SENSORS, FILM, CAMERAS and the distinct look on how they record an image-An article by Blue Ridge Workshops instructor - Elliot Stern

For those of who are old enough to remember, there were and actually still is a multitude of films from different manufacturers.  Every one of these films had unique characteristics that produced a different look.  There were color differences, grain differences, contrast differences, exposure differences, asa/iso differences and many more.  The choice was always yours as to what film you wanted to use based on the look you wanted to achieve.  We ultimately settled on a couple of favorites and usually stuck with them, if only to keep things simple.  This also applied to black and white films.  Warm tone, cold tone, grain structure, contrast, etc.

So where does that leave us today.  Well, based on current technology, we have in some ways moved closer to what those pleasing films gave us, and some ways beyond what film was and is capable of.

We are now full force into the digital age and what a wonderful age it is.  The choices of cameras and lenses are greater than they ever were before and the options within these cameras for creative control are extensive.

What I have found, is that all digital slr cameras are more than capable of producing fantastic images.  THERE ARE NO BAD DIGITAL DSLR PRODUCTS.  EVERYONE OF THEM WILL GIVE YOU A MORE THAN AN EXCELLENT IMAGE, but there are differences.  It is not so much the difference on how you access features, but in how the out of camera image actually looks.  For these reasons it is important, especially if you are buying into a system now that you know what these differences are.  If you are already into a system I am hopeful and pretty sure you are getting the kinds of results you want, but perhaps this will explain why your Nikon, Pentax, Canon, Olympus, Panasonic, Sony images look different from each other.

All sensors are not the same.  They all work on similar principles but the designs of the sensors determine a variety of factors and if you are into some simple - technical reading, I have linked an article from Luminous Landscape which can get into the nitty gritty.  Click here

But with all the reading that one can do on the subject, it is still going to boil down to a few small but important points.

1-Sensor size. - How much sensor to you need and what are you willing to pay?  A sensor having 12 megapixel capabilities in a full frame (35mm) camera will have larger photo sites than one in an APS size sensor or a Four Thirds sensor. Does this mean that the image from one or the other is better?  Not necessarily.   Is there probably a slight edge? Some time but not always.  Are there big bucks differences.  Sometimes but not always. 

2-I personally work with all three of these sensor sizes in gear that I own and I must say that for the majority of the subjects I shoot, from landscape, to people, to macro, I cannot pull apart these images.  They all look great.

3-Sensor size and noise levels in the image.  How high an Iso do you want to shoot at, and how high an Iso do you really need to shoot at?  Current technology in all cameras allows us to get up pretty high.  I shoot certain Nikon and Canon models at 3200 and the images are incredible and that is with Full size and Aps size sensors.  I shoot Olympus and Panasonic and I have no real major noise issues at least up to 2000-2500.  So while size may help to reduce noise because of larger pixel sites, it really comes to how the cameras software and firmware deal with it as well.  

At times there is just to much emphasis put on full frame, aps, and four thirds sensor sizing.  I can print 17x22 prints all day long from any sensor format and not have one single issue.  So DO NOT let anyone try to convince you that between those three formats there is going to be an image quality issue.

4-A cameras software and firmware and how both address the data from the sensor are highly important.  Besides the sensor itself having its own color characteristics, it is how the aforementioned ingredients affect the final image out of the camera.  Some cameras are warm toned, some are cold tone, some are neutral, and some are just right on.  What is right on?  It should be exactly what you see without the use of the camera.  The optic coatings make a difference too.         

     Canon - Warm Colors

     Nikon  - Neutral

     Olympus - Right On- Film like

     Pentax - Warm Colors- Film like

      Panasonic - Smooth and Film Like

      Sony – I have not shot Sony

Now all of this is objective and only your personal taste and hands on can make the difference in what you shoot with or want to shoot with.  As I stated, there is a lot more involved than simply sensor size.  Also important to remember is how well you process your files.  Are you shooting Raw or Jpeg (Hopefully raw) and if you are going to print then what size do you want to go UP to?   Are you using good software that can deal with your particular cameras files?  I.e. - Adobe Lightroom, Adobe Photoshop, Nikon Capture, Adobe Photo Elements?  It is important to remember too, that different software deals with YOUR RAW files in different ways.  There may be white balance differences and color differences, contrast, sharpening differences from one piece of software to another.  Adobe of course is pretty consistent because of pretty much the same raw processing engine in all of their software.

I like Adobe Lightroom for consistency and ease of use.  It is a matter of personal choice. 

CLICK HERE FOR ADOBE LIGHTROOM EDUCATIONAL INFO.

So here is where it gets a bit testy, maybe.  Go buy yourself a flower, an apple, something you can take to the store with you. Take whatever to your camera store. (Of course you cannot do that on line).  Bring an Sd and a Compact flash card and ask to try a model or models from different manufacturers to make sure you are getting what you want based on personal experience.  Take those files home.  Do not trust the LCD on the back of the camera.  Shoot in RAW + JPEG SETTINGS, so you have both file sizes.

If you are going to a camera store to do all of this, then it is also important that you ultimately make your purchase at that camera store.  If they are assisting you and letting you do this then you should support that camera store by purchasing there.  Believe it or not it costs time and money for an experienced retail person to work with you and guide you to the right choices.

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DON'T LET THEM MAKE FUN OF YOU - CHIMP AWAY-An Article by Blue Ridge Workshops instructor, Brian Zwit

Chimping: It’s a Good Thing

“Chimping” is a term used  to describe the habit of checking an image on the camera’s display immediately after taking the shot. The urban legend is that term comes from a comparison between the oohs and ahs of a photographer when viewing his or her images and the sounds made by excited chimpanzees. And, as you might guess, it isn’t necessarily meant as a positive commentary on the behavior.

The ability to see and view technical data about your images in real time, however, is one of the prime advantages of digital photography. So, why not use all the information available to you to get the best shot possible? The key is to know when and when not to check your display, what you should and should not look at, and the limitations of the information provided by your camera.

When should you “chimp”? The answer is: whenever you have the time and you are going to get valuable information from checking the image. If the horizon is uneven or the camera focuses on the wrong point, it is will be easier to fix it when you are on location rather than in Photoshop. If you have a difficult exposure, checking the image and its histograms may be the only way to determine the correct exposure. Again, it will easier to fix the exposure in the field than in your office.

When shouldn’t you “chimp”? Don’t chimp when chimping might cause you to miss an image. One group of photographers you won’t see chimping very often are sports photographers. They can’t afford to miss a single shot. Instead, they do their chimping before the action starts by showing up early and testing the exposure then rather than once the actions starts.  They also do their chimping after the event is over.

Most cameras can provide you with, in my opinion, so much information that it is easy to get confused. I use the display for two simple purposes: to make sure my composition is exact and my exposure is spot-on.

First, I view the image in its entirety to check the composition. Does the composition help to tell the story that I want to tell with the image? Did anything I don’t want in the image, such as a branch, make it into the image? (I personally find it easier to see these problems in my camera’s  display than in its viewfinder.) Is the subject where I want it to be in the frame? Do I need to change the f-stop to increase or decrease the depth of field to throw the background out of focus?

Next, I check the image’s histograms. First, I check the RGB composite for overall exposure. Did I blow out the highlights? Am I losing valuable shadow detail because I underexposed the image? I then check the individual red, green, and blue histograms to determine if I blew out any of the individual color channels? (This is especially easy to do when taking images that contain saturated reds, e.g., a red rose.) Blowing out a individual color channel will result in a loss of detail in the highlights of whichever channel is blown out.

Finally, I consider the limitations of the display as well as the histograms. While the displays on cameras have greatly improved over the past few years, they still aren’t and will probably never be good enough to precisely judge photographs. The most you can expect is to get a general idea of what the image will look like. The histogram data is also an approximation of the data in your image. Because your camera has limited processing power, the histograms are based on the 8-bit preview jpeg embedded in your raw file not the raw data itself. Because of the differences between a raw file, which is a 16-bit unprocessed file, and a jpeg, which is an 8-bit processed file, you typically have more headroom in your raw images than you might guess based on the camera’s histograms.

So, is chimping good or bad? My answer: I think it is a fantastic tool and one whose advantages exceeds its downsides. Use it wisely and chimping will help you improve your photography skills and capture great images. Before heading out to shoot the next time, take some time to investigate the capabilities of your camera’s display and it will become an indispensable tool.

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CANON G11 - CLICK ON THE LINK TO THE RIGHT

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WHAT KIND OF DAYS DO YOU HAVE?

I am one of those fortunate souls who generally do not have to fight the Washington DC regional traffic jams day after day after day.  If you do however, then my heart goes out to you.  It is virtually impossible to be on a road in this area without being stuck in traffic jams, EVEN DURING OFF HOURS.  I guess for some, it becomes tiresome and stressful, especially if you have been in a line for a half hour or more, moving at 5 miles per hour, only to find that when you get to the place where the traffic finally breaks, that all the construction you pass has NOTHING going on.  Then of course you can only shake your head and drive on LATE to your final destination and only hope you do not encounter another traffic jam for which there is no logical reason.

About that time you should be seriously be considering how much nicer it would be participating in a photography workshop either in the mountains or on the beach or in some wonderful place that will let you concentrate on you doing something you really like to do.  You could be joining others who think and feel like you do in a learning experience while getting rid of the stresses that come upon you in almost any metropolitan area in the country today.

Why not take a look at what we have for the rest of the year (2009) and keep your eyes and mind open for what is coming in 2010.

Sign up today for your photographic workshop and get away for a few days doing one of the things you really love.  CLICK RIGHT HERE

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SEARCHING FOR YOUR THOUGHTS

The newest FEATURE in Digital Slr Cameras is the addition of video capability.  My questions are these and to the point.

ARE YOU INTERESTED IN HAVING VIDEO IN A DIGITAL SLR CAMERA, AND WOULD YOU USE IT?

  IF YOU HAVE RECENTLY PURCHASED A CAMERA THAT HAS THAT CAPABILITY, ARE YOU USING IT?

  HOW IMPORTANT IS THAT CAPABILITY TO YOUR OVERALL PHOTOGRAPHIC EXPERIENCE?

Would it be worth your while to take a simple inexpensive class on how to shoot a video with your DIGITAL SLR CAMERA.

You can respond to:

  BLUERIDGEWS@MAC.COM

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I LOVE A GOOD RAIN AND WHAT COMES AFTER

DO NOT LET RAIN OR SNOW STOP YOU, BUT RIGHT NOW THIS IS ABOUT RAIN – BY Elliot Stern, Blue Ridge Workshops

I cannot tell you how many time I have had people tell me that photography and rain do not mix.  NOTHING CAN BE FURTHER FROM THE TRUTH.

We talk about light, quality of light, textures, shadows and so many other ingredients that add to the final look of your creation.  Most people are under the impression, that those qualities noted above only exist on a clear day, with sun light pouring through and anything other than that is just a ruined picture.  NOTHING CAN BE FURTHER FROM THE TRUTH

Rain, is just another one of those weather events that forces us to once again look for the opportunities, re explore the places we have shot pictures before, but now appear in a new light and a new texture, with a completely different emotional appeal.

Rain.  Some people love it and some cannot stand it, and the same goes for cats, dog, and other creatures.  Capturing these environmental portraits, with facial expressions and body actions being evoked by the falling rain could present some incredible photo ops.    Soaking wet or sort of wet faces with water dripping down, a young child jumping in and out of puddle, a dog shaking off the water while looking like a wet rag.  These could all be opportunities if only you were there with your camera.

Rain.  It creates a world of infinite patterns on the ground and brings forth reflections of those things around you.  From architecture, nature, people, streetlights, head lights.   It is virtually unending if you take the time to look.  How about a basic stream or waterfall that now has rushing waters, beyond what you would normally see brought on by rain.  And while you are out there and being that I mentioned architecture, how about one of the great architects of our time, the spider.   A spider web with droplets of rain in it reflecting the world back at you can make an incredible shot.  And lets not forget those drops on a leaf or blade of grass, or even coming off a persons face or hand.  The list goes on and on for this RAIN STUFF.

Rain.  It makes puddles.  What can you find in puddles?  Reflections.  Every puddle holds a duplicate world, one with distortions and patterns of no so normal color combinations.

While I really like people, there are days when I just want to photograph alone.  You got it.  The desolation of an empty street or country road sometimes can really bring forth your creative juices.  We have had photography workshops at Blue Ridge, in the rain, or right after a rain, where students distanced themselves from each other to record their own secret, wet world.

LIKE EVERYTHING ELSE, THERE ARE SOME RULES YOU WANT TO FOLLOW WHEN SHOOTING IN RAIN OR WET CLIMATE-

YOU MUST PROTECT YOUR GEAR.  I DO NOT CARE IF IT IS WEATHER SEALED.  You should make sure that you have ample coverage for lens, body and tripod.  You can use heavy-duty leaf bags, or commercially made raincoats for your cameras and lenses.  We keep about 6 giant golf umbrellas at our workshops just in case, but we are not shooting ourselves.  If you are alone it could become very difficult to hold the umbrella and shoot.

Should there suddenly be a fifty-mile per hour down pour be sure you have a gear bag to protect anything valuable while outdoors.  I use bags that boaters use.  They come in all sizes and seal so well they can float in the water and keep everything dry.  I got mine at REI but I am sure other outdoor stores carry them.

Be aware of your shutter speeds and lens openings and of course your Iso settings.  More than likely because you are in the rain, your speed range has probably dropped and a tripod is necessary for better images capture.

Finally, I personally, and Blue Ridge Workshops LLC, take no responsibility for your camera gear or you getting wet to the point that either your gear, or you malfunction.

REMEMBER, PROTECT YOURSELF AND PROTECT YOUR GEAR.

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SOME TEST IMAGES USING THE OLYMPUS EP-1

Here are OLYMPUS EP-1 SLIDE SHOWS FOR YOU TO LOOK AT

ANNAPOLIS WITH THE OLYMPUS EP-1 ON UTUBE-Fist time use.

BRUCE JONES WORKSHOP SHOT WITH THE OLYMPUS EP-1 -First time use.

This camera has become my constant companion.  It and several lenses all weighing almost nothing, especially compared to what I normally carry.  The difference in weight is means that this camera is always with me.   The camera is small enough to fit in a coat pocket, and the lenses are too.  It does have interchangeable lenses.  It is one sweet package with incredible image quality and creative flexibility.  It does not matter what system you are in to.  This is the one that will always be with you to capture the moment in the quality you have come to expect from a DLSR.

GO SEE AND FEEL AND PLAY WITH THE OLYMPUS EP-1 AT ANY ONE OF THE PENN STORES ON THIS CLICK TO LIST.

ANOTHER REVIEW

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DNG - DIGITAL NEGATIVE FORMAT - WHAT IS IT? HOW DOES IT WORK? PROS AND CONS. WHY WE USE IT!

DNG (DIGITAL NEGATIVE) HOW SAFE ARE YOUR FILES?  WILL YOUR RAW FORMAT ALWAYS BE HERE AND SUPPORTED?  IS D N G THE ANSWER TO KEEPING YOUR RAW FILES SAFE?

This article is prepared by Brian Zwit and edited by Elliot Stern for Blue Ridge Workshops

Almost every camera manufacturer has its own proprietary format for raw images, but the data contained in most raw files are surprisingly similar. What is different is how the data is stored in the file. Adobe currently supports 271 (by my count) different raw file formats in Adobe Camera Raw and Lightroom.

Given the fast pace at which new cameras are being introduced, it is inevitable that software vendors will eventually drop raw file support for some cameras. The number of camera models will get so large and some so old that it simply won’t make economic sense for them to continue supporting raw files for older cameras. I don’t know when this will happen, but it will happen.

When Adobe and the other software vendors stop supporting your cameras particular raw version format, you will have three options: (1) maintain an old computer with an operating system and program that does support your camera’s raw file format; (2) discard the images taken with that camera; or (3) convert all your images to a standard format. The first option can be expensive and time-consuming and it will eventually become impossible to maintain as parts for older computers become unavailable. The second option is simply unacceptable.

The solution to this dilemma is a standard file format for raw images. A standard raw file format would be supported longer because the audience would be universal. While the DNG format is the “universal” raw file format available today”, and it does have the most support in the industry. Cameras by Pentax, Ricoh, Leica and Samsung allow the photographer to save his or her images as DNG files; software by Adobe, ACDSee, Apple, and others allow a photographer to read and develop DNG files as well as convert proprietary files into DNG files.

The advantages of DNG files are:

DNG files follow a standard and, as a consequence, allow developers to more easily develop and support applications;

Image files from a new camera are immediately recognizable by software that support DNG files, i.e., there is no wait for a software update to recognize your camera;

Metadata, such as keywords, copyright, and other information can be written into the file rather then a “sidecar”****** file, minimizing the risk of lost metadata;

You can convert your proprietary raw files to DNG files as you import them in Lightroom and other software; and

The original raw file can be embedded into the DNG format. (The size of the final DNG will be much larger). 

The disadvantages of DNG files are:

Neither Canon or Nikon-the two biggest camera manufacturers-support the DNG format;

You may lose some the settings for some camera specific features, such as D-Lighting or Active-Lighting and perhaps some specific camera white balance options, although those options can be duplicated with sliders.

Converting your raw images to DNG files takes more time than just importing your proprietary files; and

The DNG standard might not become widely adopted by camera manufacturers and software developers but even if it is not, Adobe should be around for a long time and just the fact that your original raw file is embedded also means it can be extracted if necessary.  Not only extracted, but, with exactly the same information it was originally created with in your camera.

Converting your images to DNG files is simple. If you use Lightroom, simply import the images as DNG files when you copy your image files to your computer’s hard-drive. If you don’t have Lightroom, convert your images to DNG using Adobe’s FREE DNG Converter available at: http://www.adobe.com/support/downloads/detail.jsp?ftpID=4520 (Windows) or http://www.adobe.com/support/downloads/detail.jsp?ftpID=4519 (Mac). If you have a new camera, you will need to be patient, Adobe must update the DNG converter as new cameras are released and this can take anywhere from a couple of weeks to a couple of months. There is also no loss of image quality in the conversion process.

So, should you convert your images to DNG? That is something that you must decide. However, I am currently converting my images to DNG for three reasons: (1) I believe that the shelf-life of DNG files will be longer than the shelf-life of my proprietary raw files; (2) image metadata is written directly into the DNG file from Lightroom and not into a sidecar file; and (3) it is easy to do with Lightroom.  It is also VERY EASY to do with the DNG CONVERTER from ADOBE.  ****  The first two reasons are sufficient enough for me to convert my images to DNG but it being easy to do helps to make sure that I do it.  It is also important to remember that you have no loss of quality in your file.

**** IT IS IMPORTANT TO REMEMBER THAT YOU CAN TELL LIGHTROOM AND / OR THE DNG CONVERTER TO    EMBED THE ORIGINAL MANUFACTURERS RAW FORMAT INTO THE DNG

FILE SHOULD IT EVER BE NEEDED IN THE FUTURE.

******Sidecar  file = http://en.wikipedia.org/wiki/Sidecar_file

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25 MEGAPIXELS FULL FRAME DIGITAL SLR FROM SONY - Read the attachments - Elliot

Are the other camera manufacturers looking.

What is going on?  How can Sony do this?  FULL FRAME - 25 MEGAPIXEL - FOR $2000.00

CHECK IT ALL OUT HERE.

AND HERE

AND HERE

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THE SONY A550 AND A500 ENTER THE MID RANGE CAMERA WARS

READ HERE ABOUT THESE TWO NEW ENTRIES.  CLICK TO DPREVIEW

AND HERE TO DP REVIEW

GREAT TRIPODS AND BALL HEADS ARE EXPENSIVE - BUT ARE THERE ALTERNATIVES THAT CAN GET THE JOB DONE FOR LESS MONEY?

I have written so many articles about tripods and ball heads, and constantly refer to buying the best of the best and plan on spending around $1000.00 dollars if you are going to GET THE BEST.

I have had a lot of customers and people that I just meet on a day-to-day basis, who just do not DO NOT have the funds to do this.  THEY SPENT THEIR MONEY ON GREAT CAMERAS AND BETTER LENSES, and now have a minimal amount in the budget to buy a good support system for the gear.

My recommendation:

Check out Manfrotto carbon fiber tripods, which range from around 250.00 up to about 450.00.  The thing that is most important is to find out which tripod is going to support your gear and then by the next model up.  As far as the ball head I would recommend the

Acratech which is very light weight and very strong.  It will hold 25 pound on any angle without shifting.  Go to your Penn Camera store and have one of their sales people demonstrate the different models.  Remember bring your gear with you.

  CHECK OUT THESE TRIPODS AND BALL HEADS AT PENN CAMERA.  THEY GENERALLY HAVE THEM ON DISPLAY.  BRING IN YOUR CAMERA AND LENSES TO MAKE SURE THE TRIPOD IS GOING TO HANDLE THE LOAD.

APPLE UPGRADE - SNOW LEAPORD - DO IT NOW OR DO IT LATER?

I want to upgrade my MacBook Pro to Snow Leopard. Should I?  written by Brian Zwit, Blue Ridge Woprkshops Lightroom, Nikon Capture NX2 and Nik plug in educator.

Apple has released its latest operating system named Snow Leopard (Mac OS 10.6) and it offers some real performance improvements for those with newer Macs, which have Intel processors. If you have an older Mac, you won't be able to use Snow Leopard and will need to stay on Leopard (Mac OS 10.5). Before you upgrade to Snow Leopard, you need to know that Apple made significant changes to the operating system and, while Apple did extensive testing, some incompatibilities with our imaging software are likely to still exist.

According to Adobe, Photoshop CS4 and Lightroom have been extensively tested and should run fine on Snow Leopard. However, Adobe didn't test any Photoshop plugins and, as with any operating system upgrade, more issues are likely to be discovered as more people install Snow Leopard. One area in which we are likely to see problems is with hardware drivers, such as printer drivers. While responsible manufacturers are testing their software and equipment on Snow Leopard, it is likely to be several weeks before that testing is complete and several more weeks after that for updated software and drivers to be available.

So, should you upgrade? If you must do so now, do so but be prepared to troubleshoot your software and hardware. My experience with the upgrade from Tiger to Leopard was fairly uneventful except that I couldn't print photographs or any other documents. The printer drivers were incompatible with Leopard. Until the updated drivers were available almost two months later, I had to move files from the computer with the upgraded operating system to the computer with the older operating system. So, what am I going to do about upgrading to Snow Leopard? I am going to wait until a couple of months.

Brian

Title

THE CHINCOTEAGUE WORKSHOP IS FILLING UP FAST-JOIN OUR GROUP OF CREATIVE PHOTOGRAPHERS FOR THE ADVENTURE

  It is a photographic paradise beyond anything anyone can write or tell you about SO IT IS A MUST THAT YOU VENTURE THERE WITH US FOR INCREDIBLE PHOTOGRAPHY.

I've made many trips to this locaton in the past, and just got back,  just to make sure where the best shooting locations are for Egrets, Blue Herons, Snow geese, various duck species, Cormorant, Shore Birds, Sunsets, Sunrises, and the mysteries of the beaches and dunes.  Let's not forget the ancient forests, with Japanese Sika Elk, White Tailed Deer, and elusive Fox Squirrels. 

What a wonderful place to immerse yourself in the wonders of nature and at the same time photograph the memories of your experience.  We shall be with you every step of the way, advising about composition, lighting, work flow, and all the essentials that will bring you home with wonderful images.

THE SUNSETS AND SUNRISES ARE JUST SIMPLY OUTSTANDING.

PLEASE GO HERE TO OUR WEB SITE TO REGISTER RIGHT NOW

The Refuge Inn, where we shall be staying is a very comfortable hotel right at the entrance of the Refuge.  The rooms are great, and the conference room where we shall hold our meetings is ideal for discussing the photographic techniques we shall use for this workshop, and for going over digital workflow after our shoots.

Friday afternoon we shall all meet in the conference room at 12:30 PM to go over details and photography technique as well as your individual cameras.

Saturday, we shall meet in the parking lot of the Refuge Inn at 5 AM in order to photograph what should be a beautiful Chincoteague sunrise.

We shall shoot through the day learning macro, scenic, and wildlife photography, and the techniques you need to use.  Saturday evening we shall gather in the parking lot at 3:45 PM and travel to shoot the sunset over the water, piers and small boats.  

We shall then break for dinner and meet up at the conference room at 8 PM.

Sunday, we shall meet in the parking lot at 6 AM and make our way to the beach area for more bird photography.

PLEASE SIGN UP TODAY AND MAKE YOUR ROOM RESERVATIONS AS SOON AS POSSIBLE.  WE HAVE SET ASIDE TEN ROOMS.

Welcome to the August, 2009 newsletter.

In this Issue

	SENSORS, FILM, CAMERAS and the distinct look on how they record an image-An article by Blue Ridge Workshops instructor - Elliot Stern
	DON'T LET THEM MAKE FUN OF YOU - CHIMP AWAY-An Article by Blue Ridge Workshops instructor, Brian Zwit
	CANON G11 - CLICK ON THE LINK TO THE RIGHT
	WHAT KIND OF DAYS DO YOU HAVE?
	SEARCHING FOR YOUR THOUGHTS
	I LOVE A GOOD RAIN AND WHAT COMES AFTER
	SOME TEST IMAGES USING THE OLYMPUS EP-1
	DNG - DIGITAL NEGATIVE FORMAT - WHAT IS IT? HOW DOES IT WORK? PROS AND CONS. WHY WE USE IT!
	25 MEGAPIXELS FULL FRAME DIGITAL SLR FROM SONY - Read the attachments - Elliot
	THE SONY A550 AND A500 ENTER THE MID RANGE CAMERA WARS
	GREAT TRIPODS AND BALL HEADS ARE EXPENSIVE - BUT ARE THERE ALTERNATIVES THAT CAN GET THE JOB DONE FOR LESS MONEY?
	APPLE UPGRADE - SNOW LEAPORD - DO IT NOW OR DO IT LATER?
	Title

Subhead

LEICA ENTERS THE MEDIUM FORMAT MARKET AT THIRTY THOUSAND SMACKERS FOR ONE BODY AND ONE LENS

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THE CANON G11 CREATIVE POINT AND SHOOT CAMERA- CANON TAKES A STEP BACKWARD TO GIVE THEIR CUSTOMERS WHAT THEY HAVE BEEN ASKING FOR.  BACK DOWN TO 10 MEGAPIXELS AND A FRACTIONALLY SMALLER NEW TILTING REAR DISPLAY.  THEY HAVE OBVIOUSLY BEEN LISTENING.

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BILL WALLEN OF BLUE RIDGE WORKSHOPS WILL HAVE HIS PHOTOGRAPHY ON DISPLAY AT PENN CAMERA TYSONS STARTING ON SEPTEMBER 6TH. 

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