Post by Andrew Darlow – Follow Andrew on Twitter

In Part I of this three-part series I covered a few tips for helping to avoid memory card data loss. In this article, I will continue the discussion by covering memory card quality, card testing and memory card size.

1. Use high quality memory cards. Any company can produce a defective memory card from time to time, but to improve your overall odds, I’d recommend choosing memory cards that have an excellent track record. How do you determine which brands and specific card models are reputable? I generally purchase cards from companies who manufacture their own memory cards, and I also check consumer ratings for specific cards on some of the large online retailers, such as Amazon.com and B&H Photo. Forums, newsgroups and podcasts like the Photofocus Podcast are also good sources for memory card recommendations because working pros who use the products day in and day out will often give their opinions based on first-hand experience.

You can always purchase a new card reader that is optimized to write considerably faster in conjunction with some types of memory cards. However, if the card writes too slowly in camera for your needs, that’s when a return may be necessary. Also keep in mind that like most car manufacturers, most memory card brands have a range of different cards in their lineup. Lower-cost cards will generally be slower, and they are aimed at average consumers. Higher-cost cards are designed more for pros and prosumers. These cards will generally be faster, they will often use higher quality flash memory, they will usually go through more rigorous testing, and in some cases, pro-level cards will be designed for use in extreme environments. The takeaway here is not to just buy a card based on the name on the label or the price tag.

2. Test your cards for quality and speed. Regardless of the cards you choose, I would test them thoroughly in any camera you plan to use them in, and within the retailer’s return period. I would also select a retailer with a return policy that allows memory card returns even if the card is not defective. This is primarily because even if the card functions properly, it may write data much slower than you expected (either in-camera or when downloading to a computer).

To help reduce the chances of “buyer’s remorse,” you can find speed tests online that indicate how some particular camera models perform with specific cards in-camera and with specific card readers. You may be surprised at the differences in write speeds between cameras tested with the same exact card. The CF/SD Performance Database on robgalbraith.com is the best source I’ve found for this information.

3. Consider using lower-capacity cards instead of high-capacity cards. This is basically the “don’t put all your eggs in one basket” tip and it essentially means that using more than one card on a project will offer some added protection from memory card image loss. If you are shooting video with a DSLR or compact camera, you may find that an 8 GB or 16 GB is the lowest capacity you will consider due to the large file sizes that video can consume. A few real-world tests will help you determine the best card sizes for your needs and budget. Also keep in mind that some cameras will not write more than 2 GB of data onto a single card. The higher-capacity cards will often function in these cameras, but they just won’t write to the card’s full capacity. And I should also add that you never, ever, want to just have one memory card with you-always bring more than you think you will need.

In Part III, I’ll share more tips on this topic, and I’ll also recommend an easy way to help you “double check” yourself to help make sure you’ve downloaded the data on your cards before you put them back into your camera.

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This post sponsored by X-Rite Color and the ColorChecker Passport

Post by Andrew Darlow – Follow Andrew on Twitter

In Part I of this three-part series I covered a few tips for helping to avoid memory card data loss. In this article, I will continue the discussion by covering memory card quality, card testing and memory card size.

1. Use high quality memory cards. Any company can produce a defective memory card from time to time, but to improve your overall odds, I’d recommend choosing memory cards that have an excellent track record. How do you determine which brands and specific card models are reputable? I generally purchase cards from companies who manufacture their own memory cards, and I also check consumer ratings for specific cards on some of the large online retailers, such as Amazon.com and B&H Photo. Forums, newsgroups and podcasts like the Photofocus Podcast are also good sources for memory card recommendations because working pros who use the products day in and day out will often give their opinions based on first-hand experience.

You can always purchase a new card reader that is optimized to write considerably faster in conjunction with some types of memory cards. However, if the card writes too slowly in camera for your needs, that’s when a return may be necessary. Also keep in mind that like most car manufacturers, most memory card brands have a range of different cards in their lineup. Lower-cost cards will generally be slower, and they are aimed at average consumers. Higher-cost cards are designed more for pros and prosumers. These cards will generally be faster, they will often use higher quality flash memory, they will usually go through more rigorous testing, and in some cases, pro-level cards will be designed for use in extreme environments. The takeaway here is not to just buy a card based on the name on the label or the price tag.

2. Test your cards for quality and speed. Regardless of the cards you choose, I would test them thoroughly in any camera you plan to use them in, and within the retailer’s return period. I would also select a retailer with a return policy that allows memory card returns even if the card is not defective. This is primarily because even if the card functions properly, it may write data much slower than you expected (either in-camera or when downloading to a computer).

To help reduce the chances of “buyer’s remorse,” you can find speed tests online that indicate how some particular camera models perform with specific cards in-camera and with specific card readers. You may be surprised at the differences in write speeds between cameras tested with the same exact card. The CF/SD Performance Database on robgalbraith.com is the best source I’ve found for this information.

3. Consider using lower-capacity cards instead of high-capacity cards. This is basically the “don’t put all your eggs in one basket” tip and it essentially means that using more than one card on a project will offer some added protection from memory card image loss. If you are shooting video with a DSLR or compact camera, you may find that an 8 GB or 16 GB is the lowest capacity you will consider due to the large file sizes that video can consume. A few real-world tests will help you determine the best card sizes for your needs and budget. Also keep in mind that some cameras will not write more than 2 GB of data onto a single card. The higher-capacity cards will often function in these cameras, but they just won’t write to the card’s full capacity. And I should also add that you never, ever, want to just have one memory card with you-always bring more than you think you will need.

In Part III, I’ll share more tips on this topic, and I’ll also recommend an easy way to help you “double check” yourself to help make sure you’ve downloaded the data on your cards before you put them back into your camera.

___
This post sponsored by X-Rite Color and the ColorChecker Passport

Comprehensive Photography and Post-Processing Training

As I was developing my own imaging style and looking for a niche to fill in the photography world, I came across an interactive learning suite for photographers called The 123 of Digital Imaging. 123di is one of the most complete and comprehensive training solutions on digital photography and post-processing with Photoshop.

It is a program designed to teach every crucial aspect of successful photography from start to finish. The learning suite addresses everything from setting up your shot and perfecting camera settings to tweaking the fine details of your resulting image in post-processing software.

The new version is now available starting at $49.95. You can also try the free demo version to see if 123di is a good fit for you.

• Click Here to Get Started with the Full Version
• Click Here for the Free Demo Version

The amount of information in the learning suite is pretty staggering – 5,137 pages. But the lessons are organized in a way that makes everything simple and allows you to learn everything at whatever pace you desire. You can start with all the basic photography concepts or jump ahead to advanced photo editing techniques.

123di has become very popular among individual digital photographers from beginners to professionals and is used as a reference in schools, imaging divisions of armies and police departments, and manufacturers of sensors and cameras. Various institutions in the USA, Canada, Switzerland, Singapore are using 123di as a teaching reference. Many of the industry’s top manufacturers such as Intel Corporation, Nikon, Epson, Fujifilm, Micron are using 123di for internal staff training.

Progression from Essential Photography Concepts to Professional Techniques

123di covers all aspects of the digital imaging workflow:

• Understanding digital imaging and digital camera selection
• Enhance your images in the “pixelroom”
• Manage, view, share, and print your images

Highly Integrated and Interactive Content
123di contains over 4,200 interactive screen-size pages filled with thousands of full color graphics and animations organized into 153 topics. The practical content is highly cross-referenced with digital photography background theory.

Three Selectable User Levels

1. Starter sections are like “executive summaries”. These brief introductions with simplified and synthesized content are ideal if the reader has little time and wants to keep it simple.
2. Essential sections get the reader up to speed quickly and are a must read for beginners. But even for advanced readers they are a nice refresher before diving into the advanced sections. Image editing tutorials in the essential sections are based on Adobe Photoshop Elements 6, 5, 4, 3 & 2.
3. Advanced sections build on the essential sections and are more in-depth and detailed, and technical at times. Image editing tutorials in the advanced sections are based on Adobe Photoshop Lightroom, Photoshop CS3, CS2, CS, and 7, including Photoshop CS3 Extended features that are relevant for digital photography.

Click to Get Started

The new version is now available starting at $49.95. You can also try the free demo version to see if 123di is a good fit for you.

• Click Here to Get Started with the Full Version
• Click Here for the Free Demo Version

Copyright Scott Bourne 2009 – All Rights Reserved

If you live in the USA and you plan to leave the country on the photo trip, know that you may find getting back in to be more challenging than ever. There’s never any problem leaving. But when you want to cross back into the USA they pay lots of attention to you. If you’re a photographer, they pay lots of attention to your gear.

You see, if they can figure out a way to tax you – they will. And unless you can PROVE you had the gear BEFORE you left the country, they WILL tax you when you try to bring it back in.

I know, you’re thinking – “Well I have receipts and/or a copy of my insurance policy – I’m okay.” Nope. Note the U.S. Customs people often aren’t reasonable and don’t have to be. They MAY accept receipts but they don’t have to. They don’t have to do anything and they may be quick to let you know that if you cross them. And if you quote their own rules, regulations, statutes and policies to them they will just laugh at you. You see – They have badges and guns and can and will pretty much do anything they want to. On paper you have rights. But when you’re standing there in front of them – you got nothing.

So be prepared.

First, visit the CBP.Gov website and look at this checklist. It’s full of valuable information that may at least make it a tad easier to navigate a border crossing back into the USA.

Next, and this is VERY important, download this form. Form 4457.

Fill one out for each piece of gear you plan to take with you. Then go to a port of entry and have an agent sign the form and verify your ownership prior to leaving the country. Don’t try to do this last minute. Plan ahead and call the POE if you’re bringing anything more than a camera and lens so they can schedule time to help you. Otherwise you may be there a while.

Also if you’re bringing laptops or other electronics, make sure to get Form 4457 filled out for these items as well.

The U.S. government is hurting for cash right now and charging you a customs duty for gear you actually bought in the U.S.A. won’t bother these folks a bit. They can do pretty much anything they want so don’t mess around. Get the proper forms and fill them out. And before you fire off an e-mail to me telling me that you’ve crossed the border lots of times with no problems, know this. For every one of you who sends me that e-mail I’ve received three with horror stories of people having gear confiscated or taxed that shouldn’t have been. Even if you’ve been lucky, why not just take care of it the way you’re supposed to? Get the forms, fill them out, have them signed.  Then make two copies. Keep the original with your gear. Send one home. Keep the backups in your suitcase or wallet. This could save you a whole bunch of heartache.

Hat tip to my pal Arthur Morris who reminded me about this situation. He recently took about $15,000 worth of gear out of the country and documented the need for all these processes.

Inova Art promises to offer “truly astounding adventures in image making” at this year’s Photokina.

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"phesant through the trees" captured by gerry morgan (Click Image to See More From gerry morgan)

Generally speaking, people give close attention to good quality work. A good craftsman is appreciated; his skill, creativity and professionalism exude quality. Photographing wildlife is no different; the successful photographer must give attention to every aspect of his craft and treat it professionally. The following golden rules provide a strong foundation:

A good Wildlife Photographer:

1. Has good equipment and knows how to use it well.

Depending on the type of wildlife you photograph, this is an area where your camera system plays an important role. When photographing a subject there’s no time to fumble with the tools in hand – the photographer, like an experienced car driver operates his machine fluently, almost without thinking.

2. He’s passionate about his craft and wildlife.

Unless you’re passionate about wildlife you won’t go far. Why not? Because you need dedication. A wildlife photographer may spend many hours, days even years trying to get the right picture. Do you think I’m exaggerating? Let me tell you that some of the images that won the Wildlife Photographer of the Year Competition took some of those photographers years to perfect.

3. His clothing and equipment doesn’t give away his position.

This rule may appear insignificant, but it isn’t. The color of clothing or any reflection coming from the photographer or equipment has frightened wildlife and brought an end to a session.

4. Never causes stress to his subjects for the sake of a picture.

It isn’t right to pursue or corner an animal to the point where this pressure will cause stress. This is unprofessional and evidence of an unfeeling, selfish individual.

"Happy Hour Cows" captured by Debra Vanderlaan (Click Image to See More From Debra Vanderlaan)

5. Is always safety conscious.

Animals and even some birds of prey are unpredictable. Safety of self and others is paramount.

6. Is positive, perseveres and has lots of patience.

If there’s an area in photography where failure is tied very tightly to a photographer, is when these qualities are seriously missing. Wildlife photography by its nature is a waiting game, persisting again and again.

7. Is willing to get up before sunrise.

Early morning and late afternoon are the best times. This is the period the wildlife is feeding and very active.

8. Sends his best shots to competitions, isn’t afraid of failure.

Photographers need to continue stretching their abilities – competitions are an excellent way to learn. Failure is often taken negatively, that shouldn’t be the case. While not pleasant, it should serve as an incentive to press on and not taken personally. Sometimes magazine editors will reject some work, not because it isn’t up to standard, but because it was sent at the wrong time or in the wrong way. Maybe they just had a recent feature covering that same subject and there isn’t room for another one soon.

9. Takes time to do in-house research about his subject matter.

Preparation is half way to success. Learning a bit about the subject and location where you’ll be photographing is in my opinion, one of the most important golden rules.

Photo captured by Ali Paul (Click Image to See More From Ali Paul)

10. Is technically proficient.

The photographer must know how to get sharp pictures, compose the subject, know what’s the best light, how to use fill flash and all the techniques necessary to create a good picture.

About the Author
Carlos Pereira received a qualification from the British Institute of Professional Photographers. He developed a successful business in the UK as a wedding and Portrait photographer. He received further training in the USA from Monte Zucker, a master photographer. His Wildlife and Portrait photographs have been published in the UK and European photographic magazines. He concentrates his photography as a travelling photographer and a teacher, offering his expertise as a nature photographer through digital books. His vision has been moulded by the classic portraiture that was his business for a number of years. Website: http://www.mountain-light.co.uk

Sharing Images and Video is Simplified for Today’s Well-Connected Consumer

Samsung today unveiled the ST80, a 14.2 mega-pixel point-and-shoot camera that joins Samsung’s growing line of Wi-Fi enabled digital cameras. With wireless technologies such as Wi-Fi and Samsung’s AllShare (DNLA) connectivity, the ST80 makes it easy to share images on the move and keep friends and family updated from anywhere at any time.

“We want to let people share their favorite pictures quickly while they’re on the move, and the ST80 does just that,� said Sangjin Park, President of the Digital Imaging Business, Samsung Electronics. “Connectivity is everywhere, and at Samsung we are committed to bringing these wireless capabilities to the digital imaging world by developing innovative cameras that satisfy the distinct needs of our consumers. The innovative and stylish design of the ST80 is also a testament to the strong vision of Samsung’s design engineers. It’s the perfect digital imaging solution for today’s well-connected consumer.�

Beauty and Brains

The unique style of the ST80 immediately makes it stand out from the crowd. Consumers will be drawn to the ST80’s slim and rounded design, which houses a 3x optical zoom as well as a large, 3.0-inch wide touch-screen on the back of the camera. Consumers will also enjoy the smart features found within the camera. The ST80 comes equipped with Samsung’s new ‘Smart Crop’ feature, a unique editing tool which takes place directly on the camera. With ‘Smart Crop,’ users can crop images taken at any angle or slant, such as banners or signs, and then straighten them as if they were originally taken straight on. The ST80 also makes it easy to capture great images with Samsung’s Smart Auto (Still & Movie) scene recognition technology. Smart Auto (Still & Movie) automatically recognizes the user’s current shooting environment and selects the appropriate settings to achieve the best results possible.

In addition to the impressive 14.2 mega-pixel resolution for digital still images, the ST80 offers HD video recording. At 30 frames-per-second, the ST80 allows consumers to record high-quality, 720p HD video utilizing the H.264 format, which provides up to three times more recording capacity than the MJPEG video format.

Wirelessly Connected

The ST80’s wireless connectivity makes it easy for users to upload or share digital images or videos with others directly from the camera without the need to be connected to a computer. By leveraging an available Wi-Fi internet connection, consumers have the option to email their digital images and video to individual email addresses or to those stored in the camera’s address book. In addition to email, consumers can also effortlessly upload images and videos directly to social networking sites such as Facebook, Picasa, YouTube, Photo Bucket or even Samsung’s own Web site (www.samsungimaging.com). The ST80 range also comes equipped with an account with mobile hotspot provider Boingo, delivering broadband speeds in the palm of your hands at more than 120,000 Wi-Fi hotspots across the world.

The ST80’s wireless connectivity is further enhanced by Samsung’s AllShare technology. Thanks to AllShare, users can effortlessly sync the ST80 to popular DLNA-compliant (Digital Living Network Alliance) electronics found throughout the home, such as HDTVs and digital photo frames, and wirelessly connect and share content between each device.

Sharing Images and Video is Simplified for Today’s Well-Connected Consumer

Samsung today unveiled the ST80, a 14.2 mega-pixel point-and-shoot camera that joins Samsung’s growing line of Wi-Fi enabled digital cameras. With wireless technologies such as Wi-Fi and Samsung’s AllShare (DNLA) connectivity, the ST80 makes it easy to share images on the move and keep friends and family updated from anywhere at any time.

“We want to let people share their favorite pictures quickly while they’re on the move, and the ST80 does just that,� said Sangjin Park, President of the Digital Imaging Business, Samsung Electronics. “Connectivity is everywhere, and at Samsung we are committed to bringing these wireless capabilities to the digital imaging world by developing innovative cameras that satisfy the distinct needs of our consumers. The innovative and stylish design of the ST80 is also a testament to the strong vision of Samsung’s design engineers. It’s the perfect digital imaging solution for today’s well-connected consumer.�

Beauty and Brains

The unique style of the ST80 immediately makes it stand out from the crowd. Consumers will be drawn to the ST80’s slim and rounded design, which houses a 3x optical zoom as well as a large, 3.0-inch wide touch-screen on the back of the camera. Consumers will also enjoy the smart features found within the camera. The ST80 comes equipped with Samsung’s new ‘Smart Crop’ feature, a unique editing tool which takes place directly on the camera. With ‘Smart Crop,’ users can crop images taken at any angle or slant, such as banners or signs, and then straighten them as if they were originally taken straight on. The ST80 also makes it easy to capture great images with Samsung’s Smart Auto (Still & Movie) scene recognition technology. Smart Auto (Still & Movie) automatically recognizes the user’s current shooting environment and selects the appropriate settings to achieve the best results possible.

In addition to the impressive 14.2 mega-pixel resolution for digital still images, the ST80 offers HD video recording. At 30 frames-per-second, the ST80 allows consumers to record high-quality, 720p HD video utilizing the H.264 format, which provides up to three times more recording capacity than the MJPEG video format.

Wirelessly Connected

The ST80’s wireless connectivity makes it easy for users to upload or share digital images or videos with others directly from the camera without the need to be connected to a computer. By leveraging an available Wi-Fi internet connection, consumers have the option to email their digital images and video to individual email addresses or to those stored in the camera’s address book. In addition to email, consumers can also effortlessly upload images and videos directly to social networking sites such as Facebook, Picasa, YouTube, Photo Bucket or even Samsung’s own Web site (www.samsungimaging.com). The ST80 range also comes equipped with an account with mobile hotspot provider Boingo, delivering broadband speeds in the palm of your hands at more than 120,000 Wi-Fi hotspots across the world.

The ST80’s wireless connectivity is further enhanced by Samsung’s AllShare technology. Thanks to AllShare, users can effortlessly sync the ST80 to popular DLNA-compliant (Digital Living Network Alliance) electronics found throughout the home, such as HDTVs and digital photo frames, and wirelessly connect and share content between each device.

Copyright Stacy Pearsall

Guest Post and Images by Stacy Pearsall – Follow Stacy on Twitter

Picture Show by Graf – Application for Your i-Phone

On July 12, 2010, Graf created a great photography application, Picture Show. As soon as it arrived on i-Tunes, I had to have it. I started snapping like crazy. It has the capability of adding several types of filters such as LomoGraphy, HolgaGraphy, Vintage, Vanished, Noir, Multi-exposures…. the list goes on. You can pick various frames, add textures and unique lighting effects

I have heard many heated debates about whether Canon or Nikon makes a better image. However, I stress to my students that it’s not about the camera. What’s most important is the operator behind the system. That’s why I love making pictures with my i-phone. I can still make quality pictures, even though I’m only using  a 5 megapixel 4G i-Phone camera.

The 4G i-Phone has a built-in flash, which I’ve been putting to good use. You can see that most of the portraits have detail in the shadows. That’s because I’m using the flash. However, I don’t let the flash fall straight on the subject’s face. I try to use a piece of paper, Kleenex or my shirt to diffuse it. This isn’t rocket science, I just prefer to have softer light.

Copyright Stacy Pearsall

Using my phone’s camera has limitations. It doesn’t zoom and has a very limited minimal focus distance. However, I love a challenge! Instead of a zoom lens, I use my feet. Yup, can you believe it? My feet work and I can get close to my subject by simply walking toward them! What a concept!
Since my phone pictures are on the fly, I am much more apt to take chances and try new stuff. I get new angles and unique portraits. People are less intimidated by a phone verses a DSLR too.

Also, I’m very conscious of my corners and extraneous distractions in my frame. Of course, I could bring the file into Adobe Photoshop but that defeats the purpose of the phone camera challenge. I can capture moments without my subjects even knowing. I love that.

Now that I’m consciously thinking about all of these things, I’ve improved my day-to-day paid photo assignments. When I take risks with my i-Phone shots, I have small successes. These translate directly into my paid photo assignments. I take note of what works and expound upon them with my big production shoots. Plus it’s just plain fun. This application, Picture Show, has reinvigorated my impromptu photo sessions.

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This post sponsored by WHCC – White House Custom Colour – Get Five Free 8×10 Prints From WHCC

Ten years ago Rick Norsigian, a painter for the Fresno school district, bought a set of 65 large-format glass negatives at a garage sale for $45. Experts now say the collection is worth $200 million.

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