Film Verses Digital – What’s the Difference Anyway?

by: Tedric Garrison

In the old days, if your camera (35mm of course) had a battery die on you in the middle of an important shoot, you still had options. I mean after all; the only thing you needed the battery for was the light meter, it’s not like your whole camera will shut down if you have no battery. Oh, I’m sorry . . . if you are using all digital that might have stung just a little bit.

The point was if your battery died, you still had a way to get a good picture. If you were using 100 speed film you could set your shutter speed to whatever the flash sync speed was (usually 1/60th or 1/125th of a second), set your f-stop to f-16, and bracket every shot. Besides the obvious dependency on batteries, there are other differences between film and digital cameras.

If you have ever shopped for a digital camera you have no doubt heard the phrase: “35mm equivalent”. This means that the optics are not exactly the same in a digital camera. Since the 35mm SLR camera has been the standard for so long, that’s what newer cameras are compared to. The difference between the two is a ratio of 1:1.4. Simply put, a 35-200 zoom on a digital camera would be like having a 49-280 zoom lens on a traditional 35mm camera.

The main reason the optics are different is because the sensor (the device that actually reads the light) is also a different size. Film cameras use film (sensitive to light) that is placed directly behind the lens. When the correct exposure is calculated, that image is literately burned into the film. Digital cameras use a sensor; that also sits behind the lens. This sensor is made up of millions of individual points that each represents 1 pixel. Once the sensor has gathered the information for each pixel it transfers that data to a digital media card (which can be used repeatedly.)

The sensor is the physical device that gathers information about the quality of light coming into the camera. The process of “how” the sensor goes about gathering information is referred to as “metering”. The human eye can distinguish a range of about 16 different f-stops; camera meters only have a range of about 5 f-stops. This is why camera meters are calibrated for a “mid range” exposure of 18% gray, because 90% of the time that is as close as they can get to the human eye. It’s not the camera’s fault that it can not see as well as you do, it’s simply a fact of life.

There are basically only three types of metering systems.

A) Spot Metering
B) Center-Weighted Metering
C) Matrix Metering

Spot metering as the name indicates only reads a small spot or portion of the overall image (usually 1% to 3%). This type of metering is useful in any situation where the lighting is extreme. Backlit subjects, macro shots, or even pictures of the moon can benefit from this type of metering. This type of metering is usually found on the more costly upper end cameras.

Center-Weighted metering averages the overall scene with an emphasis on the center area of the frame. Usually this type of meter bases its reading with 75% of the light hitting center frame and 25% for everything else. It assumes that the subject is dead center, most of the time. It is worth noting that most center weighted systems have a greater sensitivity in the bottom half of the frame; to avoid an overly contrasting sky from throwing off the readings. This type of system is the most common used in both digital and traditional cameras today.

Matrix Metering splits your image up into anywhere from 3 to 16 metering zones and evaluates the different zones to come up with one over all reading. In this process of evaluation it takes into account factors like: subject size, position, distance, point of focus, over all lighting, color and more. This system uses a microchip which has been exposed to thousands of different picture-taking situations. Currently this is the most complex and the most accurate metering system to date. This system is usually found on the higher end Digital SLR’s.

I used the word “digital” several times, but these are the same types of metering systems used in traditional film cameras as well. The only other way of reading light has to do with “reflected light” verses “surface light”. Most meters in the camera are reading reflected light (light reflected off the main subject that goes back toward the camera.) Every so often you might see someone with a hand held light meter that will go right up to the subject and read the light that falls on the surface of that subject. Some photographers still debate which way is more accurate. In my opinion; “Spot Metering” does basically the same thing.

All photographers have their favorites; Canon, Nikon, Kodak. Some choose digital, some choose film. The thing to remember is what we actually need to get a great photo. Things like composition, leading lines, framing, and the rule of thirds are much more important to our success as great photographers than the physical tools we use. On the other hand, knowing what your camera can or can not do, let’s you know if you have the right tool for the job.

About The Author

Award winning writer / photographer Tedric Garrison, has 30 years experience in photography. As a Graphic Art Major, he has a unique perspective. His photo eBook “Your Creative Edge” proves creativity can be taught. Today, he shares his wealth of knowledge with the world, at: http://www.betterphototips.com

Repetition a Visual Tool - Turning Chaos into Art

by: Tedric Garrison

Repetition is a creative tool. When you repeat a certain size, shape, or color you add strength to the overall image. Repetition is a basic concept in the art world. A really good photo tip worth remembering is: if you repeat something once or twice it becomes more interesting. If you repeat something many times it becomes a pattern and takes on a life of its own. Patterns give us order in an otherwise chaotic world. There's something fundamentally pleasing about seeing order in a photo and knowing what to expect. In most cases, repetition is a tool used to calm the viewer, making them feel comfortable and at peace while enjoying the view.

A single, simple subject with a plain non-distracting background definitely has its own strengths, but it is NOT the only way to keep a viewers attention. Patterns are to photography, what Rhythm is to music. Without the limitation of just a single point of interest, repetition helps your eye dance from point to point with pure delight. You are not asked to make a judgment of the subject, simply to explore it. Like music, you are not expected to just listen to a single note, but to take in the high notes, low notes, the movements, and the beat. The goal here is not to just look a good photograph, but to experience it. Thus, when repetition is used correctly . . . it can greatly increase the emotional impact of your images.

Patterns and repetition can be found all around us: a row of trees, a field of sunflowers, or a line of children waiting for a bus. When you get into the world of Close-Up Photography, you will start to discover a whole new world of patterns. Often things that you perceive as solid or even as a single texture are made up of much smaller patterns. Look at the surface of an orange for example. Each dimple, each bump, each hill or valley contributes to what most viewers consider one smooth surface. Of course not all repetition is 100% uniform. Think of a choir in a concert, every individual may be wearing the same robe to represent their organization . . . but they are still all individuals.

Obviously too much of a good thing; can, sometimes become bad (or stale or boring). It’s like when you first start taking photos using a star filter. Occasionally, it makes some really cool effects and you have some unique images. But if you used it ALL the time; what at first seems unique now becomes common place, or worse yet . . . out of place. A shot of a race car, doesn’t really need a star shinning off his front windshield, to be interesting. There is a time and place for everything, and repetition will not cure all boring shots. In fact . . . if you’re not selective about when you use it, it could make things worse.

Another photo tip to keep repetition from becoming boring is to deliberately “break” the pattern. Think of a fruit stand with an entire box of big red juicy apples. Now take one of those apples out and replace it with an orange. This technique is often referred to as creating a “Spot”. A spot is nothing more than the deliberate use of opposition to force the viewer to look again and again. It may seem overly simple, but changing a single element in your shot can often make the difference between boring and fascinating.

Keep patterns and rhythm in mind when you line up a number of people for a group portrait. Here you will be dealing with similar shapes. Try to place them in a pleasing pattern. Start with three people and have them line up so that their heads form a triangle. As you add people form another triangle. You are adding to the pattern by creating a rhythm of triangles that dance together. A group of nine people on their own could form an ugly mob . . . or they could form a very pleasing family portrait if you use the concept of repetition. Remember repetition is a tool, what you build with it determines if people consider you a Master Photographer or just “weekend warrior” who takes snapshots.

About The Author

Award winning writer / photographer Tedric Garrison, has 30 years experience in photography. As a Graphic Art Major, he has a unique perspective. His photo eBook “Your Creative Edge” proves creativity can be taught. Today, he shares his wealth of knowledge with the world, at: http://www.betterphototips.com

DPI and Why - Resolution Does Matter

by: Tedric Garrison

When I started on the internet I was a photographer and a science fiction fan. Since I had no science fiction photos of my own, I started surfing the web. After several months of looking through many Sci-Fi web sites, I realized that most of those sites used small thumb nail size prints (usually 1 inch x 1 ¼ inch or smaller). This was back in the days that a 28.8 modem was considered high speed.

The reason these thumb nails were so small was that it took so much time for the pictures to come up on the page. When you clicked on an individual thumb nail; a larger version of the picture came up (usually 4x6 or bigger), but it would take a very long time to do so.

Searching all the big images I could find; I saved the ones I liked, and brought them into Photoshop where I could compress them. I made my own site with images that measured a whopping 2 inch x 2 ½ inches, which was better than the small thumb nails I saw every where else. I quickly found that over 90% of their images were saved at 72dpi; so that’s what I did. For several years, I saved all my photos at 2 inch x 2 ½ inches and at 72dpi.

As my interest in photography continued to grow; I realized that a Sci-Fi web site might be cool but it made me no money. I needed to put up a web site of my own photos. By now I was using a 56k modem and decided my pictures needed to be bigger. When I scanned in my pictures I usually did them at 100% at 72dpi; so that all my images on line where now 4x6 in size.

After a few years my lab started offering pictures on CD. They were also 72dpi so I didn’t have to scan them in anymore. Life was good; but they used file sizes like 44 inches x 56 inches which at the time I really couldn’t figure out. I didn’t know anyone who ever printed something that big; so again I took those images and compressed them back down to 4x6 inch size.

Eventually, I started doing the same thing but saving them as 5x7 inch size. My new site (betterphototips.com) looked impressive and actually loaded very quickly. Yes, I also eventually stepped up to real high speed (1.5mbs per sec.) Life was good again; until I went back and started pursuing one of my other great loves (writing). I figured rather than just using this site as a gigantic portfolio; why didn’t I offer something for sale as well. You know the old adage “write about what you know best”? To me it made perfect sense that I should start writing about photography “how to” tips. That’s when things started to get complicated.

When I looking around at self publishing and print on demand publishing, I found that they all wanted pictures to be 300dpi or greater. This was a total shock to me. I had thousands of images ready to use, but they were all saved at 72dpi. I thought that Photoshop could save me again, so I started converting them to 300dpi but something didn’t look right. My 300dpi images looked worse than my 72dpi images. I was at a loss. Then I went back and did my research.

The reason the images on a CD from the lab are so huge (in measurement) is so you can use the images in either format. 72dpi is exactly 25% of 300dpi. If you want your 300dpi images to look as razor sharp as your 72dpi images do on line, the print has to be 75% smaller. In other words, an image that measures 44 inch x 56 inch at 72dpi would be the same quality as an image that measures 11 inch x 14 inch at 300dpi.

If you take an image that was originally 5x7 inches at 72dpi and try to convert it directly to 300dpi, it is not a pretty picture. Similar to the equivalent of the right f-stop and the right shutter speed, you have to take both factors into account! DPI and Size are forever tied together. You can not change one without affecting the other. It is much easier to make something smaller that looks good, than to try to enlarge something after the fact and try to make it look even close to the original. That being said, the best photo tip I can give new beginners today is: ALWAYS save your images larger than you expect to use. Do not waste 15 years of your life and thousands upon thousands of images that can only be used in one way. Always save large!!

About The Author

Award winning writer / photographer Tedric Garrison, has 30 years experience in photography. As a Graphic Art Major, he has a unique perspective. His photo eBook “Your Creative Edge” proves creativity can be taught. Today, he shares his wealth of knowledge with the world, at: http://www.betterphototips.com

Understanding Light - And Shooting It Right

by: Tedric Garrison

In 30 years of photographic experience, I’ve made several great friends who work in Photo Labs. When asked about the biggest mistake they see every day; the response is always the same. They usually answer after a long sigh, "These people just don't understand light."

Remember: all cameras average the existing light. What that means is, just because you can see it . . . doesn't mean the camera can. The human eye is far more sophisticated than the most expensive camera money can buy. If . . . for example, you stand someone in front of a bright window, your eye can still tell who that person is . . . but the camera can not, at least, not without help. Your eye will zoom into a person's face and ignore that bright light around them, but the camera will not.

The camera's whole purpose in life is to make an image that is 18% gray. Long ago, someone decided that 18% gray was as close to the human eye, as a camera can get. But if for example, 80% of the picture frame is filled with light that is brighter than 18% gray, what does the camera do? It tries to average out the given light. It will take your best friend and makes him or her, a silhouette. Don't get mad at the camera, it's only doing what it's told to do.

Remember, if you want a subject to actually be white (a wedding dress for example) you will have to give the shot more light than the camera suggest. If you want it to actually be black, (a black horse for example) you have to give the shot less light than what the camera is indicating.

I like using a flash and do so about 80% of the time. Some events won't allow a flash indoors. If that's the case, get a higher speed film (400 or 800 ISO) and use a tripod. If you can't give a subject more light, give it light for a longer period of time. If you use a flash, the camera speed is usually about 1/125th of a sec. or faster. But if you’re not allowed to use a flash for example, you may shoot available light at 1/30th of a sec. or slower. (That's why I also suggest the tripod.)

I use flash more than most photographers I know, even outdoors, (when I happen to be shooting people, that is). Why? Just because there’s plenty of light, doesn't mean that it's the right kind of light. Bright light (like at high noon) causes harsh shadows. I can give a short burst of flash (commonly called: "Fill Flash"), and suddenly my colors are more vibrant and the shadows are less harsh. Keep in mind, if you don’t want the flash itself causing harsh shadows it has to be higher than your subject. That’s why studios use those light stands to begin with.

You have to make the decisions about how to expose your photos, not the camera. The camera is only a guide, but it has no artistic taste. It will only do what it knows how to do, which means it will give you an average exposure. If you want your shots to look extraordinary, don’t rely on just an average reading. There are 26 letters in the alphabet, but not every combination makes a great novel. What you do with those 26 letters determines if you are a great writer. What you do with the information your camera has, determines whether or not you are a great photographer.

About The Author

Award winning writer / photographer Tedric Garrison, has 30 years experience in photography. As a Graphic Art Major, he has a unique perspective. His photo eBook “Your Creative Edge” proves creativity can be taught. Today, he shares his wealth of knowledge with the world, at: http://www.betterphototips.com

Lines - Your Best Friend or Your Worst Nightmare

by: Tedric Garrison

In music; if you had to start at the very beginning, you would start with “Doe, Ray, Me” or so the song goes. In art it would be “Line, Texture, and Light.” Keep in mind that if you want to be a great photographer, you also want to be a great Artist. Anybody can go out and buy a cheap camera, and push the button. That does not make them a great photographer. But the truly great ones like: Ansel Adams, Imogen Cunningham, and Edward Weston all had one thing in common. These people knew art and the elements of design.

Lines can be seen or not seen. They can be solid objects or merely implied. Lines can be straight, curved, or jagged. They can lead your eyes into your photograph, or distract you and force you to look elsewhere. A line may be continuous and unbroken; or it may consist of isolated points that are visually connected by the human eye on some deep subconscious level. In short, they can be your best friend or your worse nightmare.

Vertical Lines represent vitality and strength.

Horizontal Lines represent tranquility and being at peace.

Straight Lines represent tenseness and precision. These lines are often used to make a

positive statement.

Slightly Curved lines are loose and flexible. These lines are often thought of as sexy.

Vigorously Curved lines change direction more rapidly. These types of lines are considered more active and forceful.

The Arc of a Circle is very consistent in change of direction. These lines used carefully can demand attention, however . . . used casually it can also be the most boring.

Diagonal Lines lead the eyes. If you are aware of that fact, it can be good, if you are not,

it could be a disaster for your image. They can lead towards your subject or away from it.

The Jagged Line with its sudden, abrupt change of direction suggests energy, activity, or conflict. If you want an emotional response, be aware of these lines.

So who cares about all these different types of lines? You should, if you want your work to look its best. If you shoot a tall powerful waterfall; do you hold your camera in a vertical position or a horizontal one? If you want to shoot a calm peaceful lake with a mountain reflecting off the surface, which direction would you shoot? When your picture says one thing, and you shoot in the opposite direction, you've lost all credibility as a great photographer. Even if the scene is beautiful, if the format doesn't fit the image, you just got lucky.

When I was in High School, I took pictures of everything. I won several awards. Everybody knew I was a photographer and life was good. When I went to college, a teacher reviewed my portfolio. After studying every picture, he said, “Do you know what you’re problem is?”

Unaware that I actually had a problem, I nervously replied, “No. What’s my problem?”

“Your problem is . . . you were told you were good,” he answered calmly.

Confused, I humbly asked, “and why is that a problem?”

He grinned as he replied, “You’ve been told you were good, by people who have no idea what good really is. Now, I’m going to teach you how to be good, according to standards of those of us in the art world who know what good really is.”

The very first photo tip that this great teacher taught me was about lines. Leading lines lead. That’s what they do. They can lead your eyes deeper into the image, or . . . they can lead it off the page all together.

Occasionally the line in your photo is the subject (like a wall or a fence), but most of the time lines are the thing that introduces your subject. If you were to be introduced to a new potential customer, would you want that introduction to be positive or negative?? For most of us when someone views our work for the first time, that is our introduction. If the lines in your image support or lead to the subject, that’s a good introduction; but . . . if the lines are in conflict or actually lead you away from the subject, that’s a bad introduction.

Different types of lines send out different messages. The good news is you control how the viewer sees those lines. Being aware of lines, both seen and unseen is one of the first steps in becoming a great photographer. Using lines to your advantage is one of those little known photo tips that can take your work to the next level.

About The Author

Award winning writer / photographer Tedric Garrison, has 30 years experience in photography. As a Graphic Art Major, he has a unique perspective. His photo eBook “Your Creative Edge” proves creativity can be taught. Today, he shares his wealth of knowledge with the world, at: http://www.betterphototips.com

The Rule of Thirds - Raising the Bar of Excellence

by: Tedric Garrison

The three greatest photo tips of all time as far as photography is concerned include: leading lines, the rule of thirds, and framing. This article will only address one of these, but once you master all three of these, your photography will look better than 90% of all photos out there. Don’t believe me? I once did a project where I looked through 200,000 professional stock photos and was only able to find 50 that had mastered all three of these elements.

Centuries ago, Greek artists discovered that the eye tends to focus on certain points in any given image. If you divide your picture into thirds both horizontally and vertically, the points at which those lines intersect are the points where most people focus comfortably. You don't have to draw an arrow, in most cases this is where they will look without any coaching from you or anyone else. This is commonly referred to as the "Rule of Thirds".

By placing your subject (or point of interest) at one of these natural focus points, you have greatly increased the odds that the viewer will indeed be captivated by your work. As you do this more and more; people will notice that for some reason your work seems more interesting than their "Bull's-eye" type snap shot. They won't understand it, but they will be drawn to your work just like a magnet.

The Greeks and Egyptians were great mathematicians. I on the other hand; am not great at math, but I do understand the concept of 1/3rd in from the left or right and 1/3rd up or down. Those who know the formula will argue that it's not exactly 1/3rd, but that's OK. One of the things the rule of thirds does for your image is to give it movement. But wait a minute; you're asking what if my subject isn't moving? That's fine, but it gives your mind somewhere to go with the image. When your subject is dead center, your mind takes one glance and says, "Ok, next." Remember: "It's kind of hard to experience a photograph, if there's nothing left to the imagination."

Even when doing extreme close-ups it is possible to use the rule of thirds. Think of a beautiful models face, what's the first thing you look at? Do you immediately look at the nose? No, I doubt that very much. Usually you either look at the eyes or the lips. Both of these happen to be located where? Both of these heart stopping subjects are located 1/3rd up or 1/3rd down from dead center. Since the nose is usually located dead center; that's why I tend to doubt that it was the first thing that would catch your attention. I'm not saying a person can't have a cute nose, but where it's placed in the picture will determine just how much attention it will get.

Most girls are self conscious about their looks, that's why they tell you to back up. But in reality, that's exactly why you should NOT back up, in fact, you should probably get closer. If you shoot full body on a regular basis, what is usually at 1/3 from the bottom? If a girl is thinking she's fat, you don't want people staring at her waist. Force the viewer to look at her strength's. Draw his attention to her dreamy eyes; or her wonderful smile, not a few extra pounds at her waist.

This same concept works for other subjects besides people. Let’s say you have a beautiful stream coming down a mountain side. If you shoot horizontally with the stream dead center, you cut the photo in half. Now in this example, we also have to consider leading lines. If you shoot the stream diagonally and it ends somewhere in the lower left third of the picture, you have still taken advantage of the rule of thirds. This is one of those “professional photo tips” that allows your viewer to experience your photo and not just glance at it.

When you can guide someone into an image and allow them to have an emotional response, your work is much more likely to be remembered. When you use the rule of thirds on a regular basis, you have raised the bar of excellence in such a way that people can not help but to be refreshed and invigorated by your work. If they feel that good just by experiencing your photo once, think how much better they will feel when they start buying your work and enjoying it everyday.

About The Author

Award winning writer / photographer Tedric Garrison, has 30 years experience in photography. As a Graphic Art Major, he has a unique perspective. His photo eBook “Your Creative Edge” proves creativity can be taught. Today, he shares his wealth of knowledge with the world, at: http://www.betterphototips.com

Size Does Matter - Creating a Visual Reference

by: Tedric Garrison

Take a waterfall, tall and beautiful. Now visualize a small stream trickling over the edge of a few large stones. If you shoot it just right, they could look the same. “Wait a minute,” you're saying, “those are as different as night and day.” That’s a good point, but unless you also include something to compare the water to, you have no point of reference. This concept is generally referred to as opposition.

Say you’re hiking in a National Park, and find a really cool waterfall. You get close to capture detail, and shoot against a clear blue sky (so the background won’t distract.) You tell your friends about the adventure, and eagerly await your pictures from the photo lab. When they finally come back, you flip through the shots looking for your master piece. When you finally see it, your heart sinks. It looks OK, but there’s no magic, no majesty. It’s just not the same.

What happened? When you saw it live, you were there. You climbed over rocks; you walked through streams, and pushed pine branches out of your way. When you looked through the view finder of your camera, these images were also in the back of your mind. The human mind is a wonderful creation; it takes images, sounds, and smells and blends them all into wonderful memories. The problem lies in the limitations of the medium.

A photo tip worth remembering is; we experience in three-dimensions; but we photograph in two-dimensions. Opposition is one of several creative techniques that makes your photo appear more three-dimensional. The more three-dimensional you photo appears the more likely your viewer is to experience at least part of what you did when you took the shot.

Size is relative. A small mountain may seem big compared to a boulder. A boulder may seem huge compared to a rock. Even a small rock will seem gigantic compared to a grain of sand. In the world of micro photography, even a grain of sand could look like a vast landscape if there was nothing to compare it to.

At one time or another, most of us have seen a close-up of something that made to make us think it was something else. Why did we not recognize the item for what it was? Simply put, you had nothing to compare it to. You had no point of reference. This works in both directions, small and large. I'm a big fan of simplifying an image when you can, but there are times when you can simplify too much. Leaving a rock or a branch in the edge of the picture can often mean the difference between a nice shot and a great shot!

A few years back I did a series of nature shots in which I included a “Barbie Doll” in every shot. This was the California doll; because her skin was more tan than most, so from certain angles she did look more realistic. Most of the shots I did either had the doll in silhouette or they were looking over her shoulder from behind. In most cases, I could have used a real model, but not all of them. One shot in particular showed this beautiful girl who had apparently hiked through the woods (pine needles were framing the shot) and she was looking at this gorgeous waterfall. The catch was: the waterfall in question was only 24 inches tall.

Think of your subject as the star in a major motion picture. Often that star does well, because of his or her supporting cast. No one is expected to go through life as a one man show. The people we meet, hang out with, or interact with also influence how people see us. Your subject; be it human or nature, is the same way. Include elements that support your vision, eliminate the distractions that do not. I firmly believe that in order to get the big picture, you need to include the small details. One of those details is showing size, by using opposition.

About The Author

Award winning writer / photographer Tedric Garrison, has 30 years experience in photography. As a Graphic Art Major, he has a unique perspective. His photo eBook “Your Creative Edge” proves creativity can be taught. Today, he shares his wealth of knowledge with the world, at: http://www.betterphototips.com