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Photography QnA: New Questions

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Category: New Questions

In the BetterPhoto photography forum, great questions on the art and craft of photography flow in at a rapid, non-stop rate. The following are the photography questions that have been asked most recently. Browse the questions below to see which photo topics have most recently been posted in our photography forum.

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Photography Question 
Fiona 

member since: 4/24/2001
  32101 .  How to shoot Lightening
On several occasions, I have attempted to 'expand my horizons' by shooting a lightening storm at night (and very unsuccesfully). I have the Nikon N90s with a 24-120mm and a 20-300mm zoom lens.I have tried using both. I set the camera to infinity and use the bulb setting but I just cannot get the camera to focus, should I be on manual focus or automatic? Is there some *magic* to getting this technique right?Is there a better lens to use and what's the fastest film recommended for this type of shot. What should I do to try this again? Any advice would be greatly appreciated.

Fiona

4/17/2002 10:27:31 AM

Ken Pang

member since: 7/8/2000
  Hi Fiona,

Try two things: A wider field of view, say 50mm, and a smaller aperture, say f/16.

This gives you a couple advantages:

1) More chance of catching a lightning strike, if you're wathcing more of the sky

2) An opportunity to hold the shutter open longer, since a smaller aperture means a longer time to correct exposure

3) sharper focus, because at 50mm and f/16, everything beyond 4m is "acceptably sharp" according to the depth of field calculator. Of course, if lighting strikes within 4m of you, you got bigger problems than unsharp focus.

Remember to use a tripod, use mirror lock up if you can, and use a remote to trigger the camera, so you don't send it shaking when you hit the shutter trigger.

4/19/2002 10:39:47 PM

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Photography Question 
John Swanson

member since: 7/15/2001
  32102 .  Darkroom Techniques - Dodging and Burning
I see on various Web sites terms such as dodging and burning. I'd like to know what these terms mean, and any further information on what a professional lab can do when I order an enlargement or have film developed. When I have my 120 film done, I get a contact sheet back. Can I indicate cropping on these? If so, how should I do it? Are there any books for beginners which discuss developing/printing options?

4/17/2002 9:20:04 AM

Jeff S. Kennedy

member since: 3/4/2002
  Dodging is the technique of holding back light from a specific area of your print. It is done to lighten up an area. Burning is just the opposite. In this case you are giving an area more exposure to darken it. A washed out sky for example can be burned to bring out detail.

Different labs may have different procedures for indicating custom cropping and manipulation. Check with your lab for their preferences. You should just be able to draw crop marks on your contact sheet. You can also indicate areas to dodge or burn. Your lab will probably have specific symbols for each or these actions that they prefer to use to avoid confusion.

4/17/2002 12:06:02 PM

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Photography Question 
Vee Rooney

member since: 4/17/2002
  32103 .  Teleconverter
I can't to afford to buy a 400mm lens and I shoot a lot of film on sporting events, especially baseball. Is there a compatible telecoverter for a Tamron 28-300mm f/3/5-6/3 ld aspherical with an Elan 7? (Would prefer a 1.4) - Two self-proclaimed camera experts told me I'm out of luck...can't be. Help...
Thanks!!!

4/17/2002 12:24:46 AM

Ken Pang

member since: 7/8/2000
  Vee, You're out of luck.

Even if you could find a compatible teleconverter, the effective aperture would be too low to autofocus. A 1.4 would stop you down one stop, giving you an effective aperture of about f/9.

A lens like that would be near impossible to hand hold, and would need a shutter speed to slow to capture fast moving objects.

Sorry buddy, your camera expert friends are right.

4/19/2002 10:34:37 PM

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Photography Question 
Ron Hayter

member since: 4/16/2002
  32104 .  Shooting Daylight Interiors
I want to shoot interiors. I've used hot lights,(too direct); monolights at night, (too many dark corners, and dark windows); monolights--daytime, still dark corners with blown out windows or no flash--available light with sun shadows and yellow walls. If I filter out the incandescent light then the daylight will be too blue. What is the secret mixture of light to get this image?

4/16/2002 11:14:49 PM

Colin Bell

member since: 2/6/2001
  Hi Ron,
The best and easiest way I have found is to use a tripod with a dedicated flash unit. Using ambient light, exposure compensation, and second curtain shutter sync set on the flash. It sounds like a lot, but it is easy in practice.

Set the camera on the tripod, Use the aperture-priority mode on your camera, set the aperture for a good depth of field, ( F16 ), and take an ambient light reading of the room. With the camera, or a light meter. Add two stops of exposure compensation, switch on the second curtain shutter sync on the flash unit, and take the picture.

The two stops of exposure compensation stops the light from the windows over exposing the shot, the second curtain shutter sync allows the camera to capture the ambient light in the room first, before the flash goes off.

If there are no windows in the room, you won’t need the second curtain shutter sync. You might have to experiment with the amount of exposure compensation you use, in Australia where I’m from, it is almost always two stops, but our light is very intense. I do bracket down if there is not much light entering the windows. I might use one or one and one half stops of exposure compensation.

Well I hope I have helped you.
Good luck,
Colin B

4/17/2002 11:44:17 PM

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Photography Question 
Richard Jackson
BetterPhoto Member
Contact Richard
Richard's Gallery

member since: 6/8/2000
  32105 .  Type of Nikon lens!
I own a Nikon 6006, and I have a Sigma 28-200/3.5D lens to go with it. I notice that in the photo mags they list an AI-S lens. Can someone give me a discription of what this is. Thanks!

4/16/2002 6:54:26 PM

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Photography Question 
Lisa M. Brewer

member since: 4/16/2002
  32106 .  Capturing Motion of People
I am trying to capture kicks and punches being thrown during my child's karate lessons. Everytime I snap the button, the action is over before it registers the motion. What do I need to do to get the action wanted?

4/16/2002 1:22:50 AM

Jeff S. Kennedy

member since: 3/4/2002
  Sounds like a big part of your problem is timing. Good sports photographers know the sport they are shooting and learn to anticipate peak moments. I suspect you are using a digital camera and can't capture several frames in a row. If you are using a film camera with a motor drive (or a higher end digi cam) then try to fire just before the punch is thrown and let the motor drive fire off a few more frames until the completion of the punch.

4/16/2002 12:44:32 PM

doug Nelson
DougNelsonPhoto.com

member since: 6/14/2001
  There's a low-tech possibility for you, If you don't mind buying still another camera. You want to be able to see the action while you are taking the picture.

Almost forgotten are the little rangefinder-type 35's from the 60's-70's. A Konica S3, Canonet QL 19GIII, Olympus 35 RC or Minolta Hi-Matic 7SII can be had for two figures on ebay. You can see the action through the viewfinder while you shoot, with no SLR mirror-slap blackout.

Shutter action is instantaneous. You set a 1/250 shutter speed and the camera automatically sets your aperture. The flash will work at any shutter speed, since it's a leaf-type shutter in the lens. A further bonus is that the lenses in these guys are as good as state-of-the-art lenses today. The camera industry wants us to forget that they made better stuff 30 years ago.

Only one caution: they all used the 1.3 volt mercury battery that's harder to get today. A serious camera store will sell you a Wein battery for these.

They don't have built-in flashes. Just as well, because you'll need a strong one if you're shooting inside.

If you get one of these beauties, see if it isn't the best camera you've ever owned.

Everything good does have a catch, though. The one here is that you focus these cameras yourself. In a sports situation, you focus on your little guy, or, if he's moving toward or away, pre-focus on where he's going to be.

There's no zoom lens. The lens is a 38 or 40 semi-wide angle, so you have to be fairly close.

4/16/2002 2:01:03 PM

John A. Lind
BetterPhoto Member

member since: 9/27/2001
  Several good suggestions thus far.

I disagree though with running a digital or film camera in "continuous" or "sequence" mode. This does not work that well. With a film camera it burns film very rapidly and with a digital it eats the memory equally fast, if not faster. 4-5 frames at a whack swallows an entire 36-exp roll with 7-9 sequence shots.

The pro photographers who use this method (not that many do), use a top-end pro camera body set up with a special 250 frame film back, and bulk load their film in a dark-room from 100 foot reels of film. Their top-end pro motor drives (not built in to the camera) run 10 frames per second, versus the typical 3-5 frames per second found on most consumer 35mm SLR's, or 0.2-0.3 seconds between frames. That's a lot of time between frames when shooting fast action, and a lot can happen *between* frames.

Sports and racing photographers did extremely well before motor drives and 250 frame bulk loaded film backs. Their secret was timing. They became very familiar with the type of action they were photographing and would watch for cues that occur just before some action of interest does. In boxing, they often watched the boxers' feet, which would become firmly planted just before making a decisively hard punch. There are probably similar "cues" and "tells" in karate that a close observer can watch for.

To catch the action when it happens requires anticipation of it and timing shutter release *before* it occurs. An SLR does not react instantaneously, even a manual focus one. The lens must stop down and mirror flip up before the shutter can travel. Autofocus SLR's and Point&Shoots have an even longer delay to allow the auto-focus system to set lens focus before lens stop-down and mirror travel.

I recommend watching several matches very closely, without the camera. Look at feet, knees, waists and shoulders, and try correlating their position and movement with kicks and punches that follow. With a little observation you should be able to see some patterns that predict kicks and punches just before they happen. Then practice a few times using these cues for timing a slight lead in your shutter release. Knowing you need a slight lead is half the battle. Knowing the cues and some practice is the other half. Most find the skill is not that difficult to learn and after a while it becomes automatic.

I sometimes use a motor winder when photographing fast action, but it's *always* on single-shot mode. It's used to automatically wind on to the next frame without having to do it manually, and allows better concentration on the action. However, it's not an essential device for me, only a convenience.

-- John

4/16/2002 10:05:04 PM

Lisa M. Brewer

member since: 4/16/2002
  I am totally thankful for all the responses that I have gotten for my question, but... the responses seem to be geared to regular cameras, and I am using a Olympus Camedia C-3020 Zoom digital camera. I just need to know what the setting should be, and in what menu category, in order to capture the movement in mid-form. I should have been more specific in my question, and for that I apologize. It is my first time ever using such a site on the internet. I again apologize, and will appreciate any response now given.

4/18/2002 4:09:21 AM

doug Nelson
DougNelsonPhoto.com

member since: 6/14/2001
  You're not gonna like this, Lisa, but you may be asking a digicam to do the impossible. Every one I've ever used has a lag time between the instant you press the shutter and when the actual exposure is made. You will get lucky sometimes and anticipate the action just right. In general, you must use a fast shutter speed. Your Camedia, which I understand to be a decent digicam, must have an action mode or they may actually call it a shutter. Anyone out there have one of these?

4/18/2002 7:49:51 AM

John A. Lind
BetterPhoto Member

member since: 9/27/2001
  Lisa,
Even a digital has a slight delay between the time you push the shutter release button and when the image is actually "recorded."

I was not clear on this in my first posting. There is more lag than just the camera's; there is your reaction time also. If you wait until you see what you want in the viewfinder, it's too late, even if the camera could react instantaneously. It's why I recommended observing closely to learn how to anticipate when things will happen before they do, and then practicing at the timing. In making action photographs I had to learn how to react a split-second just before the "decisive moment" and press the shutter release then. It's one of the reasons Doug mentioned the old rangefinder cameras as you can see it occur, hear the shutter travel simultaneously and know if you got the shot. With an SLR, I know if I *see* the decisive moment through the viewfinder I *know* I didn't get it as it's blacked out with the mirror up while the shutter is traveling.

-- John

4/19/2002 11:48:41 PM

  Hi, Lisa,

I use an Olympus C-3020Z, too. I haven't yet done a whole lot of action shots, but I've done enough of them to experience the frustration caused by the shutter lag problem. I think that one part good timing, one part good anticipation, and several parts good luck are what we need to take good action shots with cameras like the C-3020Z. As for the settings, I find the Sports setting in the Scene mode is good is there's quite a bit of light available. Program also seems to work reasonably well with good light, but works best, for me anyway, with relatively close subjects. I'm sorry I can't be more help, but I'm still quite new to action shots.

4/27/2002 3:45:25 AM

Eddie King

member since: 4/21/2002
  Hi Lisa. I have been trying to get action shots with my Olympus digital too. I have the most success with the settings on manual focus and aperture priority set to allow for the fastest shutter speed possible (you have to experiment before the shot in whatever light you are in). If you are close enough to use flash, even better. These settings seem to decrease the camera's response time versus auto focus and program mode. Of course it's vital to anticipate the action, pre-focus, and take a lot of shots. I enjoyed reading the replies to your question.

4/27/2002 7:07:16 AM

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Photography Question 
Aruna  

member since: 2/3/2002
  32107 .  Camera accessories price list
Where can I find the prize list for all the camera accessories specifically
for filters and filter hood/holder.
I need the information quite urgently.

Thanx in advance,
Aruna

4/16/2002 12:32:07 AM

Jeff S. Kennedy

member since: 3/4/2002
  Have you checked B&H online?

4/16/2002 12:45:15 PM

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Photography Question 
Patrick A. Hunton

member since: 4/15/2002
  32108 .  How to shoot a band at a concert?
How do you shoot a band at a concert with low lighting? If you leave the shutter open longer the images tend to be blurry if the band moves around alot. So, how on earth do you get good pictures of bands in low light situations when the are rocking the house???

4/16/2002 12:01:50 AM

Jeff S. Kennedy

member since: 3/4/2002
  Fast lens, fast film, monopod if you can, and don't be afraid of motion blur. It can look pretty cool. Otherwise, wait for a relatively still moment to shoot.

4/16/2002 12:46:48 PM

Colin Bell

member since: 2/6/2001
 
 
  Brozman
Brozman
Slow Shutter Speed
 
  Dutch T
Dutch T
With F4, 300mm Lens
 
  Finnen
Finnen
No Flash Blues
 
  Pete
Pete
Pushed 1600 t0 3200
 
  Zydeco
Zydeco
Pushed colour film
 
 
Hi Patrick
I do a lot of Low light work with live bands. If you use professional film and “Push” the film, you can get excellent results. If you do not know about “Pushing and Pulling” film, I’m sure there is a detailed section on this website that explains it.

Basically, you expose the film you have at a different film speed than it is rated for. Example: you used 1600 speed colour film. You would rate it at 3200 (or 6400 depending on the film) and when you are getting it processed - go to a professional lab - and tell them that it was pushed to 3200. They then process that type of film at 3200.

That’s “Pushing”, it increases the amount of light that gets to the film. That way you can use the available natural light. This will add atmosphere to your photos. Pushing can increase the grain in your photos, but with modern film it isn’t as bad (or good) as it used to be and in some cases there is no grain at all.
When you are taking an available light picture, expose it to the lightest part of the scene. This will generally be the face. I shall include some of my pictures as examples.

You can find out how much a film can be pushed or pulled by reading the manufacturer’s instructions. They are usually on the inside of the film box. Manufacturer’s website’s are also good sources.

I usually go to a job with four or five different types of professional film, to cover all the different shots that I am after.

I use Fuji colour films and push them as far as they can go for available low light shots. I use Fuji rated at normal or just above for straight flash shots and also for available light and second curtain sync shots (a bit of movement in the picture).
For B&W, I use Ilford Delta 3200 (at 6400 it can go to 25000) and develop it in Ilford Ilfotec DD-X. This combination of film and developer is brilliant for there is basically no grain. I use T-Max 400 when there is a lot of light.

Well, I hope I have been of some help to you. The best advice that I can give you is take more pictures and don’t be afraid to experiment.

Regards,
Colin Bell

4/19/2002 12:40:43 PM

Patrick A. Hunton

member since: 4/15/2002
  Wow... thanks for all that info... right now I don't know CRUD about photography! All my experience is rested in Digital on a Sony Cybershot... and now i'm making the move to a 35mm SLR and i'm even taking one of the workshops for beginners on this site! But I appreciate all your information! I've heard about using 2nd Curtain Syncing or whatever, and am really intrigued by that too, but I think i'll wait till I know some more, and maybe get some better equipment! Thanks again!

4/19/2002 3:41:11 PM

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Photography Question 
Cheri Lyn Hauschild

member since: 4/15/2002
  32109 .  Films to Use for Rock Band
I am not a pro - I only have Nikon N60 - but I would like to take nice pictures of my brother's rock band in dark, smoky bars. I used 1600 speed color film and a couple of the pictures were okay. I have a flash too. Is there higher speed black and white or color film? I'm desperate and want to do this right. Or is is that my camera is not good enough? I have a Nikkor standard 35-80mm lens and an older Nikkor 100-300mm. For any tips I would love ya forever!

4/15/2002 9:09:22 PM

Jeff S. Kennedy

member since: 3/4/2002
  Cheri,
A big help would be a faster lens. A 50mm with f1.8 or better lens would help you a lot.

4/15/2002 11:27:29 PM

Jeani 

member since: 8/26/2000
  Cheri,
I recently photographed a friend's band in what sounds like similar lighting and used Ilford B/W Delta 400 Pro. I have only seen the negatives at this point, but will be printing some of the images very soon. I used my Pentax ZX5N with a 28-80 f3.5 lense. At first I had everything set on automatic to see how the camera would do with the lighting....needless to say, it didn't do too well. I see trails all over that series of negatives (but am hoping they might be interesting). I then set the shutter speed at 1/60 sec and opened up the apperture to 3.5 (the max on this lense). The negatives appear quite dark, except for where the light was falling, i.e. musicians faces, instruments, etc. I am hoping that in the darkroom I will be able to work with the negatives to get some good prints.(I keep thinking about the jazz shots of Hermann Leonard and how wonderfully dark they were - but so beautiful).

After I print these negatives, I will come back to the site and let you know how the prints turned out.

Another note... about a week ago I noticed that someone at this site posted a question similar to yours and the person who answered had some really good tips on using flash and photographing bands. Here's the link to that thread.

After I visit the darkroom, I'll come back and post more info.

4/17/2002 9:37:54 AM

Michael Lucas

member since: 7/9/2001
  I use a Canon Elan 7e for my live band shots. I would also suggest having a 70-200mm with f2.8. This can give you the option to staying out of peoples way and give you a variety of shots.

4/17/2002 3:27:36 PM

Jim Sutton

member since: 4/13/2002
  Cheri,
Try push processing your film. Set the ISO at 3200 instead of 1600 and shoot as you normaly would. Be sure to shoot the whole roll at 3200. When you have exposed the entire roll, take the film to a good lab and tell them to "push it one stop." See if you like the results. It might save you some money.

4/17/2002 11:30:43 PM

Colin Bell

member since: 2/6/2001
 
 
  Brozman
Brozman
Slow Shutter Speed
 
  Dutch T
Dutch T
With F4, 300mm Lens
 
  Finnen
Finnen
No Flash Blues
 
  Pete
Pete
Pushed 400 iso to 3200
 
  Zydeco
Zydeco
Pushed colour film
 
 
Hi Cheri
I am a professional, and I do a lot of low light work with live bands. The equipment you have is sufficient for the job. All you have to do is change your technique. If you use professional film and "push" the film, you can get excellent results. If you do not know about "pushing and pulling" film, I'm sure there is a detailed section on this Web site that explains it.

Basically, you expose the film you have at a different film speed than it is rated for. Example: you used 1600 speed colour film. You would rate it at 3200 (or 6400 depending on the film) and when you are getting it processed - go to a professional lab - and tell them that it was pushed to 3200. They then process that type of film at 3200.

That’s "pushing", it increases the amount of light that gets to the film. That way you can use the available natural light in a dark smoky bar. This will add atmosphere to your photos. Pushing can increase the grain in your photos, but with modern film it isn't as bad (or good) as it used to be and in some cases there is no grain at all.

When you are taking an available light picture, expose it to the lightest part of the scene. This will generally be the face. I shall include some of my pictures as examples.

It's a good idea to use pro film, because it has a greater range in stops and the colour is always more exact.

You can find out how much a film can be pushed or pulled by reading the manufacturer's instructions. They are usually on the inside of the film box. Manufacturer's Web sites are also good sources.

I usually go to a job with four or five different types of professional film, to cover all the different shots that I am after.

I use Fuji colour films and push them as far as they can go for available low light shots. I use Fuji rated at normal or just above for straight flash shots and also for available light and second curtain sync shots (a bit of movement in the picture).
For B&W, I use Ilford Delta 3200 (at 6400 it can go to 25000) and develop it in Ilford Ilfotec DD-X. This combination of film and developer is brilliant for there is basically no grain. I use T-Max 400 when there is a lot of light.

Well, I hope I have been of some help to you. The best advice that I can give you is take more pictures and don't be afraid to experiment.

Regards,

4/19/2002 12:08:34 PM

Danie Du Preez

member since: 1/5/2001
  I agree with Colin, You have the right equipment! I was surfing the net when I came across your problem. go to http://www.apogeephoto.com and go in under "Rock Concert Photography". Look especially at the colour of the light and they have some great advice too! This, together with Colin's advice, I'm sure you're gonna get some exellent photos!

4/20/2002 9:05:25 PM

Cheri Lyn Hauschild

member since: 4/15/2002
  Hey guys - thanks for all the useful advice. I appreciate it all. It looks like I will be shopping for film, possibly a 50mm lens... and most of all, a lot of practicing. I have gotten more into here than ever before. I appreciate all the time spent. Thanks again. Always looking for advice.

4/20/2002 11:24:16 PM

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Photography Question 
Bonnie Copeland

member since: 4/15/2002
  32110 .  what resolution to store digital images
What resolution would be best to store digital images for family purposes? I know that most home printers can do 300 dpi...would this be best, considering future improvements?

4/15/2002 8:13:02 PM

doug Nelson
DougNelsonPhoto.com

member since: 6/14/2001
  You answered your question. 300 is fine, and anticipates any advances in printer technology and also gives you the option of going to a service bureau for a dye sublimation print for a really important one. CD's are cheap; why not archive at the best resolution?

Before you archive, go into the page of your imaging software that lets you set the image size. DO NOT throw out any pixels by "resampling" or whatever your software calls it. This way, you can pop that CD into a printer years from now, and it should print out at the size you want.

4/16/2002 10:22:58 AM

Robert Torrence

member since: 5/20/2001
 
 
  Snoop Dogg at the Century Club
Snoop Dogg at the Century Club
Shot with a Nikon D1X, ISO 125, 85mm @ F4 with the Quantum X2 Flash
 
 
When you say save it depends on what you use them (output) for. If you shoot in .jpeg then save them in the raw .jpeg form straight from the camera to cd. You will not loose any data if you as soon as you load them to the computer cut the cd then. Do not let the imaging program do anything. When you are ready for the photo to resize, print, email or anthing else it will be just like it came from the camera. It also saves space on the CD and the computer so when you go to pull it up it loads quicker.
If you tell the imaging program to save as a .tif then you will not loose any quality as well but the file will be multiplied like a 2.7mb file will now be a 17mb file and most cameras shoot at 72 dpi in jpeg mode so that makes the size of the photo larger so when you change to 300 dpi the photo will automatically get smaller. When you save you should be mindful of a number ot things that happen to your file. Find what works for you and stick wuith it.
Mr.T

7/2/2002 3:21:22 PM

Diane H. Inskeep

member since: 3/13/2002
  I have a question about your information. You mention shooting in raw jpeg form. I have Canon D60, and I have been using the large jpeg setting. I have wondered if the 72 dpi (which I guess is in the camera?) can be enlarged? I would rather have all of the photos at the 300 dpi and burn them onto a cd that way incase I am printing them. If I am doing a large number of photos from a wedding, there must be a quicker way to get the images to cds....and if I save as both tiff and jpeg, the images won't fit on one cd. Is there software that will burn to multiple cd's and give an index? thanks Diane

1/25/2003 9:03:43 PM

Wayne Attridge

member since: 9/27/2002
  There is no need to save your photos as both TIFF and JPEG files. TIFF (Tagged Image File Format) saves the image raster data, which is as a bitmap, meaning all of the data in the photo is saved in the file. JPEG (Joint Photographic Experts Group) is a photo compression scheme that is used to decrease the file size for pictures, such as for display on a Web page, as in the Photo Contest. It is not intended for archives when you may want to alter the image some time in the future. JPEG compression discards some of the colour information in the picture in order to make the file smaller. When you open a JPEG file in Photoshop or Photopaint, etc, manipulate it and resave it, there is more loss in the final file. This does not happen with TIFF files. The data is there when you open it and remains when you resave it. Converting your JPEGs to TIFFs doesn't really accomplish anything, as the JPEG file cannot be uncompressed like a Winzip file in order to restore the image to TIFF quality. JPEG threw some of the data away and it is gone forever. If you take and store your photos as TIFF files from the start you can do what you want to them at a later date, including conversion to JPEG, and always retain the original TIFF. I hope this is a help to you and not too confusing or long winded.

1/25/2003 10:56:41 PM

Diane H. Inskeep

member since: 3/13/2002
  My camera only gives me jpeg or raw options when taking the photos. So, if I have to take it in jpeg...what is the most streamlined way to get it converted to tiff and burned to the cds? I have not tried much with the raw option, as I can't use the raw option in much of the software I use...so I need to learn more about using raw formats...and even so, do I save it in raw or again convert to tiff to save? Thanks for your help....the more I learn, the more I don't know.....
Diane

1/25/2003 11:06:43 PM

Wayne Attridge

member since: 9/27/2002
  If you shoot in JPEG, use the largest (file size) option you can afford with your memory capacity. Download these files to your computer and save them on a CD. Don't bother converting the files to any other format. You can do the very same thing at a later date with your original files. If you shoot them at 72 dpi, you cannot make them 300 dpi resolution with Photoshop, etc. If you want 300 dpi resolution you have to shoot at 300 dpi. Does that help? If not, we'll try again until you have it figured out.

1/25/2003 11:21:06 PM

Robert F. Walker
BetterPhoto Member
bdieventphotos.com

member since: 8/24/2004
  Wow- this is the part of digial I have a hard time with. Resolutions. JEPG, TIFF, RAW, dpi, etc. I feel like I need to be a math major! Is there a simple way to understand all this tech stuff, so I can be sure when I download images on my computer, I may still be able to make prints that I can market. 4x6, 5x7, 8x10

7/16/2006 8:54:04 AM

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