. The 1,040,000-dot resolution of the rear LCD panel may not sound like a lot more than the 920,000 dots of the 500D’s display, but given that the new screen has an aspect ratio of 3:2 – i.e. identical to that of the sensor – the photos now fill the screen completely, with no black stripes along the top and bottom.

The EOS 550D’s top-mounted shooting mode dial has a multitude of letters and icons. The so-called Creative Zone features Programmed Auto (Pe never used a Canon SLR camera before. The abbreviation stands for Automatic Depth of Field, as in this mode, the camera will pick an f-stop that allows all the), Shutter Priority (Tv), Aperture Priority (Av), Manual (M) and A-DEP modes. The first four of these need no explanation, but A-DEP might be new to those who hav subjects covered by the nine AF points to be  sharply rendered, and will also calculate and set the necessary shutter speed on its own.

The camera also has a Full Auto and a Creative Auto mode, differentiated by the amount of user control provided over certain image parameters; and a host of scene modes. These include Flash Off, Portrait, Landscape, Sports, Night Portrait and, oddly enough for an interchangeable-lens camera, a close-up mode as well. The majority of these scene modes allow users who do not want to fiddle with shutter speeds, f-stops, white balance or ISO settings to let the camera know what type of photo they are about to take, which helps the EOS 550D / T2i to optimise these settings for that particular subject. We struggled to see the point of the close-up mode though, as the quality of one’s close-up shots depends more on the use of the right kinds of accessory – such as a macro lens and possibly a ring flash – than any camera setting.

In the Creative Zone, the photographer gets to set a lot of shooting variables, including white balance, sensitivity, AF mode, exposure compensation, drive mode and so on. Most of these functions have their own dedicated buttons – ISO on the top panel, the rest on the back – while others can be set on the interactive status screen accessible via the new Q (quick control) button. Examples for the latter include file quality settings, metering mode, flash exposure compensation and Auto Lighting Optimiser.

The available white balance settings are Auto, Daylight, Shade, Cloudy, Tungsten, Fluorescent and Custom; there is no way to enter a Kelvin value manually. You can fine-tune any of the presets using the White Balance Correction feature. The ISO speed can be changed by pressing the ISO button and turning the control wheel in front of it. You do not have to hold down the button while turning the wheel. The ISO speed can be set from ISO 100 to ISO 6,400 in full-stop increments. If you turn ISO Expansion on in the Custom Functions menu, you can even dial in ISO 12,800; a boosted setting. Auto ISO is also available. The chosen ISO speed is also displayed in the viewfinder.

The EOS 550D / T2i offers a range of three auto focus modes (One Shot, AI Focus and AI Servo) and there’s a 9-point AF module with a cross-type centre point and eight line-type AF sensors. One Shot AF is equivalent to AF-S, while AI Servo is the same thing as AF-C on other manufacturers’ models. AI Focus is similar to what some other camera makers call AF-A in that it automatically switches from One Shot AF to AI Servo if a still subject starts moving. As regards AF point selection, it can be done manually by  hitting the AF point selector button first, then using the four-way controller to select the AF point. The chosen/active AF point lights up in red in the viewfinder. In use, we have found the AF system to be pretty quick even with the kit lens, although the focus motor was a bit loud for our tastes (not surprisingly, given that the 18-55mm IS lens does not have USM).

There are a number of drive modes available on the Canon EOS 550D / T2i. These include Single Shot, Continuous Shooting, Self-timer and Remote Controlled Shooting. In Continuous Shooting mode, the camera can take pictures at a speed of 3.7 frames per second for up to 34 Large Fine JPEGs or 6 raw files. This is marginally faster than the EOS 500D but much slower than the 8fps of the 7D – which is no wonder given that the 7D has two Digic 4 processors, while the 550D / T2i has only one.

The metering modes offered by the camera include Centre-weighted, Evaluative, Partial and Spot. The difference between Partial and Spot metering is that the former uses 9% of the frame area, whereas the latter uses only 4% (still a bit too much for spot metering, but there you go). Both of these selective metering modes are midtone-based; there is no highlight- or shadow-based spot metering available as with some rivals. In use, we’ve found that the Evaluative metering mode provided fairly good exposures with a variety of subjects, thanks to the advanced 63-zone metering sensor. When shooting contrasty scenes, it is worth using the Evaluative mode in conjunction with the Auto Lighting Optimiser feature, accessible by hitting the Q button and using the interactive status panel.

As noted earlier in this review, the Live View button has been moved to a new position, and is now within easy reach of your right thumb. Using this button it is easy to enter Live View, but it takes a surprising amount of time for the camera to actually display the live image (think several seconds). A grid line display and very useful live histogram can be enabled to help with composition and exposure, and you can zoom in by up to 10x magnification of the image displayed on the LCD screen. Focusing in Live View has been simplified, you no longer need to use the * button to initiate auto focus but can use a half-press of the shutter release as normal.

There are three auto focus options in Live View, including Quick, Live and Face Detection. The use of the Quick mode briefly interrupts the live view feed as the mirror is momentarily lowered so that the AF sensors can be engaged, and it also involves a lot of mirror slapping for the same reason. Live view mode circumvents this problem by employing a contrast-detect method. While this is slower, and sometimes it may still take up to three seconds for the camera to lock focus in this mode, I have found that about half a second was enough most of the time. This is still too slow for anything that moves – use the optical finder and the regular auto focus module for that type of shooting – but it is perfectly OK with still subjects. Obviously, you can also opt to focus manually – the large and high-res screen is a real boon to those who do this on a regular basis. As noted above, you can even magnify into the live image, by up to 10x, which allows very accurate focusing. The only criticism that can be levelled against the screen is that it isn’t articulated – this is something that’s hard to understand given that Canon was amongst the first manufacturers to put vari-angle displays on some of its compacts – long-long years ago.

Live View is also used for the feature that will arguably generate the most interest in the Canon EOS 550D / T2i: its movie mode. If you turn the mode dial to the position denoted by the movie camera icon, the camera will enter Live View automatically. Before you start filming, you need to focus on the subject either manually or using auto focus as described above, and optionally set exposure and ISO. To be able to do this, you first need to enter the menu, highlight “Movie exposure” on the relevant tab, and select “Manual”. Now you can set aperture, shutter speed (within limits) and ISO manually. (Note that even if you do not enable manual exposure for movies, you can still use functions like AE lock and exposure compensation if you feel a need for it.) Once everything is set up, you can start filming by hitting the Live View/Record button on the back of the camera. The EOS 550D / T2i will not automatically adjust focus during filming, but you can initiate auto focus at any time while recording a clip. However, be warned that this can do more harm than good, as the microphone can pick up the sound of the focus motor, and the subject might even go out of focus for a few seconds. Setting a small aperture and relying on depth of field for focus is a better idea. Of course you may wish to utilise the DSLR’s ability to produce footage with a shallow depth of field, but in that case, it might be a wise idea to purchase a couple of third-party accessories that make manual focusing and focus pulling easier.

One big improvement over the 500D is the much wider choice of frame rates. Where the older model allowed users to shoot either 1080p movies at 20fps or 720p video at 30fps, the EOS 550D / T2i offers a choice of 24, 25 or 30fps when recording Full HD video clips, and 50/60fps when shooting at 720p or VGA resolution. Note however that the available frame rates are also dependent on what you have set in the menu under “Video system”: NTSC or PAL. Another novelty of the EOS 550D / T2i is that if you shoot a standard-definition clip, you can use a new function called “Movie crop”. This means that you can tell the camera to use only the central 640×480 pixels on the sensor to record video, which effectively gives you nearly 8x magnification. This can come in handy when you do not have the necessary telephoto reach to film something that is happening at a distance. There is a built-in microphone for mono recording, and you can connect an external microphone equipped with a stereo mini plug to the camera’s external microphone IN terminal.

The camera runs on a proprietary LP-E8 battery which, according to measurements that conform with CIPA standards, provides enough power for 400-440 images when using the optical viewfinder, and about 150-180 shots with Live View or about one and a half hours of video recording. The battery can be charged in the supplied LC-E8(E) charger. Also in the box is a neck strap, a software CD and a user manual, which Canon thankfully provides in printed form, in several languages.

In use, we found the Canon EOS 550D / Rebel T2i to be a responsive and versatile camera that almost never got in the way of picture taking. As noted earlier, the auto focus was fast when using the optical viewfinder, and not always painstakingly slow when using Live View, either. Its continuous shooting speed is about average for its class, though its six-frame raw buffer is smaller than we’d like. It takes a bit of time for the camera to fully start up if you wait for the sensor cleaning cycle to be completed, but as sensor cleaning can always be interrupted at a half-press of the shutter release, this is not a real issue. The only thing we found to be truly and somewhat inexplicably slow was entering Live View – it invariably took several seconds for the camera to raise its mirror and display the live image.

This concludes our evaluation of the EOS 550D’s ergonomics, handling, feature set and performance.

Lens of Camcorder

These tutorials are designed to provide you with knowledge and skills to improve every aspect of your camera work. They begin at the absolute novice level and work through to professional operations.

They are also applicable to any type of camera work.  It doesn’t matter whether you aspire to be an amateur movie maker or a career camera operator — the same basic principles and techniques apply to all.

To get the most out of this blog, you should have two things:

1. Access to a video camera. You should know how to turn it on, load a tape, press record, etc. If you’re having trouble with these basic functions, refer to your camera manual or supplier. You can also ask question in comments box.
2. Patience. Camera work is a skill which requires lots of learning and practice.

Initially it won’t really matter what sort of digital camera you use, but one with a good range of manual functions is preferable. You can get choosy about your camera later.

Although the only equipment you really need is a camera, if you’re serious you might want to consider buying a few extra toys. To get started the best accessory you can buy is a good tripod.

Jargons in Videography:

Shot: All video is made up of shots. A shot is basically from when you press record to when you stop recording. Like the individual photos which make up an album, the shots get put together to make a video.

Framing & Composition: The frame is the picture you see in the viewfinder (or on a monitor). Composition refers to the layout of everything within a picture frame — what the subject is, where it is in the frame, which way it’s facing/looking, the background, the foreground, lighting, etc.

When you “frame” a shot, you adjust the camera position and zoom lens until your shot has the desired composition.

Transition: Shots are linked (edited) in a sequence to tell a larger story. The way in which any two shots are joined together is called the transition.

Usually this is a simple cut, in which one shot changes instantly to the next. More complex transitions include mixing, wipes and digital effects. A moving shot (e.g. pan) can also be thought of as a transition from one shot to a new one.

The transition is very important in camera work, and you need to think constantly about how every shot will fit in with the ones before and after it. The key is not so much how the transition is achieved technically, but how the composition of each shot fits together.

Here are some more jargons for you to understand:

Planning:

This is the most important step, and perhaps the most difficult to master. It should be where most of your your energy is directed.

Camera work is only one skill in a larger process — the goal of which is usually to produce a completed video, TV program, or presentation of some kind. To be good at camera work, you must have a clear picture of the whole process, and some idea of what the finished product should look & sound like.

If there’s one thing that separates the amateurs from the pros, it’s that amateurs “point and shoot”, whereas pros “plan and shoot”. Obviously there are times when you don’t have time to prepare before having to record — sometimes the action begins unexpectedly, and you just have to go for it. In these cases, as far as possible, you plan as you go. It can’t be stressed enough — planning is everything.

For general camera work, you can divide your plan into two parts: The “Shoot Plan” and the “Shot Plan”.

Shoot Plan:

In this case, the word shoot refers to a shooting session. If you think of everything you record as being part of a shoot, and have a plan for every shoot, then you’re well on the way to having better organized footage.

Shot Plan:

Once you have a plan for your shooting session, you’re ready to begin planning individual shots.

Camera Functions:

Most domestic camcorders can do just about everything automatically. All you have to do is turn them on, point, and press record. In most situations this is fine, but automatic functions have some serious limitations. If you want to improve your camera work, you must learn to take control of your camera. This means using manual functions. In fact, professional cameras have very few automatic functions, and professional camera operators would never normally use auto-focus or auto-iris.

This is where most beginners ask “Why not? My auto-focus works fine and my pictures seem to look okay.”
There are two answers:

1. Although auto-functions usually perform well enough, there will be some situations they can’t cope with (e.g. bad lighting conditions). In these circumstances you may be faced with unusable footage unless you can take manual control. More commonly, your shots will be useable but poor quality (e.g. going in and out of focus).
2. Your camera can’t know what you want. To get the best results or obtain a particular effect it is often necessary to over-ride auto-functions and go manual.

As you learn more about camera work you will begin to appreciate the better results gained through manual functions.

Zoom:

This is the function which moves your point of view closer to, or further away from, the subject. The effect is similar to moving the camera closer or further away.

Note that the further you zoom in, the more difficult it is to keep the picture steady. In some cases you can move the camera closer to the subject and then zoom out so you have basically the same framing. For long zooms you should use a tripod.

Zooming is the function everyone loves. It’s easy and you can do lots with it, which is why it’s so over-used. The most common advice we give on using the zoom is use it less. It works well in moderation but too much zooming is tiring for the audience.

Focus:

Auto-focus is strictly for amateurs. Unlike still photography, there is no way auto-focus can meet the needs of a serious video camera operator. Many people find manual focus difficult, but if you want to be any good at all, good focus control is essential.

Iris:

This is an adjustable opening (aperture), which controls the amount of light coming through the lens (i.e. the “exposure”). As you open the iris, more light comes in and the picture appears brighter.

White Balance:

White balance means color balance. It’s a function which tells the camera what each color should look like, by giving it a “true white” reference. If the camera knows what white looks like, then it will know what all other colors look like.

Audio:

Virtually all consumer-level cameras come with built-in microphones, usually hi-fi stereo. These work fine, and are all you need for most general work.

Shutter:

At the beginner level you don’t really need to use the shutter, but it deserves a quick mention. It has various applications, most notably for sports or fast-action footage. The main advantage is that individual frames appear sharper (critical for slow-motion replays). The main disadvantage is that motion appears more jerky.

Effects

Many consumer cameras come with a selection of built-in digital effects, such as digital still, mix, strobe, etc. These can be very cool, or they can be very clumsy and tacky. They require dedicated experimentation to get right. Like so many things in video, moderation is the key: use them if you have a good reason to, but don’t overdo it.

Getting started with Photography

Before choosing your new digital camera read this digital camera comparison guide.Digital cameras can be expensive; this blog will help you make a wise choice of digital camera.
The first thing to consider before you do anything else is think about how you are going to use your new digital camera.

Before you get into buying any camera you need to figure out what type of photographer are you

What type of photographer are you?

Digital Camera Comparison – Intended use:

The first thing to consider when thinking of buying a new digital camera is how you intend to use your shiny new gadget. People generally fall into one of three categories:

• Snappers –Just clicking digital pictures
• Hobbyists – these people want to get a little creative at times. Perhaps a few close ups, the odd clever slow motion night shot and so on.
• Pro/Semi-pro – these people want a camera that delivers top quality photographs. They want a fast operating camera that’s also adaptable. They usually want granite-like construction too!

So, before you do anything else, decide what category you fall into. Once you have decided you should then consider pixel count, cost, style and size.

Digital Camera Comparison – Pixel count:

Digital camera manufacturers use pixel count in the same way car manufacturers use 0-60mph speed times. The car that goes from 0-60 in 9 seconds must be better that the car that takes 10 seconds, right? Don’t be suckered in! It’s a marketing gimmick more than anything else.

Where I live the traffic is so bad I’m never going to notice the difference anyway!

My advice – when choosing a new digital camera don’t get caught up in the race to get even more pixels, it will cost you more money, and you are unlikely to even notice a difference. Click to find out why you should treat pixel count with caution in your digital camera comparison.

Digital Camera Comparison – Style:

Personally,  buy a digital camera because it does what you want it to do.

– be honest with yourself is what you want in photography and you’ll get it.

When shopping for a digital camera do give style some consideration. If you don’t like the look of a certain camera and wouldn’t dare to take it out in public, then don’t buy it.

Better to have a camera you are happy to use than one that sits on the shelf at home. At least that way you will get some photographs!

Digital Camera Comparison – Size:

Digital cameras range from those so small they fit on your key ring to something so large it almost requires a Truck to carry it.

Thankfully you don’t have to choose between the two because they come in every size imaginable.

Generally speaking, the snappers have it easy – these cameras are small and light and will easily fit into your pocket.

Hobbyists’ digital cameras are larger. They are often awkward shapes too. Bear shape in mind in your digital camera comparison.

Pro/semi-pro cameras are bricks! I have one, but then I’m prepared to lug it around in a bag everywhere I go (not sure my wife is so keen though!).

Read more about why the size and type of digital camera is important in your digital camera comparison.

Every snapper can produce top notch photographs. It doesn’t matter how much your camera costs, or how large it is.

And don’t believe anyone who tells you “all you need to do to get better photos is to just take hundreds of pictures. Some of them will be OK. That’s what the professionals do.”

No. They don’t. Ever. Trust me.
The thing that makes the biggest difference to the quality of digital photography is the person behind the camera. And that’s you!

This whole site grew out of this philosophy. If you are looking for some digital photography instruction and want to take better photos – you have come to the right place!

Digital wedding photography help, advice, tips and tricks

Here you will find tips, tricks and good all-round advice for your digital wedding photography.

Stylish and artistic wedding photography is not as difficult as it seems!
Weddings are, quite possibly, the biggest day in the life of the happy couple
And being asked to photograph someone’s wedding is both a great honor, and possibly a curse!
The bride and groom will naturally want some good photographs of their special day. Both for their own memories, and also so they have something to bore their friends and relatives with afterwards!

The photographer’s job is therefore quite important. You can’t ask for a re-run if you miss a special shot . . . “sorry, I missed that. Could you take the rings off and do it again”

. . . is not a phrase anyone wants to hear at their wedding!

Digital wedding photography tip#1 – don’t panic!

With such an important job there’s plenty for the wedding photographer to be worried about:

How do I get there? What should I take with me? What if I run out of . . . ? Don’t panic! The tips and tricks on these pages will help see you through.

Digital wedding photography is far less stressful than traditional wedding photography, for a couple of very good reasons:

• First, you can easily rattle off hundreds of photos and not have to worry about loading more film every five minutes (although this is not a tip, and don’t think this is how the pros get results – it isn’t!). A big plus point for digital wedding photography.
• Second, and probably more significant, you can see the results instantly. And a good tip is to check important shots, but not every shot.Did Auntie lynn just sneeze? No problem! Check the shot, if she did, quickly take another one (and perhaps move Auntie Jean away from the flowers!). Another big plus for digital wedding photography!

So, compared to traditional wedding photography, digital wedding photography is far more forgiving. On these pages you will find lots of help, advice, tips and tricks to make your job a little easier.

As the photographer you have to approach the wedding with a certain level of professionalism, no matter how friendly you are with the bride and groom. But don’t panic, it’s all completely do-able. If I can do it, then so can you!

If you are thinking seriously of developing your own wedding photography business there is, as you might expect, a lot to learn:

• techniques,
• lists of poses,
• business agreements,
• website templates,
• free web-hosting . . .

Fortunately help is available and I can honestly say that none of this is impossible to learn. There’s a fabulous downloadable digital wedding photography toolkit that includes all the help and advice you could ever want – and as the toolkit gets updated you get to download the latest version for free. It means you can always be up to date!

It’s not really relevant to you if you’re photographing a wedding as a favor. But if you are considering making some money from your wedding photography (or just investigating the possibility) then it’s your indispensible guide.

Did you know the history of photography?The word photography is derived from Greek word photos (light) and graphein (to draw). The word was first used by Sir John F.W. Herschel in 1838.

The first camera was invented around 1000Ad it was also called as Camera Obscura by Alhazen (Ibn  Al-Haytham). He was also able to explain why images were upside down.The first casual reference to the optic laws that made pinhole cameras possible, was observed and noted by Aristotle around 330 BC, who questioned why the sun could make a circular image when it shined through a square hole.

In 1827, Joseph Nicephore Niepce made the first photographic image with a camera obscura . Prior to people just used the camera obscura for viewing or drawing purposes not for making photographs. Joseph Nicephore Niepce’s heliographs or sun prints as they were called were the prototype for the modern photograph, by letting light draw the picture.

Modern Photography:

Louis Daguerre was the inventor of the first practical process of photography. In 1829, he formed a partnership with Joseph Nicephore Niepce to improve the process Niepce had developed.

In 1839 after several years of experimentation and Niepce’s death, Daguerre developed a more convenient and effective method of photography, naming it after himself – the daguerretype.

Daguerre’s process ‘fixed’ the images onto a sheet of silver-plated copper. He polished the silver and coated it in iodine, creating a surface that was sensitive to light. Then, he put the plate in a camera and exposed it for a few minutes. After the image was painted by light, Daguerre bathed the plate in a solution of silver chloride. This process created a lasting image, one that would not change if exposed to light.

Negative to Postive Process:

The inventor of the first negative from which multiple postive prints were made was Henry Fox Talbot, an English botanist and mathematician and a contemporary of Daguerre.Talbot sensitized paper to light with a silver salt solution. He then exposed the paper to light. The background became black, and the subject was rendered in gradations of grey. This was a negative image, and from the paper negative, Talbot made contact prints, reversing the light and shadows to create a detailed picture.

Tintypes were another medium that heralded the birth of photography.A thin sheet of iron was used to provide for light-sensitive material, yielding a positive image.

Then the wet plate negative was invented using a viscous solution of collodion, a coated glass with light-sensitive silver salts was used.

In 1879, the dry plate was invented, a glass negative plate with a dried gelatin emulsion.

In 1889, George Eastman invented film with a base that was flexible, unbreakable, and could be rolled. Emulsions coated on a cellulose nitrate film base, such as Eastman’s, made the mass-produced box camera a reality.

In the early 1940s, commercially viable color films (except Kodachrome, introduced in 1935) were brought to the market. These films used the modern technology of dye-coupled colors in which a chemical process connects the three dye layers together to create an apparent color image.

1. Manual Mode
Allows you full control over exposure and depth of field.

2.  Metering
Metering mode refers to the way in which a camera determines the exposure.

3. Aperture and Shutter Speed Dials
Aperture controls the amount of depth of field or how much is in focus, the smaller the f-number eg. 2.8 the item in focus will be crisp, clear and sharp but your backgrounds and foregrounds will be out of focus

Shutter speed controls how long the shutter blades stay open / how much light is reaching the sensor

4. ISO
Higher ISO denotes that more light is captured, but as the number increases so does the grain.

5. Quality set to Large and Fine
Always set to max resolution you will be glad when it’s time to print images

6. White Balance
Helps you control the color output. In most settings Auto or AWB works fine.

7. Bracketing
Bracketing is the general technique of taking several shots of the same subject using different or the same camera settings. Bracketing is useful and often recommended in situations that make it difficult to obtain a satisfactory image with a single shot, especially when a small variation in exposure parameters has a comparatively large effect on the resulting image.

8. Area Focus
An autofocus (or AF) optical system uses a sensor, a control system and a motor to focus fully automatic or on a manually selected point or area.

Manual focus camera is one in which the operator has to adjust the focus of the lens by hand. Before the advent of autofocus, all cameras had manually adjusted focusing; thus, the term is a retronym.

Testimonial

Our happy customer, Mr.Mandar Kulkarni, sent us this feedback and we are sharing it with the world :

“Last week you took Portrait photographs for me and my family.

I would like to inform you that they have come up very well and we are extremely happy with the pictures.

I sincerely appreciate your help. We thank you for your excellent support and service.

This album will remain as a beautiful memory for us forever.”

What is a photo book?
A photo book is the next evolution of the photo album using your digital photos. Using very simple software, anyone can create a beautiful coffee table-style book of your personal memories.

If you are looking for a new, attractive and unique way to show off your photos, consider the self-published photo book. These digital books are easy to create, inexpensive, and totally customizable. Best of all, they make a perfect gift, especially around the holidays. A photo book can celebrate a new baby, a wedding or engagement party, or other family events, including vacations. Once you create a photo book, you can print copies on demand, and have them shipped directly to friends and family all over the world.

Styles of photo books
There are many sizes and styles of photo books from which to choose. From hard cover to soft cover to leather bound or miniature, there is a photo book that’s just perfect for any event.

Steps to making a great photo book
1. Select the photos you would like to use
2. Select the size and style of photo book that is best for your project.
3. Be as creative as you want. You can have full creative control over exactly where pictures are placed, the design of each page, and when and where to use text. Or you may choose to have the software automatically load your photos into a pre-determined template making the entire process effortless.
4. Order your book and decide to pick it up at the store or have it delivered to your door.

Complicated software is not necessary to make a professional quality book. Visit us here at the store and we’ll show you how easy it really is! Choose from many options including hard cover, soft cover, and a variety of sizes. After uploading the pictures (in jpg format) from your memory card, you can add personalized text, and captions. The pages can then be designed to feature one large image, or a collection of several smaller pictures. You can also adjust the background color of the actual page in addition to choosing from several themes. Whether you are looking for great holiday gift, a way to showcase your work, or want to create a family keepsake, a photo book is a wonderful option.

To create your own personalized photobook click below
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Taking great photos of children – from newborns to teenagers –is easy if you remember a few tricks and keep the subject’s age uppermost in your mind.

In a sense, babies are easy to photograph. They’re too young to be aware of what a photograph is, so they can’t react to the idea of being photographed. Being “camera-shy” comes later. It’s a good idea to avoid using the flash when taking pictures of newborns, since it’s not known how much the bright light might disturb them. Work by available light. Indoors, during the day, have a parent hold the infant near a window without placing the child in direct sunlight, which will be too harsh. Take photos up close of just the cradled infant, and also take some pictures from a greater distance showing the child and the proud parent.

Be very careful with infants. Don’t prop them up or leave them unattended on a table while trying to take a photograph – even for a second. The safety of the young child must always be paramount. Also, be aware a person holding a camera in front of his or her face can frighten a small child. Put the camera down every 30 seconds or so, and talk to the subject to offer reassurance.

When children get a little older and have seen photographs of themselves and others, they start to be a little more self-conscious. Some will become shy of the camera, while others will ham it up and play to the camera. Both reactions make it difficult to get a true portrait of the subject. This is the age when getting good photographs becomes tougher, and for most subjects, that challenge will last through the teenage years when self-consciousness often peaks.

Try to take candid photos of kids when they’re immersed in some activity, so they’re unaware of your presence. Use a fast shutter speed to freeze action, and don’t ask them to pose. It’s possible to interrupt an activity and say, “Look at me for a second,” or

“Hey, look this way,” when the child is in the midst of an activity, but don’t ask them, or expect them, to hold a pose.

Another thing to remember about children in the 3- to 10-year-old range is they are curious. Take advantage of that. When taking a photo of a group of three or more, the best way to make them all look at the camera is not by asking them to do so, but rather by asking them a question. After the photographer gets the family, soccer team, or birthday party attendees posed, just ask, “Can you guess what’s in here?” A paper bag with half a dozen hard candies (beans, coins, or pasta bits) will make a nice rattle when it comes from behind the photographer’s back and is given a few shakes adjacent to the camera lens. Even the most determined youngster will have to take a look. If you use hard candies, distribute them after the photo is taken as a reward for the cooperative bunch you’ve assembled.

Perhaps the single most common mistake family photographers make when taking pictures of kids is taking the photo from too high an angle. Get down low for the most effective camera angle. Taking the photograph from a high elevation means we’re looking down at the child. From a low angle, the child looks more imposing in the scene, and that’s always a good thing. For a toddler’s first steps, the lower the camera is, the more exciting the photograph will be.

As with all photographs, try to get in close to the subject, avoid distracting backgrounds, and watch out for clutter anywhere in the photograph. With a little work and a digital camera that allows you to take lots of pictures, you’ll be able to capture great pictures of kids of all ages, suitable for display or gifts for proud parents, aunts, uncles, and grandparents.

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