Here are 4 things you can do to optimize your autumn sets outside:

1. Start shooting just before sunset; the lightning conditions provide a soft atmosphere and golden dimness.

2. Contrasts, contrasts and again contrasts. Nothing more powerful than a bright red leaf against a grey cloud.

3. Polarizer filter is a must! The saturation of colors that you get with one of these is accurate and help to achieve a crisp feeling while decreasing some of the haze that is autumn typical.

4. Eat pumpkin! It’s very tasty .

ENJOY!

The canon 60D is made of polycarbonate resin on an aluminum chassis. It is durable and light weight. The new design control bottoms all laid-out on the camera’s right side for an easy, one handed operation. Another change is the integrated 8-way joystick with the Quick Control dial. The menus are Easy to use and include clever Subject modes with ‘Ambience Selection’ (Standard, Vivid, Soft, Warm, Intense, Cool, Brighter, Darker and Monochrome).

The canon 60D uses an 18 Megapixel, 63-zone Dual Layer metering sensor that offers an accurate analysis of color, luminance and focus information and supply very low noise levels. The 60D offers a continuous shooting burst mode of 5.3 frames per second which suffice for nature and extreme sports photography.

The DIGIC 4 Processor, captures images in RAW and JPEG and allows Conversion between them.

The 60D High quality 3″ display screen folds out and sideways and is very handy for shooting from various angles using the live view function. It is water resistant and has a special coating which prevents visible fingerprints. The screen’s resolution is a high 1.040.000 dots that delivers a clear representation even under daylight.

The 60D offers and advanced HD Movie Mode that can shot at 10 ATP. The outcome is crisp and crystal clear. The Camera provides three choices for movie resolution, all recorded as progressive scan video compression: Full HD – 1080p at either 30, 25, or 24 frames per second; (720p) mode; standard 640 x 480 pixel (VGA) mode

The 60D supports SD, SDHC and the new SDXC memory cards.

In all aspects the 60D performs flawlessly and offers an outstanding user experience.

VISIT OUR WEBSITE AT:

http://www.getitdigital.com/category.php?category=270069

You can download the firmware update Here.

Have you ever seen those pictures where the subject seems frozen amidst a blurred background. Have you ever wondered how to get that effect? It’s not Photoshop. Rather, it is a basic principal of photography at work here. When shutter speed is increased, the subject becomes frozen  and by panning the camera along with the subject the background then blurs.  The only issue with this is how fast do you have to set the shutter speed in order to accomplish this effect? Sure, pro photographers know at a glance how fast the subject is moving and how quick the shutter speed needs to be. What if you’re not a pro? What if you don’t have that intuitive sense of exposure?

All is not lost! You can try this simple trick. Set the camera on continuous shooting and pan with your moving subject. On a camera like the Nikon D300s, that translates in to a 7fps (frames per second) burst. When using this technique, you’ll notice that some of the photos have a blurry subject as well. That’s because the camera’s focus was not perfectly tuned at that point, but somewhere in those 15 or so pictures you’ve just fired off will be your gem. That crystal clear subject with a beautifully blurred background. Hope this helps!

Happy Shooting!

As the Fourth of July was approaching, I thought it would be a wonderful idea to grab my camera, family (not in that order; Family comes first after all ) and head down to watch the fireworks from the lovely environs of Redhook, Brooklyn. The fireworks did not come off. This year NYC had decided to launch them on the West Side only and give New Jersey natives the benefit to the of the display instead of  the tax paying New Yorkers. But that’s a different story for later and perhaps another blog.

The point of this article is to demonstrate the value of shooting at the right time of day. The physics behind it are relatively simple. During midday, the suns light have a more direct path through the atmosphere and therefore appear as white light. All of the colors of the spectrum are fused together in to one blindingly bright beam. at sun up or at sundown, the rays are broken in to wonderful colors the likes of which a Crayola set have never had. Beautifully distinguished hues are a hallmark of these times of day and a photographer knows that they should take advantage of them. Just ask any pro when the best time to shoot is.

The images that follow should serve as an example as to why you should always take the time of day in to consideration when going out to shoot.

Just a few more things to keep in mind. The first is that you’ll have to boost your ISO setting quite a bit as it gets darker so you’ll have to live with grainier pictures. Leaving the shutter open at night means you’ll need to bring a tripod along. OH, one last thing, if it’s the summer don’t forget the bug spray!

Happy Shooting!

These two cameras are worlds apart in some ways. The Nikon D300s is a pro’s camera with all of the trappings that go along with that designation. The D90 is more consumer oriented and easier to use. This comparison takes the 12.3 megapixel sensors and traditional Nikon imaging quality as basis for the comparison. We compare the pictures and give you some thoughts on which you should get if you are not sure which to buy.You can check out more reviews on our blog at http:www.getitdigital.wordpress.com . Happy Shooting!

Specifications:

Nikon D300s

Description
The Nikon D300s SLR Digital Camera builds upon the success of the D300 by adding 720p HD Video Recording. With a 51-point autofocus system, 100% viewfinder accuracy, 7 frames per second continuous shooting, and low light sensitivity (expandable to ISO 6400), the D300s boasts a professional-grade feature set in a compact, highly durable, metal body. The 12.3 megapixel image sensor coupled with Nikon’s exclusive EXPEED processor ensures ample resolution for discerning shooters with vivid, life-like color and stunning detail.

Rugged and reliable, the D300s now adds dual slots for both CompactFlash and SD/SDHC memory cards. Either card can be used for primary storage; the secondary card can be configured for overflow, mirror capture, or video recording. RAW and JPEG files can even be saved to separate cards for convenience. Images can also be copied between cards for easy sharing. With a host of new features and next-generation photo and video technologies, the Nikon D300s offers extremely high levels of performance and functionality to photo enthusiasts and professionals alike.

Key Features
12.3 Megapixel DX-format CMOS Image Sensor
Nikon EXPEED Image Processing
HD Video Recording
Continuous Shooting up to 7 fps
3″ LCD
One-button Live View
Low Noise ISO Sensitivity from 200 to 3200
Fast, Accurate 51-point Autofocus
1,005 Pixel 3D Color Matrix Metering II
Scene Recognition System
Dual Memory Card Slots (CF and SD/SDHC)
Dynamic Integrated Dust Reduction System
Picture Control
Active D-Lighting
In-camera Image Editing
Rugged and Durable
100% Viewfinder Accuracy

Included in Manufacturer Box
Nikon D300s Digital SLR Camera Body
EN-EL3e Rechargeable Lithium-Ion Battery
MH-18a Charger
UC-E4 USB Cable
EG-D100 Video Cable
Camera Strap
DK-5 Eyepiece Shield
DK-23 Rubber Eyecup
Body Cap
Software CD-ROM
User Guide

Nikon D90

Description
The D90’s image sensor and 12.3 effective megapixels combine with Nikon’s exclusive EXPEED image processing to deliver outstanding images featuring fine details, smooth tones, rich colors and low noise across a wide ISO sensitivity range.

The D90 is the world’s first digital SLR camera with a movie shooting functionthat delivers genuinely cinematic results, enhanced by the creatively shallow depth of field made possible by the DX-format sensor.

Specifications
Single-lens reflex digital camera
Lens mount: Nikon F mount (with AF coupling and AF contacts)
Effective picture angle: Approx. 1.5 x lens focal length (Nikon DX format)
Effective pixels: 12.3 million
Image sensor: 23.6 x 15.8 mm CMOS sensor
Total pixels: 12.9 million
Image Sensor Cleaning, Image Dust Off reference data with optional Capture NX 2
Image size (pixels) 4,288 x 2,848 [L], 3,216 x 2,136 [M], 2,144 x 1,424
Media: SD memory cards, SDHC compliant
Viewfinder: Eye-level pentaprism single-lens reflex viewfinder

5 seconds, f14

We’ve all seen those incredible shots from the back of a motorcycle where the lights on the road seem to blur in to one continuous line of color. Then we’ve seen those equally stunning shots were the city or buildings are well defined and the cars resolve themselves in to a blur of light and hues.

It’s actually a lot easier to do than you think. Before you go out there and try to get your creatively inspired photograph featured in a magazine, you’ll need a few things.

1. A Tripod (A Decent One)

2. A Remote Control (You can use the timer on the camera if you like but the remote makes things much easier and you don’t have touch the camera once you’ve set it up.)

3. A Good Lens. You’ll want to capture as many of the various color tones as possible.

OK, now you’ve got your stuff together let’s step outside and put it to use.

First, you’ll want to pick a nice spot that’s a little bit out of everyone’s way but with a good view of your moving illuminated objects. One of the most annoying things that can happen when you are trying to get a shot like this is someone bumping in to your rig and upsetting your shot. You’ll also want to make sure you have an interesting backdrop for your photo. Nicely lit buildings are a good idea but a beautifully colored night sky is also good.

Once you’ve found your space, place your camera on the tripod and frame your shot. Keep in mind the Rule of thirds because it will make your shot that much more dramatic.

Here comes the important part: You’ll have to set the shutter speed and aperture properly to capture the light streaks. This takes a little bit of experimentation but a good speed to start with is about 4 seconds for the shutter speed and an aperture of about f14. You can read more about why this works in our aperture and shutter speed articles. You don’t have to use the Remote or timer when you are experimenting because what you are looking to do is get a feel for how the camera will expose the photograph at this point.

Now that you have the exposure correct, trigger the remote or set the timer and step back. Wallah! An exciting and different type of picture for your collection!

2.5 seconds/ f18

Happy Shooting!

The subject of this article was brought to my attention a little earlier in the week. One of the associates at getitdigital stepped in to my office holding a brand new Canon T2i (550D) in his hand with a perplexed look on his face. Experience has prepared me for these little interruptions and seeing that the camera was an HD video capable model, I had a feeling that the question would be about HD video. The question itself illustrates a very basic deficiency, or at least a difficulty, in using a DSLR as a video capturing device. We’ve actually discussed this in a previous article but we haven’t focused (pun intended) on this issue specifically.

The question: “If I zoom in or out, how can I keep the picture in focus?”

The answer: “You can’t have the camera do it automatically.”

That’s right, almost all DSLR cameras are incapable of  keeping continuous focus. Every time the depth of field or focal point changes the video gets all out of focus. This is one of the sacrifices that needs to be made if you want your 12 megapixel or more gigantic sensor to capture motion.

Apparently the camera manufacturers haven’t either created the technology that allows constant communication between the camera’s processor  , the focusing system and the lens that would allow for continued focus over rapidly changing subjects or they’re waiting for the next iteration of the DSLR to become necessary before they release this feature. The latter seems the likely possibility as continuous auto focus is being released on a few current DSLRs for video, mostly in the micro four-thirds category. As these cameras are more consumer oriented, and consequently less picture specific than a traditional (my, how the times have changed) DSLR camera, the customers for these cameras would have demanded camcorder-like capabilities from the outset or at least shortly after the release of the first micro four-thrids cameras.

Nikon and Canon do have some video auto-focus controls but they are rudimentary at best. The Canon T2i (550D) will focus in video mode when you depress the shutter release button half way but cannot do this while actually recording. This is a weak, seemingly quick fix on Canon’s part and even when you do use the auto-focus button, the response is exceedingly slow.

Nikon has a slightly better system on most of its DSLRs that are video capable. There is a specific button on the back of the camera that allows you to focus when the camera is recording but it is also very slow. It is much better to use the lens itself to focus manually. Although if the lens lacks an Aperture ring, you are out of luck (The Nikon 18-55mm VR lens comes to mind), so choose your lens carefully before you go shooting!

We might conclude with the statement that if HD video is your thing but you don’t feel like focusing yourself get a camcorder but after reading this article, you probably know that already.

Happy Shooting!

This comparison is in two parts. The first is a general comparison of the general photographic capabilities of each camera and the second is a feature comparison. For the sake of brevity we have divided it thus so that you can choose the video you’d like to watch and what you’d like to get out of it. We’ve also included  a description and the specifications below for you reference. Enjoy and Happy Shooting!

Part 1

Part 2

Canon T1i (500D)

Description
The Canon EOS Rebel T1i is the 6th generation of Canon’s popular entry-level DSLR camera series and it improves upon earlier Rebels by incorporating many features that up till now could only be found on Canon’s pricier mid-level DSLRs.

Among the Rebel T1i’s key attributes are a 15.1Mp CMOS sensor (similar to the sensor found in the EOS 50D) for detailed, full volume prints, Live View for accurate pre-focusing and editing, continuous burst-rates of up to 3.4 fps, a DIGIC 4 image processor, and a scratch and glare-resistant high-resolution (920,000-dot) 3″ Clear View LCD that allows for easy 100% image viewing from angles up to 170° off-center from the screen.

The big news is the Rebel T1i’s ability to record a choice of full HD 1080p, 720p, and VGA video capture, which places it among the few DSLRs currently available that can capture true high-resolution video that beats or meets the image quality of far costlier pro camcorders.

Key Features
15.1Mp APS-C Format CMOS Sensor
HD 1080p Video Capture
DIGIC 4 Image Processor
3″ Clear View LCD with Live View
ISO Sensitivity Expandable to 12,800
Picture Styles

Included in the Manufacturer Box
Canon EOS T1i 500D Camera Body
Eyecup Ef
EW-100DBIII Wide Strap
IFC-200U USB Interface Cable
AVC-DC400 AV Cable
LP-E5 Battery Pack
LC-E5 Battery Charger
EOS Digital Solution Disk

Nikon D5000

Description
12.9 megapixel CMOS sensor (same as in the D90), High-Definition video capture with sound, a 2.7″ variable-angle LCD, Live View for composing stills or video from most any point-of-view, an 11-point autofocus system with Focus Tracking, and 3D Color Matrix II metering.

Save files in RAW, 3 levels of JPEG compression, or RAW+JPEG image capture, burst-rates up to 4 fps, an EXPEED image processor, and a 3-tier dust-removal system.

AVI-format video clips can be captured at 3 levels of compression in lengths up to 20 minutes with the ability to apply exposure compensation when shooting in Program, Shutter-priority, Aperture-priority, and Manual modes.

Key Features
12.3Mp DX CMOS sensor
HD Video Capture with with sound (720p)
Swivel and Angle LCD
Live View

Included in Manufacturer Box
Nikon D5000 Camera Body
EN-EL9a Startup Battery
MH-23 Battery Charger
DK-5 Eyepiece Shield
DK-24 Rubber Eyecup
UC-E6 USB Cable
EG-CP14 A/V Cable
AN-DC3 Camera Strap
BS-1 Hot-Shoe Cover
Body Cap
Software Suite CD-ROM

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Most photographers like to capture images without the use of flash if possible. The more natural lighting, like what the human eye sees, is what every picture taker wants. Not the hideously blue and over exposed mess we’ve all seen created by using the pop up flash on our old point and shoot cameras. Yet, there is still a place for flashes. Whether you are at a high school graduation or a star studded event the flash can come in handy. There is another use for the flash that does not receive a lot of attention and that would be as a fill flash.

The concept is quite simple, if your subject is hidden by shadows and the finer details will be lost in the shadows, a fill flash will provide enough light for those details to be seen. You can even use that little pop-up flash that manufacturers slap on to the top of most SLR cameras.

This does not mean that you should just leave the flash up and use it for every picture. There are essentially three questions you must ask yourself before employing a fill flash.

1.  Is your subject in shadows?

2.  Is there more light in front of the subject or behind it?

3.  Will a flash be effective at this range? Are you close enough to use a flash?

Now to explain:

If your subject is in shadows, a fill flash can help even out the exposure across the photograph. Let’s say you are taking a picture of someone with a hat outdoors. That drooping brim can cause the entire face to be underexposed. A fill flash can assist in highlighting the face while maintaining proper exposure in the rest of the photograph.

If there is more light in back of your subject, than in front of it then your subject is “backlit”.  While your eyes may be able to pick out the details, the camera cannot and you will get a silhouette of your subject. A fill flash can alleviate this issue by front lighting what you are taking a picture of so you will have a more even exposure. The  silhouette will become a memory.

If your answer is “yes” to the first two questions then you must ask the third. Flashes in general are only effective up to a certain distance. For instance, the very popular Canon T2i has a flash that is effective at a maximum of 13 m under ideal conditions.  Under normal conditions the pop up flash will be drowned out by ambient light after several feet and bright, outdoor light will reduce the effectiveness to only a few feet. That means that if your subject is too far away for the fill flash to be effective, there is no point in using it anyway.

Conversely , if you are able to answer “no” to any of the above question then using a fill flash will not be appropriate.  If the background is too dark then you’ll have an over exposed subject and most times the background will not even be visible.

Using a  fill flash can be the difference between shots like this:

and this:

Enjoy and Happy Shooting!