Tracfone LG CG225 - Is This The Best Tracfone Camera Phone?

The New LG CG225 GSM Camera phone is the first Tracfone folding camera phone available. This phone works on the GSM networks of AT&T and or T-Mobile. Previously the Motorola C261 which is a candy bar style phone was the only camera phone available. If AT&T does not have service in your area then this phone will not be offered in your area.

Half price Minutes all the Time

The "Double Minute Card" from Tracfone is normally $50. The LG 225 comes with the Doubler card already installed. This cuts the comparable price of your phone to under $30. This cuts the cost of minutes on your new phone in half. If you buy $30 cards you normally get 120 minutes. This is doubled with on this phone so you are getting 240 minutes.

Tracfone is a MVNO (Mobile Virtual Network Operator) which means it does not own its own network. They buy minutes from all the major cell phone networks like Alltel, Verizon, AT&T and T-Mobile instead of building it's own cellular network. They have over six million customers in the US.

Sending Pictures

When you are using this phone in the AT&T area you can send pictures. If you are roaming with this phone you cannot send or receive pictures. You can still take them as long as your memory is not full.

The LG 225 is a Single Rate Phone

Roaming, long distance, and even International Long distance is the same rate, one unit per minute, as local calls with this Single Rate Tracfones. The older phones charged two units per minute when you were roaming. This varies from phone model to phone model but almost all of the newer phones available are single rate.

Web Access

This phone can be used for web access as long as you are in AT&T coverage area. If you are not in AT&T coverage area you will not be able to use the web access on this phone. Tracfone allows web access of a very small slice of the internet.

How does a Tracfone work?

They have a simple Prepaid Phone Plan. You buy the phone and then you buy phone cards either from their website, the phone, or almost any retail store like Safeway, Wal-Mart, K-Mart, Best-Buy. Each phone card gives you minutes and network activity time. For example the $30 one hundred and twenty minute card gives you 90 days of activity time. The 225 phone gets 240 minutes from these cards because of the doubler feature. Before you run out of minutes or activity time you need to add another card. Tracfone tells you right on the screen of your phone how many minutes you have left and how long your phone will stay active.

What does a Tracfone cost to use?

Minutes cost between twenty cents and forty cents each unless you have a doubler card. Then minutes cost between ten and twenty cents each. As you buy in bigger amounts you get cheaper minutes. This is the only Tracfone that comes with the doubler card which gets you half price minutes all the time. Minutes for this phone will cost between 10 and 20 cents depending on the size card you buy.

Available Nationwide

Tracfone is the only cell phone supplier that offers phones for sale in every zip code in the United States. They have deals with most of the major cell companies to buy minutes on their networks. Tracfone and NET10 are the only Prepaid cell phones that can roam to different Cellular Networks. All of the other Prepaid phones from Verizon, T-Mobile, Alltel will only work on one network or if they do allow roaming it will cost over 60 cents a minute.

Tracfone LG CG225 Review

This is the best quality phone that Tracfone has released so far. The Motorola W370 is a nice phone also but it does not come with a camera. I have found the camera feature handy even though I almost never send photos. I like taking pictures and having them on my phone. This is the best value Track phone because the doubler card is already installed. Check out Pictures of the Tracfone LG 225 and more prepaid phone reviews.

For money saving Tracfone Tips and reviews of most Prepaid Cell phone plans Check out
http://Tracfonetips.googlepages.com

Rick C. Kern Cell Phone Industry Expert
For information on all the different prepaid cell phone plans check out
http://www.compare-prepaid-cell-phones.com

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Periodic Infrared Inspection Best Practices - Route Based Surveys

Introduction

Beginning in the late 1960's, thermal imaging was limited to power line and substation inspection of overheating electrical connections. Those systems were bulky vehicle-mounted systems that cost perhaps as much as $500,000 in today's dollars. While these systems offered for the first time an easy and intuitive method of identifying connection problems, these systems could not measure temperature or digitally record images for later analysis and reporting. The worldwide market in 1970 for infrared cameras was less than 50 units. Today the market for infrared cameras used for maintenance inspections is projected to exceed 18,000 cameras. Thermography along with vibration monitoring, oil analysis, laser sighting-based rotating machinery shaft alignment and ultrasonic testing have become the toolset used by maintenance departments at an ever increasing number of capital intensive facilities.

By adopting a route-based thermography approach along with an in-camera database and intuitive data logger PdM users can save time, get more consistent results and dramatically improve their thermography program return on investment (ROI).

Today's operations manager is under tremendous pressure to increase asset availability, decrease costs, deal with employee skill levels and turn over, safety regulations, ISO quality compliance and an ever increasing competitive environment. A new class of thermography data collectors is now available designed to create and follow user-created routes, capture in-the-field incident details and automate report generation and run database synchronization. By adopting a route-based thermography approach along with an in-camera database and intuitive data logger, PdM users can save time, get more consistent results and dramatically improve their thermography program return on investment (ROI).

CMMS Isn't Route-based Maintenance

The dilemma is that the CMMS provider does not think in terms of route-based activities at all. Their systems are driven by work orders. If each inspection is given a work order number, you can do the inspections in a route documented with more than 250 work orders. First of all, this is impractical for the person doing the inspections, and secondly, it will require a lot of time for someone to close all the work orders. Another way route-based activities are performed in a work order-driven CMMS is to give each route a work order number and describe each inspection in a sub-work order. This still creates complications and administrative time. A third example of how some plants try to document and administer route-based activities is to give each route a work order number and have the route documented in a spreadsheet. Again, the dilemma is that this method will not support effective routes and will make it more cumbersome than necessary to change the content of inspections, transfer tasks to operators, change frequencies, merge mechanical and electrical inspections, and so forth. All of these activities are frequently done if you have a good system implemented. The solution is, therefore, to have a standalone system for route-based activities. Even in a time when it seems like all activities must be integrated into one company-wide system that covers everything, the best solutions can still be standalone systems. There are very few things-if any at all-in a route-based system that need to be tied with other activities. Therefore, you can very well buy a standalone system for this activity. A single-user system that can do this well is not expensive.

Pen-based Computers Simplify Field Data Collection

Pen tablet computers allow the technician to collect infrared inspection data, perform temperature analysis, diagnose the problem, evaluate their urgency, suggest corrective actions and capture a visible reference image. Powerful handheld, pen-based computers are now integrated into infrared cameras that provide a field technician performing on-site inspection and maintenance all the computer power needed to do the job swiftly and efficiently-whether it is integrating their operations with the computerized maintenance management system or testing, diagnosing, and repairing equipment on the spot.

The pen tablet is the most widely used device to be deployed in field applications because of the versatility of its interface, its touch screen for data input and significant memory capability.

Handheld Pen Computers

For industry and the military, the problems with using laptops in the plant or the field are being solved by handheld pen-based computers-a pen tablet or a personal digital assistant (PDA). To date, the pen tablet-almost as powerful as a laptop but smaller and lighter-has become the most widely used device to be deployed in field applications because of the versatility of its interface, its touchscreen for data input and significant memory capability. The HotShot HD infrared camera by Electrophysics incorporates a tablet PC processor running on the Microsoft Windows CE operating system. The touchscreen features direct-function icons large enough for finger actuation and additional data-type features like file naming using a stylus. More reliable data is obtained. Error-prone, handwritten records are replaced by reliable data, automatically gathered, stored, and consistently available throughout the enterprise. Record keeping costs are reduced. Less paperwork lowers administrative overhead because data is processed more efficiently and disseminated widely without producing redundant copies-or even any printed record at all. Decision making is faster and more cost-effective. By integrating real-time field reports with the computerized maintenance management system (CMMS), managers at all levels share complete, up-to-the-minute information, and can react quickly to changing field conditions or emergencies. Condition monitoring tests involving a number of parameters-vibration, heat, oil quality, pressure-can be compared quickly to confirm impending problems before they become catastrophic.

Data Collection

Maintenance starts with knowing what is going on-how equipment is operating, what increased stresses are being applied, how conditions have changed. Data must be collected, either by a remote monitoring system or by workers on-site. In the latter case, the handheld computer makes data collection faster, more accurate, and more flexible.

Route-based Infrared Inspection

Many PdM technicians are familiar with, or are users of, route-based vibration data collectors. Many of today's vibration instrument vendors provide software tools on both a PC platform and their portable vibration data collectors to organize and create route instructions that are uploaded into portable systems that assist the user through a series of inspection points. For example, Electrophysics' HotShot HD is the first infrared camera of its kind to integrate route logic and all the necessary interfaces to create routes and capture all the inspection details within its pen-based computer with in-camera data logger. The camera features two route programming modes.

Mode 1: Learn a Route

At most facilities it is advantageous to create a route file by simply walking along and entering each point according to the natural flow of how equipment is laid out and to optimize any support labor or the need to comply with safety regulations such as personnel protective equipment (PPE) policies. At each point the operator captures a reference image and enters location and equipment detail. At the conclusion of the walk/learn route creation the route log file is uploaded into the PC database application for editing and to add any additional information desired.

Mode 2: Create Route File in PC and Upload to Camera

In this mode the user populates the thermography asset database with data exported from a CMMS system or with new data records and creates a route by selecting files in order of intended inspection sequence. A route log file will be created and once uploaded to the camera will pull all relevant data sets into the camera. On-screen prompts will direct the user from point to point. An additional feature enables the user to add a point not on the current route and then synchronize the updated route log file if the new inspection point is intended to be included on a recurring basis.

Route Prompts Guide Data Collection

Once a route is created and uploaded to the camera, the camera presents prompts to help guide the user from point to point. It is possible to add descriptive information that gives the inspection some level of instruction about the point.

Return on Investment

In order to fully appreciate the impact of a comprehensive software suite (asset database, route management and report generation) we have constructed an analysis of costs of a thermography program and the potential improvements that can be realized with highly integrated in camera and PC host software. For this analysis we will make the following assumptions:

1. The cost of camera and software is $20,000¹
2. The burdened hourly salary of an infrared technician is $60 an hour or about $125,000 per year.
3. The technician uses the infrared camera 50% of the hours worked.
4. The thermography program documents 20 incidents per week or about 1000 per year.
5. The camera is a capitalized asset and is depreciated over 5 years

Yearly savings of nearly $14,000 can be realized

The ROI on productivity tools is very high since they are integrated into systems available for less than $20,000.

1 - The monthly costs for the camera, based on a 5-year or 60-month depreciation schedule, are about $350 per month. The costs for the infrared camera operator will be $1200 per week or $62,400 per year.

Conclusions

The largest cost in a thermography inspection program is the camera operator/technician. By focusing on incorporating advanced features including route management and in camera data logging operators can dramatically improve their programs efficiency and cost while improving work quality and ease operator training demands. Ongoing developments to integrate infrared inspection data into CMMS and asset performance software systems will result in the next step in convergence on the plant floor and continue the development of new and innovative solutions designed to improve overall facility operation and capital equipment availability.

Please visit us at http://www.electrophysics.com/rirez

For more comprehensive White Papers visit our online Knowledge Center http://www.electrophysics.com/thermal-imaging

Electrophysics - IR Cameras for Thermography Professionals 373 Route 46, Fairfield, NJ 07004 Phone: 973-882-0211 Fax: 973-882-0997

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How to Choose the Right IP Camera Software For Your Purpose?

There are many aspects of a video surveillance system. It's not just about IP cameras, which are just a part of the entire setup. Beyond these cameras exists IP camera software which is also critical in the effective performance of a video surveillance system. The software doesn't come as a package with the physical cameras. In fact, they have to be bought separately from the market. Hence, it becomes very important to choose a right one from the available lot.

There are many things to be looked into in buying software for your IP camera. But, before setting up the criteria's, it is very important for you know your needs first. What do you want your software to do? If you are looking for software that will enable you to do video recordings only, then any software in the market should serve your purpose. However, if you want the software to do many more things, then jolt down all the points and see if any of the available software meets them. Then take a wise decision.

IP Camera software come in different features each serving unique purposes. Some of them come with a capability of performing video analytics like facial recognition, object recognition, motion detection and so on. They are also programmed to notify you through regular updates and alerts of any new action taking place.

They can also be set to suit your specific needs like taking a course of action upon motion detection. Once you have short listed few software that could serve your purpose, do not forget to run their trial versions. Most of the software available in the market these days, offer them. They are generally available in the company's website. Upon running the software, check whether they meet your requirements or not. This sort of trial and error methods can be employed until a right kind of software is met.

Assuming that you have short listed few of them, check each one of them for their features or functions that will serve your purposes. See to it that they are easy to install and fun to use.

No doubt, each person's taste varies and with it the expectation too varies. So, do not go by what others have to comment on this software. Check them out from your own point of view. If you are happy with the product, go for it. On selecting software, perform all possible tests on it to ensure it stands out during each of those tests. A good and an original piece of software will come good in all situations. They will have more pluses than negatives.

Before making the final purchase of the software, check out its manufacturer. Get to know more about them. If they are a branded company, you have very little to worry about. If not, go to the corresponding company's website and learn more about their other products and services offered by them.

By doing so, you will be rest assured about the product and its functionality. Last but not the least, check out the warranty period and ask for a hand book of the software. They could be useful to you later.

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Buying a Digital Camera? Understand the Basics and Find the Best Equipment For Your Needs

It seems like everyone has a digital camera these days and digital cameras have revived the art of photography as a hobby. As digital camera manufacturers improve equipment in quality and price, more people are embracing the benefits of digital photography and putting their film cameras on the shelf. If youre looking to make the move to a digital understanding the basics of a digital camera can help guide you through understanding how the differences and similarities with film cameras can provide you with a digital camera that fits your needs.

My first digital camera has a 640 by 480 pixel resolution and saved images to floppy disks. It was a little clunky, but it worked well and I was happy with the results. Today, the quality of that camera would barely qualify as a web cam for some people. The technology curve continues to move along for digital cameras but today most digital cameras should be able to provide you with a simple point and click experience and provide enough resolution to print 4 by 6 inch prints that youll be happy to archive in a scrapbook.

The resolution of most digital cameras is measured today in mega pixels. This is a measure of the number of dots which are available to digitally describe the image as a computer file. A digital camera with a 3.1 mega pixel resolution is usually enough to produce pictures that look like a film print on a 4 by 6 print. Moving up to a digital camera with a 5.1 mega pixel resolution will provide a sharper image at the same print size. Can everyone tell the difference? No they cant. When shopping for a camera, dont be mesmerized by claims that you must have the very highest resolution to be happy with your digital pictures. Look at samples and select the camera that meets your price range and quality desires.

Generally, digital cameras with a resolution lower than 1 mega pixel are good for images you plan on emailing to people, or posting on the web, but the resolution is not high enough for quality prints. If you plan on making film-style prints of your pictures, you should make your minimum 3.1 mega pixels.

The next issue with digital cameras is how it gets the electricity it needs to function. Many cameras today use rechargeable batteries but some still use AA size batteries. If you plan on taking lots of pictures, a camera that uses disposable batteries can become a very expensive camera, but if the camera has a rechargeable battery with a short life between charges, you might find yourself without power when a great photo opportunity presents itself or you may be stuck buying an extra, and often expensive, rechargeable battery which is custom designed to only fit that specific camera. When you have made you short list of digital cameras meeting your quality requirements, be sure to compare battery life statistics from the manufacturer.

As with film cameras, most digital cameras have automatic settings that adjust to provide a point and shoot experience. Some cameras also have manual settings which mimic advanced film camera settings such as aperture and exposure. Digital cameras often have additional features which allow for special effects and even picture taking in very low light settings. These features may or may not be important to you in a digital camera. How often did you load black and white film in your film camera? Chances are these nice-to-have features are not a high priority for most digital camera owners.

Most of the digital cameras feature an LCD view screen. This lets you shoot the image perfectly and then to check it. and is probably one of the most appreciated features of a digital camera over a film camera. The LCD does use up electricity though and by turning your camera off when you are not shooting pictures will preserve battery life.

Most digital cameras use a removable memory card on which pictures are stored. If you have a computer with a built-in reader of a memory card, checking to see if the digital camera uses a compatible type of memory card can make it much easier for you to transfer images to your PC and reduce the expensive of a separate memory card reader. If your digital camera comes with a data transfer cable, keep in mind that the memory card readers are usually much faster and provide greater flexibility. Its best to keep the data transfer cable in the box.

Overall, most digital camera manufacturers have done an excellent job in making the transition from film cameras to digital cameras a painless one. By knowing some small details about the minor differences, you should have no problem finding a digital camera that you will enjoy and use frequently.

Dave Saunders is a certified nutritional educator and lifelong technologist. He lives in the Washington, DC area with his wife, Irene and writes about his many passions. While pursuing his own enjoyments in broadly experiencing life, Dave Saunders specializes in creating bridges between technical matters and practical application through his writings and lectures to help others create context and see new discoveries and technologies in more a practical light. You can find out more about digital cameras and digital photography at http://www.aboutdigitalcameras.com

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Photography For Beginners - Five Tips For Better Waterfall Photos

Waterfall photography is a favourite subject for many a nature photographer. In fact, a good waterfall can be a magnet for almost anyone with a camera.

Like any subject in nature photography, waterfall photos also come with their own set of challenges. A beginner can be disappointed with their results time and time again, simply due to simple mistakes that can be easily overcome. Really good waterfall photography is not about expensive equipment or hi-tech methods; just a decent camera and a basic understanding of a few manual settings.

In fact, a really good waterfall photograph probably owes more to good lighting and composition than to technology. This is great news; it means you can improve your waterfall photos no matter what sort of camera you have! Here are five simple tips to help you take some great waterfall photos of your own.

Waterfall Photography Tip #1. Choose the Right Weather Conditions. Many waterfalls are found in the rain forest, or in heavily wooded areas. That means the same rules of lighting that apply to rain forest photography also apply to waterfall photos. Most of the time you will get your best photos in overcast weather. Cloud cover creates even, low-contrast lighting that eliminates harsh patches of light and shade from your waterfall image. While we are on the subject of lighting; avoid using your flash in most situations. It will destroy the atmosphere created by the natural light.

You should also try to avoid windy days. If you are working with a slow shutter (see tip #2), you don't want the trees to be blowing about and blurring the background in your photo.

Waterfall Photography Tip #2. Experiment With Shutter Speeds and Carry a Tripod. You have surely seen the soft wispy effect photographers create by shooting flowing water at very slow shutter speeds. This is a popular technique and has great impact for some photos. However, it is not the only method you should try. Some photos can look great, but if you do all your photos this way it can become boring and repetitive. Also, the wispy effect just doesn't suit every waterfall. In my experience, cascading waterfalls that tumble over rocks and have several levels look great at slow speeds. I usually a shutter speed of one second. However, waterfalls that fall straight down over a ledge into a pool usually look better with a bit more definition; try a speed of about 30/sec or 15/sec. Experimenting with different speeds will always get you the best result in the end.

Regardless of the effect you are after, you should always have your tripod with you for waterfall photography. If you are in the forest on a cloudy day, the level of light will be very low, and you may find yourself forced to use very slow shutter speeds whether you like it or not.

Waterfall Photography Tip #3. Explore Downstream. When you arrive at your location, the first instinct is usually to stand right in front of the waterfall and take the most straightforward angle. However, the best result is often found when you explore downstream. You may find an angle where the stream cascades toward you, with the main waterfall in the background. Or you may be able to frame waterfall through the branches of the trees. There really is no end to the possibilities; the point is, there is never only one shot to take at a waterfall, and the obvious photo is not always the best.

Waterfall Photography Tip #4. Put You Wide-Angle Lens To Work. A wide-angle lens comes in handy for a few reasons. Firstly, it has a naturally strong depth of field. If you are using a slow shutter speed for the water, it is important to keep the rest of the photo sharp. If your main subject is moving and the surroundings are out of focus, your result will just be a big blur. Secondly, the wide-angle lens has an exaggerated sense of perspective, allowing your viewer to feel that they are looking up the stream or into the rain forest, not just at a flat picture.

Waterfall Photography Tip #4. Let The Flow Of Water Shape Your Composition. Whenever you compose a photo, you use the lines and shapes in the picture to create the best impact. The direction of movement in the water can create a powerful visual flow in your photograph. The viewer's eye will naturally follow the direction of the water, so you should use this to help shape your composition. If you stand downstream so that the stream flows toward the camera, you can create a distinct visual direction in your composition that will truly catch and lead the eye of the viewer.

So, there you have five very simple ways to take better waterfall photos. As in all nature photography, writing and reading about it is never as inspiring as getting out and doing it. I hope these tips give you some motivation to grab a friend, get out there and practice. Have fun!

Landscapes, wildlife, rain forests, waterfalls...Andrew Goodall's career in nature photography spans over 20 years. Check out Andrew's images and a great ebook on photography for beginners at http://www.naturesimage.com.au. Sign up to the online newsletter for even more great tips...it's free!

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Photography Posing Tips

Posing is one of the most crucial components to a good photograph. Posing can help you to obtain the memorable portrait from your photo. If posing is uncomfortable, it will show in the picture. So you should learn the different posing tips.

Photography posing tips:

1.Don't use a big smile for every pose. Sometimes try a small smile, to give some variety to your facial expressions.

2.Avoid having your arms hanging flat against your sides. Instead, bend your arms slightly, place your hands on your hips, or try other poses that involve alternate placements of the arms.

3.Practice each pose in front of a mirror until you feel comfortable and have the confidence.

4.Don't hold your breath during a pose. Stay relaxed and your photos will look as natural.

5.Wear comfort clothes. You feel so good in them and you can make this as casual or glamorous as you wish.

6.Bring changes of clothes, no matter what.

7.Very important element to consider in posing, the pose must appear naturally.

8.Keep your fingers slightly apart and pointed away from the lens. Let your hands fall naturally into position whenever possible.

9.Look away from the camera with a mix of head and eye poses. Looking off to the right or left side, or tiling your neck to either side can help you avoid direct eye contact with the camera.

10.When you look at your final images don't be critical of yourself. Find positive ways to improve your posing. Discover your strengths and weaknesses and shoot for the stars.

Follow these tips on posing for photography to make your photos impress and avoid some of the common mistakes.

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Using Nikon Equipment For Wildlife And Nature Photography

Choosing the Right Digital SLR for Your Nature Photography

It is very true that it doesn't matter what equipment you use -- it's what you do with the camera that matters. However, there is no question that when you're hiking through a thick jungle in the middle of central america you want to pack light. Even though the Nikon D2x has the prestige of being Nikon's premier "PRO" camera, you may not find it's the best fit for your nature work.

One of the first things you need to consider is how you're going to use the pictures. Look up the magazines you want to publish your work. Send in for "submission guidelines" and find out their minimum mega pixel count. The same is true for stock agencies -- browse around and decide which place you'd ultimately like to sell your work. Many organizations have their submission guideliens published on their websites. If you're more interested in learning and doing nature photography for your own pleasure then by all means buy the less expensive models. There's nothing wrong with a camera that takes a 5 or 6 megapixel image. You'll still be able to blow it up to poster size if you want a special print made.

Choosing the Right Digital SLR for Your Nature Photography

It is very true that it doesn't matter what equipment you use -- it's what you do with the camera that matters. However, there is no question that when you're hiking through a thick jungle in the middle of central america you want to pack light. Even though the Nikon D2x has the prestige of being Nikon's premier "PRO" camera, you may not find it's the best fit for your nature work.

One of the first things you need to consider is how you're going to use the pictures. Look up the magazines you want to publish your work. Send in for "submission guidelines" and find out their minimum mega pixel count. The same is true for stock agencies -- browse around and decide which place you'd ultimately like to sell your work. Many organizations have their submission guideliens published on their websites. If you're more interested in learning and doing nature photography for your own pleasure then by all means buy the less expensive models. There's nothing wrong with a camera that takes a 5 or 6 megapixel image. You'll still be able to blow it up to poster size if you want a special print made.

Magnification - Use it to your Advantage

For wildlife photographers in particular, the one advantage of shooting with any Nikon digital camera these days is the magnification factor. Rather than create a sensor the same size as one frame of 35mm film, Nikon and most other digital SLR camera manufacturers decided to create a sensor that is smaller than the 24x36mm standard frame of the older film models. Having a smaller sensor means you aren't going to capture all the information on the left and right and top and bottom of the frame. This may sound really bad... but there is no need to worry about what you haven't captured because the viewfinder has been adjusted so that what you see optically is what is captured in the digital file.

The result is that the camera multiplies the magnification of all the lenses. Nikon's magnification (depending on the camera you use) is around 1.5x. That means a 300mm lens is now magnified to 450mm. This is great news for wildlife photographers. The only drawback is that wider angle lenses (like a 17mm wide angle becomes a 25.5mm not-as-wide-angle lens. However, landscape photographers still have some options. I'll get to those in a bit.

Choosing the Right Lenses

Unfortunately, no one can tell you which lenses to buy or "how to build the perfect SLR system for nature photography." Again, it depends on the kinds of photos you like to take, your personal preference and the market where you want to sell your image.

The great advantage of Nikon cameras is that you can use older lenses on your body. This allows a lot more freedom of choice and means you can get really amazing older lenses at shockingly affordable prices.

I'll give you an example. One of my favorite lenses is a 300mm f4 manual focus prime lens from the 1970s. It cost only $350 CAD (meaning it would be much less expensive in American dollars) and the glass is still ED! Nikon especially developed ED (Extra-low Dispersion) glass to provide pricise optical colour correction. This special glass (not available in all Nikon lenses) provides the sharp, clear resolution required for superb photographs. The other advantage (at least for me since I generally hike to find wildlife) is that it weighs less and packs small.

Another example -- the 50mm 1.4 auto focus lens (that's right f1.4!) sells for only $166 CAD (again, much less in American dollars). It's actually an 80mm on your body. That means you have a prime lens at 80mm that can take pictures in the darkest settings. And, because Nikon has been perfecting its 50mm lenses since its inception as a company (Nikon used to include a 50mm on all its bodies until well into the late 1980s), it's one of Nikon's very best lenses. It's cheap because 50mm on a 35mm camera is kind of pooey. But 80mm on a digial camera is marvelous. edit
edit caption:
Magnification - Use it to your Advantage

For wildlife photographers in particular, the one advantage of shooting with any Nikon digital camera these days is the magnification factor. Rather than create a sensor the same size as one frame of 35mm film, Nikon and most other digital SLR camera manufacturers decided to create a sensor that is smaller than the 24x36mm standard frame of the older film models. Having a smaller sensor means you aren't going to capture all the information on the left and right and top and bottom of the frame. This may sound really bad... but there is no need to worry about what you haven't captured because the viewfinder has been adjusted so that what you see optically is what is captured in the digital file.

The result is that the camera multiplies the magnification of all the lenses. Nikon's magnification (depending on the camera you use) is around 1.5x. That means a 300mm lens is now magnified to 450mm. This is great news for wildlife photographers. The only drawback is that wider angle lenses (like a 17mm wide angle becomes a 25.5mm not-as-wide-angle lens. However, landscape photographers still have some options. I'll get to those in a bit.

Choosing the Right Lenses for your Style of Nature Photography

Unfortunately, no one can tell you which lenses to buy or "how to build the perfect SLR system for nature photography." Again, it depends on the kinds of photos you like to take, your personal preference and the market where you want to sell your image.

The great advantage of Nikon cameras is that you can use older lenses on your body. This allows a lot more freedom of choice and means you can get really amazing older lenses at shockingly affordable prices.

I'll give you an example. One of my favorite lenses is a 300mm f4 manual focus prime lens from the 1970s. It cost only $350 CAD (meaning it would be much less expensive in American dollars) and the glass is still ED! Nikon especially developed ED (Extra-low Dispersion) glass to provide pricise optical colour correction. This special glass (not available in all Nikon lenses) provides the sharp, clear resolution required for superb photographs. The other advantage (at least for me since I generally hike to find wildlife) is that it weighs less and packs small.

Another example -- the 50mm 1.4 auto focus lens (that's right f1.4!) sells for only $166 CAD (again, much less in American dollars). It's actually an 80mm on your body. That means you have a prime lens at 80mm that can take pictures in the darkest settings. And, because Nikon has been perfecting its 50mm lenses since its inception as a company (Nikon used to include a 50mm on all its bodies until well into the late 1980s), it's one of Nikon's very best lenses. It's cheap because 50mm on a 35mm camera is kind of pooey. But 80mm on a digial camera is marvelous.

Lenses - Pros and Cons

While I can't tell you the right lenses to buy for your particualr needs... I can give you some feedback/impressions about the particular lenses I am using or have used in the past.

Nikkor 10.5mm f2.8 Fisheye: I never thought such a specialized lens could provide me with so much use. For more information, I've written a short article about how to use a fisheye lens in your nature photography athttp://www.naturestocklibrary.com/gallery/2472892

Nikkor 18-70mm f/3.5-4.5G ED-IF AF-S DX Zoom - This lens is all right. I bought it as a kit lens a long time ago and it's served well for the wider range. I wish I had saved pennies and purchased a 2.8 that offered a wider range (like a 12mm to 25mm).

Tamron 17-35mm f2.8: This is a great lens but, alas, I purchased it for a film camera and the magnification on my digital body means that it isn't that useful in my photography right now. I'm planning on selling it (along with my other wide angle) and buying a 2.8 that has a wider range so I can do more with landscape photography.

Nikkor 50mm f/1.4D AF - This is the same lens I discussed earlier. It's small, has a low price tag, allows you to shoot in really dark situations and it's an 80mm on a digital camera. You really can't go wrong.

Nikkor Nikon 80-200mm f2.8D ED AF Zoom - This is a fantastic lens that stays at 2.8 no matter if you are shooting at 80 or 200mm. Again, magnification means it's actually a 300mm zoom. Zooms are great because you can adjust your focus distance depending on where your subject is located. Not so great with subjects that are always far away (like the macaws seen here), but really awesome for docile wildlife like deer. It also has a macro function that works beautifully.

Nikkor 105mm f/2.8D AF Micro, or 105 Micro for short - This is probably Nikon's most used macro lens, probably because the lens can serve triple duty. First of all, it is a macro photography lens and it allows you to take photographs at a 1:1 reproduction ratio (on a 35mm body), which means that a 24 by 36 mm subject will fill the entire frame. Second, it makes a very good general purpose short telephoto lens. Third, it is also at least a very reasonable portrait lens (although, with magnification it may be too much of a telephoto on a digital SLR). I really love this lens for macro photography.

Nikkor 300mm f4 manual focus - While a "prime" lens doesn't offer the flexibilty of a zoom... it's still an ideal choice for getting the best results in your work. This is the same lens I discussed earlier and, considering it cost only $350, it's light & the focusing is so smooth, it's one of my favorite lenses. I never leave home without it.

Nikkor 600mm f5.6 manual focus ED Glass - Again, I paid a lot less for this lens (which is actually a hefty 900mm on a digital body and also has the famous Nikon ED glass!!) because it's an older model and it's manual focus. I spent $1,599 USD - but consider that a newer model would go for at least $5,000 to $25,000, depending on the f stop. Some may argue that 5.6 is a bit too narrow of an f stop but I find the compression with telephoto lenses means that I wouldn't want to shoot a 900mm subject with anything wider than 5.6 (2.8 would make the focus far too shallow on such a far away subject). Although... for closer subjects 2.8 is magic!

In the past, I have also used the Sigma 70-300mm 3.5-5.6 and the Tamron 200-400mm 3.5-5.6 and both served well as affordable zooms while I was learning about photography. I have since sold them to pay for the lenses I currently use.

Lenses - Pros and Cons

While I can't tell you the right lenses to buy for your particualr needs... I can give you some feedback/impressions about the particular lenses I am using or have used in the past.

• Nikkor 10.5mm f2.8 Fisheye: I never thought such a specialized lens could provide me with so much use. For more information, I've written a short article about how to use a fisheye lens in your nature photography at http://www.naturestocklibrary.com/gallery/2472892
• Nikkor 18-70mm f/3.5-4.5G ED-IF AF-S DX Zoom - This lens is all right. I bought it as a kit lens a long time ago and it's served well for the wider range. I wish I had saved pennies and purchased a 2.8 that offered a wider range (like a 12mm to 25mm).
• Tamron 17-35mm f2.8: This is a great lens but, alas, I purchased it for a film camera and the magnification on my digital body means that it isn't that useful in my photography right now. I'm planning on selling it (along with my other wide angle) and buying a 2.8 that has a wider range so I can do more with landscape photography.
• Nikkor 50mm f/1.4D AF - This is the same lens I discussed earlier. It's small, has a low price tag, allows you to shoot in really dark situations and it's an 80mm on a digital camera. You really can't go wrong.
• Nikkor Nikon 80-200mm f2.8D ED AF Zoom - This is a fantastic lens that stays at 2.8 no matter if you are shooting at 80 or 200mm. Again, magnification means it's actually a 300mm zoom. Zooms are great because you can adjust your focus distance depending on where your subject is located. Not so great with subjects that are always far away (like the macaws seen here), but really awesome for docile wildlife like deer. It also has a macro function that works beautifully.
• Nikkor 105mm f/2.8D AF Micro, or 105 Micro for short - This is probably Nikon's most used macro lens, probably because the lens can serve triple duty. First of all, it is a macro photography lens and it allows you to take photographs at a 1:1 reproduction ratio (on a 35mm body), which means that a 24 by 36 mm subject will fill the entire frame. Second, it makes a very good general purpose short telephoto lens. Third, it is also at least a very reasonable portrait lens (although, with magnification it may be too much of a telephoto on a digital SLR). I really love this lens for macro photography.
• Nikkor 300mm f4 manual focus - While a "prime" lens doesn't offer the flexibilty of a zoom... it's still an ideal choice for getting the best results in your work. This is the same lens I discussed earlier and, considering it cost only $350, it's light & the focusing is so smooth, it's one of my favorite lenses. I never leave home without it.
• Nikkor 600mm f5.6 manual focus ED Glass - Again, I paid a lot less for this lens (which is actually a hefty 900mm on a digital body and also has the famous Nikon ED glass!!) because it's an older model and it's manual focus. I spent $1,599 USD - but consider that a newer model would go for at least $5,000 to $25,000, depending on the f stop. Some may argue that 5.6 is a bit too narrow of an f stop but I find the compression with telephoto lenses means that I wouldn't want to shoot a 900mm subject with anything wider than 5.6 (2.8 would make the focus far too shallow on such a far away subject). Although... for closer subjects 2.8 is magic!
• In the past, I have also used the Sigma 70-300mm 3.5-5.6 and the Tamron 200-400mm 3.5-5.6 and both served well as affordable zooms while I was learning about photography. I have since sold them to pay for the lenses I currently use.

Why I LOVE and Highly Recommend Manual Focus

I used to be terrified of focusing manually. On most auto focus lenses, the focus ring is small and more difficult to use... also there's something really easy about just allowing your camera to do the focusing work for you. I was afraid I couldn't react quickly enough to moving subjects and that I wouldn't be as good as my camera's auto focus. Now I see the errors of my ways.

For wildlife (or people), you want to make sure the main subject's eyes are in perfect focus. You won't be able to sell any image if the eyes aren't in focus. If you shoot a subject 10 feet away at 2.8 and use auto focus, the camera will choose the object closer to the camera (usually the nose, cheek, or eye brow... not the eye itself). A 2.8 aperture means that you will have such a soft depth of field that the eyes will appear out of focus. The older (and more affordable) manual focus lenses have the most beautiful focusing rings you've ever seen. I find it much easier to use manual focus on my 300mm f4 lens from the 1970s than my newer autofocus 80-200mm zoom (using the auto focus feature). Unfortuately, I find the focusing ring on the newer models a little bit pooey... but I did want to make the case for why I think manual focus lenses from the 1970s are the greatest things since sliced bread!

Rule of Thumb for Fast Subjects

You may already be aware that your shutter speed should be at least the same as the distance of your lens. For instance, you need to shoot at least 1/300th of a second if you are using a 300mm lens or hand shake will make your picture look really blurry. And anything larger than 300mm should be put on a tripod (preferably one with a ball head for wildlife work). With magnification, you may be able to get away with shooting a 300mm (a 450mm on your digital) hand-held... at 1/450th of a second or higher...)in a pinch... but investing in a good ball head tripod will really improve your results if your lens is higher than 300mm.

Back on the subject of pairing your shutter speed with lens distance... if you are currently shooting P or Auto it's a good idea to change to shutter priority instead. If you're shooting with a 200mm make sure your shutter is set at 1/300 because of the magnification. All modern digital cameras will then set the aperture to pair with the shutter speed. At the same time, practicing photography on manual settings is always a good idea because it will offer you greater control.

I could write for days about shooting nature and wildlife photography with Nikon equipment but I'll stop for now. You're welcome to read more of my nature photography articles online at http://www.naturestocklibrary.com/Wildlife%20Photography%20Articles.

Christina Craft is a professional wildlife and nature photographer living in beautiful Victoria British Columbia. She has a diploma from the Western Academy of Photography where she won the school's highest honour - "Best Overall Student." She also has a master's degree in journalism. You can find out more about her and see examples of her work at http://www.naturestocklibrary.com

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Finding Inspiration in Photography

Many people get into the business of photography because they enjoy the creativity. They love the chance to express themselves thru their photographs, their prints, their "artistic vision". Other people get into photography from the technical side. In the days of film it was the appeal of chemistry, or the mystery of the dark room work that drew them. In the world of digital photography it's often the technology person who loves to play with the images on the computer.

Regardless of why a person gets into photography, there comes a time when they need help finding some inspiration. How do you keep from letting another assignment be "just another assignment"? How do you find the beauty and uniqueness in what you need to photograph?

I like to share the lesson that my high school photography teacher taught. A good way to develop a creative eye is to limit the tools at your disposal, and to focus on one subject for a while. The example given was to go out into the desert (this was Palm Springs High School). Once out there, take only a single fixed lens and find a plant or flower that might be an interesting subject. This is the hard part: spend a full hour taking photographs of that subject. Try all kinds of angles. Crop the image one way, then try another.

This really does work. Before long you understand how your lens can determine the image's look and how your camera's distance from the subject will change the story in the photograph. I find this helpful when I have what I consider a boring subject to photograph.

Often times I'm hired to photograph the setup of a corporate event, the decor before a party starts. But when I show up all I see is a few flowers on the tables and some lights on the wall. It doesn't inspire me at all. This is especially try when the previous job was something very extravagant. So what do I do? I hear my teacher's voice telling me to think of the basics.

The basics in photography are light, color, contrast and composition. So I pull out my favorite lens (the lens really does make a difference) and start looking thru it. Since I like flowers, I get up close and find some nice form. I try different composition and angles. Sometimes the light is different on one side than another. As I back off I might find a way that the flowers on the table relate to the scene in the rest of the room. Maybe the stage is lit in a way that compliments the flowers. Or maybe I can angle the photograph so that the stage and table tell a story of what the room felt like. Before long my time is up and I feel like I just barely started. There is so much more to photograph!

It all comes from going back to the basics. Thinking simple. Breaking it down to small parts then before long, inspiration will come!

Palm Springs photographer Rand Larson specializes in photography for Corporate Events, Weddings and Interiors. His work can be seen at http://www.morningstarproductions.com

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How You Can Make The Most Of Your Online Store With Product Photography

What is the perfect recipe for taking great product pictures - simply a digital camera, mixed in with a tablespoon of patience and a tea spoon of enthusiasm - topped off with a sprinkling of light and you are set to make the perfect dish.

Digital cameras are great - they allow you to point and click and try again until you have the perfect picture.

We suggest a digital camera for convenience, control and long-term cost savings. Foremost look for a camera with a broad lens with multipoint focus. Secondarily get a camera with 5-plus megapixel resolution. A 2 megapixel camera is be fine for many common page product photographs with tight cropping but is inadequate for images larger than 3" square.

Most importantly keep the background simple! Patterns and lines distract from the product. Use plain fabrics and avoid patterned lace. Try using paper that is wide and comes on a roll for a more professional look such as backing wallpaper.

Try not to angle your camera so that it appears as though you are looking down at the product. This could imply inferior quality to your product. Conversely, don't angle your camera to look up at your product. As a general rule if you set your camera exactly parallel to the product then raise it about six inches, your angle of view should fall at the ideal point.

Use lots of light to illuminate the picture. Digital cameras are more versatile with lighting so you should be able to adjust your settings in order for your pictures to be just right. If too much light or the flash is too strong it wipes out the details of your product in the final picture. A handy hint here is to cover the flash with a piece of white tissue paper to diffuse the light. Also shoot near a window to take advantage of the natural daylight to take perfect North East product pictures.

There are many reasons why a photo can become out of focus, but this most commonly occurs when you are shooting out of the camera lens's "focal range". In other words you are simply too close to the product. Try backing up, some cameras need up to four feet of distance between what you are shooting and the lens to focus correctly.

Nothing is worse than taking the time to shoot a photograph only to have it turn out blurry. Especially for Product Photography Newcastle always use a tripod because the wide aperture setting and indoor lighting will require long exposure times.

Cropping refers to the amount of empty space around the product in the photo. If the image is cropped too closely the product can appear to be boxed in. Too much space and the product can lose impact.

If you are taking pictures of complementary products try to use goof colour combinations. This rule also applies to the product and its relationship to the background. A brown basket on a bright pink background may not be a good choice but putting it on say a green background will complement each other.

If more than one product appears in a photo be sure not to shoot them together too closely. Don't place one product too far from the other from front to back, a distance of as little as 4 inches can make the other products out of focus. For standard catalogue product shots you want the whole product in focus.

By following these simple tips you can improve your picture taking. Always remember, take your time, pay attention to the details and most of all have fun! Your patience, enthusiasm and creativity will always shine through in the final product photographs for your online store.

For More information Visit www.gilbertjohnston.co.uk

Mancala Technology are specialist in Web Design Newcastle.

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The New Study of Sumi-E Photography - The Art of Modern Ink Style Photography

Sumi-e photography is photography in the style of the Japanese ink brush painters - not only in the colours and textures, but in the subject matter as well. Neither filters nor digital manipulation are used. Rather, the natural light is captured from certain angles with a specific aperture and shutter speed to create an effect which is somewhere between a painting and a photo. The backgrounds emulate washi, or Japanese hand made paper, and 'empty space' is left for calligraphy.

As the photos are printed onto an appropriate medium (water-colour paper, canvas), the calligraphy can be painted directly onto the photos - every print retains its individual character.

Similar to the masters of the traditional art form, it requires dedication, passion, concentration and above all clarity of the mind and heart to find truth and love in the new art.

The History of Sumi-e

The traditional style of ink painting in Japan has a rich and vivid history that spans over centuries. The "sumi-e" style was introduced Japan in mid-14th century by Korean missionaries. Trained in the art of concentration, clarity and simplicity, Sumi-e's earliest practitioners were the highly disciplined monks. The masters dedicated themselves to the art form through years of reflection and strict discipline. In preparation they would make ink by grinding a solid ink stick (formed from the soot of pine branches) on stone and mixing it with water. Loading the brush (fude) they composed poems, stories, and characters in unique handwritten fonts on the delicate rice paper or silk scroll.

Prominent masters of the style are Sesshu Toyo, Tensho Shubun and Josetsu.

Marcel Rawady is the author of this article and currently works creating sumi-e photographs on his site Sumie Photography With passion, creativity and dedication he is able to communicate his love of nature and landscapes in his work, and is able to explore a new realm of photography.

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Makeup in Fashion Photography

The Makeup Artist

There are lots of make up artist in the world, but to become an artist you must have all the experience you can get. You need to know and master the techniques of application of fashion makeup, you must know about the colour schemes. It is not as easy as it looks and there are a lot of rules. This does not mean that you have to stick to those rules but to use them as a guideline for your work. Practice makes perfect. Inspire yourself with everything that is around you. You will end up looking at nature or buildings and you see something that inspires you, write it down and you will see that idea pop up in any of your artistic fashion makeup work sooner or later.

The Photographer

Fashion photography is not just taking a photo of model. There is alot of work behind that photograph. It is not only the lighting setup or the background used. Styling the model with appropriate makeup takes alot of the merit in having a good or bad photograph. Make up should not be to much overdone to the point that lighting or the setup of the stage to become unnoticed. Everything must be balanced to produce one whole complete picture.

The Camera

There is alot of different types of makeup. Makeup done for going to work or for a saturday night out or just to look good in your everyday life normally is not good for fashion photography and to be photographed. Special techniques and different colour schemes are necessary to be mastered to become a good effective fashion makeup artist that is dedicated to photography.

There are lots of make up artist in the world, but to become an artist you must have all the experience you can get. You need to know and master the techniques of application of fashion makeup, you must know about the colour schemes. It is not as easy as it looks and there are a lot of rules. This does not mean that you have to stick to those rules but to use them as a guideline for your work.

Fashion, Glamour Makeup at http://www.FashionPhotographyMakeup.com.

Portrait and fashion Photography at http://www.PortraitStudioLighting.com.

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Sell Your House With Your Home Security Camera System and Get Cash in a Flash

Get Rid of Your House Fast Before Foreclosure Calls

Your neighbors have gone and you're the only one left standing. Although you have not received a foreclosure warning, get on butt and work on your house. You can still get a hefty price for it and have a little extra to begin life somewhere. How about installing a security camera system in your house? It may cost, but the rewards are greater - some cash and a salvaged credit score.

If others have jazzed their place with landscaping and Jacuzzis, install a digital home security camera in every nook and cranny of the house to impress your prospective buyers. This is much cheaper than getting a licensed landscape artist or getting a posh Jacuzzi. The security gadgets in the house boost its marketability. If you decide to sell through you'll even unload the house faster than you can holler SOLD!

With all the repairs done, and addition of a home security camera indoors and outdoors, you're ready to do business. You can beat the deadline days or months ahead before the mortgage reps come a-knocking at your door. To get fast cash for your house you have two options:

* Sell your house to a broker
* Sell the house yourself

However, selling your house to a broker speeds up the process. In hours or weeks, your house can be sold for a nice profit. If you opt to sell yourself, you go through the hurdles of advertising and scouting for buyers. It takes months before you get a serious buyer for your house and maybe by that time, foreclosure proceedings are in earnest.

How to Stage Your Home for a Good Sell

When a prospective buyers looks at your house, he is looking at his home not at the possibilities the house as a nice home for his family. He sees the cracking paint, not the color he's want to use on the ceilings and walls; he sees empty soda cans and empty bottles in the backyard, not the possibility of an herb garden. What he sees is judged.

Start sprucing up your house and get rid of the clutter. Install the home security camera system, and rearrange furniture and put on fresh drapes. Fix the leaking tap in the bath and add a dash of colorful accessories in the living room, kitchen, dining room, and bathrooms and bedrooms. If you can impress your mother-in-law with the interior revamp, your customer will be doubly impressed.

When showing him around, always emphasize that you have a home security camera here or there, and lead them to the monitors so they can see for themselves the efficiency and the convenience of having a home surveillance system.

When the first customer comes up the walk, position everybody where they can be seen by the home security camera set in every focal area of the house and let them do their thing. Your wife cooking in the kitchen, son watching TV in the living room, baby in the nursery - all of the home scenes are registered on the monitors. Don't you think this is impressive enough? You are assured of cash in a flash for playing it smart.

A quality home security camera or surveillance camera should boost your home surveillance. For the best products online, visit Video-Surveillance-Guide.com now.

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Photographing Twins

Capturing a portrait of twins compared to one person is more than twice as difficult. For a good comparison while retaining individual characteristics, all eyes must be focused at one point. There is a tendency to place the twins on a bench which unfortunately puts them both at the same height. This produces a static look and may lead the viewer to place false emphasis on minor height differences. Many methods can be used to place the twins at different heights. The ideal configuration is one in which the chin of the lower subject is even with the eyes of the upper subject.

Many methods can be used to attain this height difference. A small (four inch) riser can be placed under one subject or one subject can be standing. A small chair for one subject and the floor for the second satisfies the composition for a full length portrait. Teens to adults can be photographed one in an arm chair and one on the arm.
Some sporty poses have one kneeling on one knee and the other sitting back on his heels. The aim is to make a diagonal of a line drawn between the faces. This has the effect of a more dynamic and energetic composition.

For twins portraits that have a priority to compare faces, it is important to make sure that the turn of the faces is identical. If the differences in facial characteristics is important, the body angle and head angle may be slightly different. Many more exposures should be taken in order to insure there are enough good poses. Blinks, off looks and bad expressions have to be discarded.

Triplets portraiture follow the same rules with the addition of the third subject. A constant flow of conversation is helpful in keeping the triplets attention on the photographer. Make sure no two heads are in the same plane and that all three heads are the same distance from the camera. This is to minimize any effects of foreshortening. A longer than normal telephoto lens can be used to help in this department. If identical clothing is worn, extra attention should be placed in arranging the clothing for a neat effect. Inevitably, comparisons will be made. Facial expressions that are on the moderate side will help create a nicer twins portrait. Buddy pictures are ideal for twins. Arms around shoulders, leaning on one another and interaction shots (reading, gaming) play up the closeness of twins. Be sure to have twice as much fun!

Retired portrait photographer. Comments welcome.

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What Is A Security Camera Video Capture Card?

It's no longer mandatory to buy a complete surveillance system before you can hook the safety of your home and property to a digital security system. Your computer, two cameras, and a security video capture card will do the trick. But what is this card that makes the system work?

The Security Camera Video Capture Card

Your computer becomes a digital video recorder once you hook up a camera or video capture card. There are several breeds of camera video capture cards, and these are used for varied purposes ranging from taping a TV program, editing video images, or capturing images from different cameras.

The images from the TV, video, or cameras are transmitted into the computer's hard disk, which also automatically stores the signals or recording. Your computer instantly becomes the nucleus of a video surveillance system. Translated, this simply means that with a few cameras and a security camera video capture card, your computer takes on a different but important role in your household.

The video capture card is attached through your computer's port using a USB 2.0 cable, and once installed, works to convert the images from the video or cameras into a digital format that appears as clear or vivid images on the computer's monitor. The hardware serves also serves as a built-in web server. You also get to enjoy live streaming directly from the Internet.

With this hardware, it is possible for you to install a surveillance system using 4 cameras, and you can view the images all at once in a single monitor! Just like in those old spy movie reruns, you have watched a hundred times.

Is The Video Card Costly?

Think about the card in terms of the protection of your hearth and home. The cost of the security camera video capture card becomes relative to the purpose and a $1,500 or $315 card is worth its price. Penny-pinching is out of the question when you are already using your computer for your video security system. Haven't you saved hundreds just using your computer?

Your choice of video card will also depend highly on the functionality you demand from your security system. Are you using more than four cameras? Do you need a 24/7 recording, or do you only need the system to detect and give the alarm for motion detection?

The choice is yours, if you want to a $314 card or a $1,500 card that can show off many tricks. Remember that if you're starting a surveillance system from scratch, meaning you're getting an entire package, you'll be spending something like $2,000 to $25,000, and it does not include the installation of the camera that runs about $500 to $1,000 per camera.

The cost of the security camera video capture card is peanuts compared to starter surveillance kit inclusive of monitors and DVR recorders. In the scheme of things, the video capture card is not pricey.

In a nutshell, the video capture card is a piece of technology that makes video surveillance affordable without compromising video quality. Since this simple hardware is the plug and play type of installation, there won't be much problem in setting up the system.

The safety of your home and business property can be secured with just a small piece of security camera video capture card, your computer and a few cameras of different functionality. So what are you waiting for?

Video surveillance cannot be had without a security camera video capture card, digital video recorder hard drive, and DVR server. For hot deals, visit Video-Surveillance-Guide.com today.

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Security Camera - Choosing The Best Lens (Focal Length)

This article assumes that you are choosing to buy a security camera with a FIXED focal length lens as opposed to a VARIABLE focal length lens. Variable focal length cameras are becoming more commonly available. However, be aware that on average cameras with a variable focal length lens cost significantly more than those with fixed lenses. It costs more to manufacture a good quality variable focal length lens and it's also a challenge to weatherproof a varifocal camera for use outdoors due to the fact that the lens needs to turn to adjust the focal length. The large commercial surveillance cameras that have a zoom lens are usually housed in a weatherproof housing for outdoor use. This really isn't a practical security camera for the homeowner or small business owner though, due to its appearance and cost.

Fixed lenses are commonly seen in the small, easily concealed weatherproof 'bullet' cameras that are sealed, and fairly inexpensive. Therefore, the fixed lens is still a mainstay of video surveillance systems for the general consumer. Choosing the best focal length for your particular situation is important. You need to ask yourself these key questions: Is the camera just going to be used for a wide coverage (say to cover the parking lot at my business or my front yard) to monitor general activity with little detail? Is the camera going to be used to cover a specific narrow target area (say an entrance way or doorway) where I want to identify the face of the subject, and therefore need greater magnification?

Here are some steps that may be useful in determining the best focal length security camera:

Step 1: First, determine the target distance - that is how far away your subject is likely to be. The idea here is to ascertain the target distance based on the situation. It's not an exact assessment, but choose a target distance that is representative of the area you want to cover. For example, if you want the security camera to keep watch over your car parked in the driveway, choose a spot to mount the camera and then measure the distance from the camera to the far end of the car furthest from the camera. That way you're able to cover the car and the surrounding area that a perpetrator might have to cross in order to access your car. The idea is to choose an average distance away from the camera that the perpetrator is likely to be.

Step 2: Next, determine the width of the target area - that is the width of the area that you want the camera to cover. You want to choose a coverage area that is wide enough to capture the action, but not so wide that the magnification is diluted. Remember there is a trade off between coverage area and magnification, in that if you increase one you'll decrease the other (all other things being equal).

Step 3: Determine the CCD chip format size of your camera. If you don't know this, then ask the vendor that you purchased it from. Better still, find out the CCD format size BEFORE you buy it. The CCD sensor acts like the 'eye' of the camera. The lens of the camera focuses incoming light onto the CCD chip which then converts it to a video signal using some very fancy circuitry. The focal length is the distance from the lens to the surface of the CCD sensor.

Step 4: Go to an online lens calculator (see website at bottom of this article).

Step 5: Enter the CCD format size (BE SURE TO CHOOSE THE CORRECT CCD SIZE!), target distance and target area and click the 'Calculate' button to get the focal length.

Step 6: You'll notice that it's probably some odd number that does not match the standard focal lengths that are available in the security camera market. That's ok. The idea is to choose the focal length that is closest to the one that you calculated. Some common standard focal lengths for security cameras are 3.6 mm (wide angle), 6 mm, and 16 mm. If the focal length that you calculated is is in between a standard size then you need to choose the one that you think is best for your particular application.

Here's where you need to make a decision as to whether you want more magnification or greater coverage area. If you want more magnification then you would choose the longer focal length, if you want a wider coverage area then choose the smaller focal length.

For example, let's say that you have a 1/3 inch CCD camera and your target distance is 25 ft. and your desired target width is 15 ft. Go to the lens calculator, enter the information, click 'calculate' and the answer is 8 mm. Perhaps the type of surveillance camera that you want to buy doesn't come with an 8 mm lens as an option. You could use a 6 mm lens and it would most likely be fine since the 6 mm lens will actually cover a slightly wider area than the 8 mm. While the 6 mm lens does cover a wider area, you won't get quite as much magnification with it as you would with the 8 mm lens. Remember, there is a trade-off between magnification of detail and coverage area!

If you want a better chance of identifying your subject at a distance you might want to go with the stronger focal length of say 16 mm to give you better detail. Keep in mind though, the field of view will be narrower which entails a smaller coverage area. For a 1/3 inch CCD, with the target distance at 25 ft., using a 16 mm lens gives you are coverage width of only 7.5 ft. This lens may help you get a subject's face in detail, but you may just miss him if he doesn't walk through the narrow target area! (This high magnification focal length might be good for a doorway or entrance that is a narrow target area is or if your target is at a greater distance).

What about the 'height' of the coverage area? For most surveillance cameras, the height of the coverage area is about 3/4 of the width (4 by 3 aspect ratio). So just multiply the width by 0.75 to obtain the height of coverage area.

For additional information and a free online lens calculator please visit http://www.HowToSurveillance.com

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Digital Photo: Things to Know

The best thing about a digital photo is that you can manipulate it to the extent of your imagination. This manipulation can be achieved thanks to various software packages available on the market, varying in complexity from the feature packed Adobe Photoshop to Paint Shop Pro.

Still, there is magic when a digital photo is modified by experienced hands and eyes, allowing that unbelievable moment to be captured in such a way as to never be forgotten, but even then they can be refined further. It is the story or the impression behind that moment that keeps the viewer enamoured with the photo for a longer period of time.

It takes time to become a perfect photographer and one needs to grow though experimentation and experiences.

However a basic knowledge of the techniques of photographing is must. A digital camera is not all that is required to make a good photographer.

Primarily, know your camera well. Read the manual top to bottom, and then go out to play with the machine.

Now come back to the basics and learn about other things like exposure, shutter speed, aperture etc that helps you to customize your digital photo in real time. You can find a lot of hand books online and offline to get an initial idea of how this is achieved.

As a brief explanation of some of the primary terms; exposure is the point in the process of taking photo when the light sensitive film or sensor is exposed to a light source. Over or under exposure may destroy the image, so be careful while setting it in your digital camera and capturing the photo.

Shutter speed is the time period for which the shutter is held open for light to reach the digital photo sensor. Depending on the variations of combinations of lens aperture and sensors sensibility, it regulates how much light the camera will record when taking a digital photo. Shutter speed can directly affect the quality of your digital photo dependant on the situation and whether the object is moving or still.

An aperture is a hole or the gap through which light enters into the camera sensor or the film.

One should always remember that they cannot go far when skipping the basics of the trade when taking these elements into consideration.

There are so many other important aspects that you need to know for taking visually good digital photo. We will come to them later.

Now, when you go out again to play with your digital camera, try to realise the potential for variance with all aspects mentioned here. With a digital camera you always have the option to know about the quality of the photo without taking a print.

One last thought: while taking a digital photo try to sort out by yourself the relationship between object and film-depth.

Last minute experiment: keeping camera settings same, change the location of the object in respect to the frame. Download these digital photos in your computer and study them critically and objectively.

You have all the answers.

John Oxton is a professional photographer, printer and a freelance investigative writer. For more information regarding John Oxton is a professional photographer, printer and a freelance investigative writer. For more information regarding digital photo, and cheap online prints he recommends you to visit, digital photo and cheap online prints he recommends you to visit, http://www.colorama.co.uk/

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Tips For Taking Better Photos With Your Digital Camera

Why are my photos so dark? Why are my pictures blown out? How do I get rid of red eye? Here are some simple tips that will produce better photos.

Lighting is extremely important when taking photos. Natural light is the best. Photos taken on a slightly overcast day will give the best results. If you are taking pictures on a sunny day, try to find some shade. Avoid having your subjects facing the sun because there will be a tendency to want to squint. Sunlight behind the subject will tend to produce a photo that is underexposed. If you are taking pictures indoors you will most like want to use a flash. Try to stay far enough away from the subject so the flash doesn't cause too much overexposure. Red eye is cause by the light from the flash reflecting off the retina in the back of the eye. Red eye is easily removed by using the software applications that are usually bundled with your digital camera. You can also use applications like iPhoto and Adobe Photoshop.

Most digital cameras also come with different settings to use in unique situations. Often called scene modes, you are able to select a mode that relates to the situation that the photo is being shot. Samples of these modes are beach, snow, fireworks, and kids and pets. These settings adjust the exposure of the camera to give the best results. It is best to test these and see which works for you. Take several photos of your subjects. The nice thing about digital cameras is that they come equipped with viewers and you can keep or delete the photos before you download them to your computer or printer.

Technology keeps advancing faster than you can keep up with. This case is true with digital cameras as well. Cameras keep getting smaller and the megapixels get higher. Don't be mislead, however, by a camera that has the capability of taking 12 megapixel images is better than a camera that only takes 8 megapixel images. Some of the newer 12 mp cameras are smaller than their predecessors and therefore have smaller CCD sensors (This is part takes the light that enters the lens and translates it into a digital signal). If your 8mp camera has a larger CCD sensor, it will be able to pickup a larger range of colors than your smaller 12mp camera creating a higher quality photo. The megapixel size of your camera doesn't have anything to do with the quality of photos that you take, only the size of photos you take. The higher megapixel size also allows you to crop photos and still maintain a decent resolution for printing purposes.

You will find that the more you use your digital camera and practice with the different settings the better pictures you will take.

Matt Swendseid is an author for http://www.ticklemebabyprints.com, providing excited new mothers unique and one of a kind photo birth announcements along with coordinated thank you cards, return labels and stickers, desk and wall calendars and custom collage posters.

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The Memory Card - What Can You Do With Old Photo Gear?

Digital camera manufacturers are constantly improving their equipment. Suddenly your old equipment, so recently the latest and greatest, is now yesterdays news. Often the upgrades are so dramatic as to encourage, if not force, you to replace the cameras or lenses youve been using. So what can you do with your old equipment?

The easiest solution is to sell it to a local dealer, wholl give you a low price and resell it for a hefty profit. A better alternative is to sell it online. Weve used four online marketplaces, e-bay, Craigs List, Photo.Net, and Fred Mirandas site.

E-Bay (www.ebay.com) reaches the largest audience, but only a small fraction is made up of potential purchasers of professional or semi-professional camera gear. In addition, their system is complex, and there are fees involved. But if you want to give it a try, eBay for Dummies, by Marsha Collier (Peachpit Press, 2006, $21.99), or eBay: The Missing Manual, by Nancy Conner (Pogue Press/OReilly, 2005, $24.95) will lead you through the steps and around the pitfalls. Or turn the sale over to a TA (Trading Assistant), someone who sells on eBay for others, typically for 20 to 25 percent of the selling price plus eBay and PayPal fees.

Another option is Craigs List, a free location-based online marketplace. Instead of trying to market nationwide, youre presenting your wares in your own community. Go to www.craigslist.org and click on your city name. If its not on the list, click on your state andunless your community is extremely smallitll be there. No shipping hassles or charges, and payment is usually in cash, eliminating any uncertainty or risk in the transaction.

Another other free option is www.photo.net (click on classified ads, then on new topic). Just describe what you want to sell and state your asking price. Many who respond will offer less than that. Weve often been successful by saying we cant reduce the price, but that well pay shipping and insurance. Youll probably be dealing with serious photographers, so fraud is unlikely. However we always insist on a certified check from their bank, or a postal money order, and promise to ship the same day we receive it (with a stop at the bank first).

Finally, you might want to consider www.fredmiranda.com. Theres no charge for buyers, but to post items for sale you have to be a subscriber ($25 per year). If youre selling high end or specialized equipment, however, it can be worth it. For more typical items, however, our favorites are Craigs List and photo.net.

How much should you ask for used camera gear? For equipment in excellent equipment, in the original boxes (always save those boxes!) we check the current price at www.bhphotovideo.com and take 20 to 30 percent off of that. Then, to make sure were in the ballpark, we check what others are asking and use that as a guideline.

David Arnold and Gail Rutman are Oregon-based photographers who have been writing about photography and computers since 1980. You can contact them at david@arnoldrutman.com

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Digital Cameras for Bird Watching

Birds are notoriously difficult to great photos of. For avid bird watchers, are digital birding cameras the way to go?

Some photographers think so. Birds make difficult subjects because they are often spotted from quite a distance. In order to get a good quality shot, a lens capable of zooming must be used. However, it can be difficult to get a very close shot that looks crisp and clear when birds are often in almost constant motion. Digital birding cameras must not only be compact, lightweight, and able to withstand the elements but they must be able to zoom in without distortion and have a very quick shutter rate to capture quality photographs.

While a point and shoot camera will work well for capturing your children and household activities, it wont work for birding. If you are serious about capturing photographs of the birds you see, you will want to invest in one or more digital birding cameras that meet specific criteria. First, it is best to find a camera which is built to accept several different lenses. This will allow you to select the best lens for the type of photograph and subject you are photographing. Cameras should be well-built and as sturdy as possible. Digital cameras tend to be less durable than their film counterparts, but there are quality digital birding cameras which will hold up in outdoor conditions. While you want to make sure your camera is tough, size is also a consideration. The best digital birding camera is one that combines durability and compactness. In fact, many quality cameras are small enough to fit in the pocket of your pants or vest.

Make sure the digital birding camera you select has the ability to be set up to the specifications you need. You should be able to manually adjust the aperture. The aperture is basically where the lens opens. The diameter of the aperture is called the f-stop. You can become more familiar with these settings as you become more proficient with your camera, but you need to make sure that your camera allows you to set these yourself, rather than only having an auto setting. Adjusting these will allow the speed of your shutter to increase, which will let you take pictures much more quickly. You want the time that elapses from when you press the button to take the picture to when the camera actually takes it to be as small as possible. This will let you capture those birds who are in motion.

There are a few other things to look for when selecting a digital birding camera. Many cameras come with the ability to take rapid fire shots. You simply press the button once, and the camera will take multiple shots, one after the other. With a little practice, you can capture beautiful motion studies this way. Being able to adjust light settings is also crucial as you will not always be working in direct sunlight.

Although it may seem like common sense, perhaps the most important advice given to someone new to digital birding cameras is to be prepared. When going out into the field, bring plenty of spare batteries and memory cards. When you return home with your photographs, make sure you do a backup onto a disk or portable hard drive. Backing up your photographs is something that should be done each time you retrieve the photos from your camera so that you do not lose your shots if your computer should crash.

Get great bird watching gifts at NomadJournals.com.

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Artists Proofs and Limited Edition Collections

In recent years, fine art collectors have increasingly focused on acquiring quality limited edition photo prints deriving from work carried out in the pre-digital era. As in all collectors editions, the value of the investment is in the fact that each image is available in set numbers, so that once the edition is sold out, then logically the value increases over time. In the case of sought-after photographers, or sought-after iconic images such as for example in the rock and pop music world of the 60's and 70's, this has proved to be an interesting hunting-ground for the incidental and perennial art aficionados alike

Additional value is to be found in securing one of the limited numbers of artist proofs for any particular edition.

What is an Artist or Printers Proof?

When a photographer/ art-director/artist releases a new image as a limited edition print, test prints are made, often in different sizes or on different types of paper before an edition is created. These pre-edition prints are known as Artist Proofs (AP) or in some cases, Printer's Proofs (PP). Sometimes an AP is deliberated i.e. for a charity auction.

How many Artists Proofs are made?

An AP is approximately 10% of an edition i.e. if an edition is 50 there is likely to be 5 artist proofs and so on. If an edition is created by a company on behalf of an artist the company will usually give the artist a few APs as part of their royalty payment. The artist can then give them to friends or sell them themselves, usually in some customised way to distinguish them from the edition.

More commonly, once the edition is sold out, these numbered or un-numbered Artist Proofs are sold for an end-of-edition price. Being customised or rare they are highly collectable depending on the reputation of the photographer.

In the pre-digital era, photographers used to supply prints, usually 10 x 8 prints known as "glossies" to newspapers. Record companies also produced them by the 100s to give to fans and the press. These prints surface from time to time, sometimes signed by the artists, in auction sales, but they are not artist proofs or editions. In the digital era prints are no longer required for reproduction purposes and most digital images will never be seen as prints unless they are specially made for a friend, an exhibition or produced as an edition.

Penny Church writes for several UK travel and leisure companies including London-based Rockarchive who specialise in limited edition photos covering rock bands and artistes from each of the past 5 decades.

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