"What program or programs are recommended for captioning digital photos? I want to be able to choose the location of the caption, the font, and the colour of the text."

Most photo editing packages allow you to add text to your images. I seldom add captions to photos (and SmugMug automatically watermarks my uploaded images for me there), but when I do I usually just add a text layer in Adobe Photoshop. I just checked Photoshop Elements 6, and it supports text layers as well. Just click on the "T" in the toolbar, click on the image,and it will create the layer for you.

Many companies have downloadable trial versions online. For example, you can download Adobe Photoshop Elements 6 here and see if it meets your needs.

Perhaps you want to take a photo of a friend standing in front of another object. If you have a narrow (or short) DOF, your friend may be in focus while the foreground and background appear out of focus. At the other extreme, a wide (or long) DOF could result in the entire image appearing to be in focus.

There's a good example of effective DOF control here.

Depth of field (DOF) is a factor of

- Aperture: The smaller the aperature (larger f number), the greater the DOF.

- Focal length: The smaller the focal length, the greater the DOF. Wide angle lenses therefore generally have a larger DOF than telephoto lenses at the same aperture.

- Distance: The greater the distance between subject and camera, the larger the DOF.

So if your intent is to throw the background out of focus, you want to use a long lens, a small aperture, have your subject close to you, and the background farther away. If you want both your friend and the historic building behind him or her in focus, you want your friend as close as possible to the building. If you're using a telephoto lens you want to be further away, or use a wider lens. Also select a smaller (larger f number) aperture.

When you see a landscape photographer with their camera on a tripod, it may be to help with precise composition or because the camera is heavy -- but it's also likely they are working with a small aperture (f22 or even smaller) and as a result need a longer exposure time.

Some cameras have a DOF preview button that close the aperture down to what it will be when the exposure is taken so that you can judge what will be in focus and what won't. Of course with a digital SLR, you can also take a shot and have a look -- just make sure you zoom in and don't trust the small screen on the camera.

Some lenses (especially "normal" lenses) also have a DOF scale right on them that indicates the DOF range for each aperture and makes your job much easier.

DOF is often a problem for those who run their cameras in a fully automatic mode when using a flash. Cameras generally select a large aperture to take full advantage of available and flash light, resulting in a narrow DOF. If you're shooting groups or the background is important, get into the habit of using an aperture priority mode. That lets you choose the aperture you want, and the camera sets the corresponding shutter speed. In fact, unless I'm shooting a quick moving object (where shutter speed is critical), my camera is usually in aperture priority mode. Just make sure you keep an eye on the shutter speed so that it doesn't drop too low and result in blurry images.

If you're looking for more technical stuff, there's a long article on DOF including some diagrams on Wikipedia.

"Eric you spoke of small cheap flashes a while ago would you have a model number I could search for. I am looking for something to light behind my subject triggered by an optical trigger."

While the best solution to light a background is a pair of strobes, you can often get away with a basic flash and trigger to light a small area. Just about any flash will do, although you'll need to play with the output level and/or distance to the background to get what you need. If you're close to the background a diffuser might come in handy -- you can buy one or make one out of translucent fabric or plastic.

If you're looking for something cheap I'd try your local photo store and see what they have laying around. You can also talk to anyone who has upgraded to a digital SLR and bought a new flash. If you have to order off the net, check this out.

And, as always, leave me a comment and let me know how it goes!

Many serious amateurs and most professionals carry several lenses in their bag, but there is a price to be paid in terms of size and weight.  For general family and vacation photography you might want to consider the Nikon 18-200 with VR.  It’s more expensive than the lenses you’re looking at, but it would give you a single-lens solution.

On the other hand, if you plan to carry more than one lens in your bag, the next question becomes which lenses to carry.  Unless you shoot a lot in the 55-70 range (and therefore would be changing lenses back and forth a lot), I think the 70-300 would be a better choice combined with your 18-70.  My philosophy is that if I’m going to carry more than one lens I want to maximize the focal range I have available.

You’ll get plenty of conflicting advice on lenses, and it’s important to realize that every lens choice involves compromises like cost, speed, focal length range, and features.  Those of us who have been at it for a while may choose lenses that would be a bad choice for you.  For example, the lens on my camera most of the time is a 28-70mm, which gives me the equivalent of 42-105mm.  Most people wouldn’t find that wide enough, but my shooting style is close up and intimate, and it gives me the results I want.  But it’s a compromise and I know that I may need a wider lens in my bag for some trips and a longer lens for others.

From a practical standpoint, these days I recommend that people starting out consider the 18-200mm.  It's expensive, but less than buying two lenses. It would allow you concentrate on composition and exposure instead of which lens to take with you or put on the camera.  The 18-70mm is also a great lens, and a good foundation if you want to start carrying more than one lens, like the 70-300 for those really long shots or move up to a long f2.8 lens for serious nature photography.  However, if you’re just finding 70mm too limiting on the long end and would really prefer to carry one lens, you might consider buying the 18-200mm and trade in or sell the 18-70 on eBay.

"I'm looking for a good point and shoot camera.  What do you think of the new Canon G9?"

Budget

The number and variety of digital cameras available today is overwhelming, and it’s easy to spend a small fortune on a camera and accessories.  When buying a digital camera, it’s important to consider not only the cost of the camera itself, but also items such as memory cards, extra batteries, filters, external flashes, lenses, and a carrying case.  While some of these items may not apply depending upon your choice of camera and the type of photography that interests you, determining the total you’re willing to spend is a good starting point.

Compact vs. SLR

Another early decision is whether you’re looking for a compact or a SLR.  If you already own a digital or film camera, you probably already know what you’re looking for.  If not, the key differences are size, interchangeable lenses, and cost.

The predominant characteristic of a compact camera is that the lens is not removable.  In practice this means that the camera is a less flexible tool simply because you can’t use different lenses, although some manufacturers offer add-ons that alter the focal length of the lens.  However, many people compact cameras because they are smaller, simpler, and generally less expensive.

The term Single Lens Reflex (SLR) refers to the characteristics of a camera that allows the photographer to look through the same lens that is used to take the picture.  Over time, the term SLR has become associated with cameras that have interchangeable lenses.  This causes some confusion in the digital camera world, because many compact cameras also allow the photographer to see through the lens in real-time using the camera’s LCD display.  However, in keeping with the terminology used by camera manufacturers, we’ll consider SLRs to be those with an optical viewfinder that allows through-the-lens viewing.  In general, digital SLRs are more flexible tools and allow the use of various lenses, but they are also larger, heavier, more complex, and more expensive than compacts.

It’s also worth noting that some cameras don’t fit either category.  For example, there are a few digital rangefinders available, and digital backs are also available for many professional cameras – they attach to where one would previously attach a film back, and effectively convert the camera to digital.  However, most of these products are priced well outside the range considered by consumers.

If you only plan to spend a few hundred dollars, or you’re looking for a camera to fit in your pocket, purse, or briefcase, stick to a compact model.  On other hand, if you’re a serious 35mm SLR user looking for a digital camera, you’ll probably want to consider a digital SLR, especially with some now priced in the $800 range. 

You will probably hear that SLRs produce better quality images, and in general I agree.  However, some higher end compact cameras also produce very good quality images. Perhaps more importantly, if your camera is to big and heavy to carry around, it defeats the purpose of owning one, so you need to consider where and when you want to shoot.  Many SLR owners (including pros) also own a small compact camera for those times when carrying an SLR isn’t practical.

The Basics

Once you have an idea of your budget and camera format, you might want to start by reading about some of the countless cameras that are available.  While there are a log of good photo sites on the Internet, my favourites are www.dpreview.com and www.steves-digicams.com, and I wouldn’t even consider buying a digital camera without reading what these two sites have to say about it.  If you find the choices overwhelming you might also want to stop by a good camera shop to get a better feel for the various cameras and how they feel in your hand.  However, with all digital cameras, it’s critical that you do your research and avoid impulse purchases, no matter how hard that may be!

If you’re looking for a compact, you’ll find that price, size, zoom length, and other features vary greatly.  I’ve tried to cover most of the major features later in this article, but keep in mind that you may not find the “perfect” camera and your decision will likely require compromise.  For example, if you want a very small camera, you’ll likely have to accept a smaller zoom range and a weaker flash.  On the other hand, if you carry your camera in a backpack when you travel, a larger zoom range may be more important to you.

If you’re looking for a digital SLR, there are different considerations.  If you have a 35mm SLR, you might consider a camera that allows you to leverage your existing lenses.  While most digital SLRs are available bundled with a lens, more advanced photographers may be better off buying the body separately and choosing the lens (or lenses) that best meet their needs.  However, before we delve into SLR selection, let’s look at the details common to all digital cameras.

Megapixels Seldom Matter

Chances are when you go shopping for a camera one of the first things you’ll be told is how many “megapixels” (MP) the camera sensor has.  In addition, many web sites categorize cameras by “megapixels”. For the vast majority of consumers, the number of pixels in the camera’s sensor doesn’t really matter, and here’s why:  In order to create the digital image, the camera’s sensor samples the incoming light and records individual points called pixels.  Obviously a camera that records a 3000 by 2000 pixel image is higher resolution than a camera that records a 1500 x 1000-pixel image, and you need a certain amount of data to produce a quality print.  However, while 6 million pixels sounds more impressive than 5 million pixels, the difference between 2592 x 1944 (5 MP) and 3000 x 2000 (6 MP) is not significant.  A 3 MP image can produce a reasonable 8x10, while a 6 MP image can be printed as large as 12x18 or a portion cropped to a high quality 8x10.  Either will produce an image many times larger than the number of pixels on your monitor.  If your photography usually consists of printing 4x6 or 5x7 prints with the occasional 8x10, the only reason you should consider anything higher than 6 megapixels is if it has other features important to you, otherwise you’re just wasting money, memory, and disk space.

Quality vs. Quantity

Far more important than the number of megapixels is image quality.  Without going into all the technical details, you should know that all CCDs (the sensors in digital cameras) are not equal.  Most compact cameras use a smaller, denser CCD, which is why they can get away with smaller lens diameters.  Digital SLRs generally have larger and higher quality CCDs and can be used with better quality lenses.

Lenses Quality

Some lenses are higher quality than others, and this should be of particular interest to digital SLR users for two reasons:  First, many beginners get it backwards and buy a high quality camera with a cheaper lens to keep the cost down. A good quality lens on a low-end consumer SLR will almost always produce a better image than a low quality lens on a high-end professional camera.  Second, some digital SLRs use a CCD that is smaller than a 35mm frame.  While this isn’t a problem by itself, it does mean that the camera may produce higher quality images with a lens specifically designed for digital use when shooting short lenses (less than a 35mm equivalent focal length of less than 50mm).  For example, Nikon calls their digital sensor DX format, and offers DX format lenses for wide angles.

Focal Length

Regardless of the resolution of your camera and quality of the lens, if you can’t fit the image, you aren’t going to get your shot.  One of the advantages of the SLR is that you can change lenses.  However, most compact digital cameras have zoom lenses, and some cover an impressive range of focal lengths.  Your challenge is to understand what the zoom range means in practical terms:  Without delving into the technical details, different CCD sizes mean that different lens focal lengths provide the same angle of view.  For example, a standard 50mm lens on a Nikon Digital SLR produces an image equivalent to a 75mm lens.  When comparing digital cameras and lenses for digital SLRs, always consider the “35mm equivalent” focal lengths.  Most manufacturers include this in their specifications, and if not, ask a knowledgeable salesperson or check the web.  If you like to shoot landscapes, architecture, and group shots indoors, you want a wide lens, preferably at least 28mm.  On the other hand, if you want close ups of your children or at the zoo, 200mm or longer is desirable.

One word of caution:  Many digital cameras provide “digital zoom”.  To accomplish this, they use only part of the sensor, and interpolate the image to simulate zoom.  For purchasing decisions, you should only consider the optical zoom range.  I recommend turning off the digital zoom feature if you have it in your camera.  You will usually get better results by cropping the image later using your photo editing software.]

The Viewfinder

In the past, I have suggested that optical viewfinders should be considered mandatory, and I still hold that view for higher-end cameras.  However, LCD technology has advanced to the point that many can be viewed in bright sunlight.  If you are considering a digital camera without an optical viewfinder, and you’ll be shooting outdoors, make sure you’ll be able to see what’s on the screen and avoid disappointment later.

Batteries

Batteries are a critical consideration when choosing a digicam.  Most cameras on the market today use either standard AA batteries or proprietary Lithium Ion rechargables.  The advantage of AA batteries is that they are readily available, in both disposable and rechargeable form.  While it can get expensive, in a pinch you can walk into almost any store and buy some.  On the other hand, Lithium Ion rechargeable batteries hold much more energy, allowing you to shoot many more images than on a set of AA batteries. All things being equal, I prefer Lithium Ion rechargeables, but I recommend that you purchase at least one extra battery (usually $60-$80) for your bag.

Memory Cards

Flash memory cards come in a number of different formats, including SD, xD, Compact Flash, Smartmedia, and Sony’s proprietary “Memory Stick”.  Since the cost of memory cards has dropped significantly, you might not be concerned about which format your camera uses, but  you might want to consider whether you’ll need to buy new cards or if you can use your existing ones.  Also, if you’re going on a long trip and plan to buy a lot of memory, you can easily end up spending several hundred dollars.  The Secure Digital (SD) and Compact Flash (CF) formats are very popular and supported by many different manufacturers.  In addition, they are available in high-speed versions, which can make a huge performance difference if your camera supports faster memory.  In any event, make sure you understand what type of media the camera requires, the sizes available, and the cost.

JPEG vs RAW

Most digital cameras save images as jpeg files.  It is important to understand that jpeg is a lossy compression format, meaning that the camera compresses the image, and when it is later uncompressed for viewing, editing, or printing, not all of the original data is restored.  Cameras storing images as jpegs also store only 8 bits per colour channel, even when the camera is capable of 16 bit per channel, resulting in a lot of information being discarded.  For most consumers this isn’t an issue, and you’re unlikely to see the difference in 4x6 and most 8x10 prints.  However, if you intend to edit your images in Photoshop and/or produce large prints, you might want to consider a camera that provides the option of using RAW images.  Shooting RAW requires much more memory, but it also retains every single bit of information about the image and provides much more flexibility in post-processing.

Speed and Buffering

Two more things to consider are camera speed and buffering.  While there are actually several speeds to consider, such as autofocus speed, continuous shooting rates, etc., the one most likely to irritate you is shutter lag – in other words the elapsed time between when you press the button and when the image is actually captured.  If you shoot anything that moves (sports, children, pets, cars), you will want a camera that activates its metering system and focuses when you apply light pressure to the release button (often called a half-press of the button), and then has minimal lag when you press the button the rest of the way.  Definitely try this out before you buy or you run the risk of joining the ranks of frustrated users who don’t get the shots they want.

Another speed issue is related to the number of images the camera can buffer before it finishing writing the images to flash memory.  For example, some older cameras could only buffer three images.  That meant that you can shoot three images as fast as you want, but then you have to wait 10 to 20 seconds for the camera to catch up.  While that works just fine for many types of photography, it isn’t optimal for sports or busy children.  Many newer cameras can buffer 20 or more images.

Auto vs. Manual

Even basic digital cameras usually have multiple automatic modes.  For example, a “sports” mode will favour a fast shutter speed, while a “landscape” mode will favour a small aperture.  While these automatic modes usually produce satisfactory results, if you intend to get creative, wish to learn more about photography, or desire real control over exposure, you should consider a camera that also provides manual controls.

Size and Ergonomics

Another thing to consider when choosing a digital camera is the size and ergonomics of the camera.  If you have large hands, you might find some of the smaller digicams uncomfortable, especially if you can’t hold the camera without your fingers blocking the lens or light sensors.  On the other hand, an SLR won’t fit into a pocket, purse, or briefcase, and a camera that is too big to take with you isn’t going to be used.  If you want to get the most out of your camera choose one that feels good in your hand, has controls that are easy to operate, and is the right size for how, where, and when you want to use it.

Accessories

Digital cameras vary greatly in terms of available accessories.  Advanced photographers may want to consider whether they can use external flashes and filters for specific photographic applications.  On the other hand, for many consumers, a protective case and a spare battery may be the only accessories required.

Brand

Among photographers, brand affinity is a religious issue.  In the past, I’ve suggested that those readers looking for digital SLRs consider Nikon and Canon due to their extensive experience in the professional digital SLR world, and the fact that some of the features and components designed for professional models tend to flow down into less expensive consumer equipment.  However, with several new entries into the digital SLR market and dropping prices, my advice is now the same whether you’re buying a compact or SLR:  Look at those with the features you like and read the reviews before you buy.  The only caveat may be that SLR owners and those buying a second SLR for a family member should take into consideration the lenses and accessories that they already own.

A Final Thought

Digital cameras are available online and in large electronics store, as well as camera shops.  As a result, prices are very competitive.  While purchasing on the web is an option, I’d encourage you to visit a reputable camera shop, try out the cameras that interest you, and ask questions. Many of the staff in camera shops love photography and will be happy to help you choose the best camera for your needs.

"Please advise best sequence for working with a digital image, download from camers and proceeding to -- 1. Change PPI 2. Crop 3. Resize 4. Sharpen, Contrast, etc."

Also, apologies to Trevor who wrote with a similar question while I was redesigning the site,

"What is your typical work flow with regards to editing photos?"

These are great questions because, depending on what software you use, performing these steps in the wrong order can make your life more difficult and cost you a lot of time. To begin, let's divide our post-processing into three stages that I'll call acquisition, editing, and output.

Next I open the image(s) in my editing software. If I’m using Adobe Lightroom, I begin the selection process because Lightroom is designed from the ground up to perform non-destructive editing, meaning that it will never change your original. If I’m using any other product, I immediately save the image in a non-compressed format (.psd or .tiff) in the “Edited” folder. This serves two purposes: It ensures that I won’t accidentally hit “save” and overwrite my original file, and it protects against the common problem of re-saving in a lossy format. The last thing you want to do is open a jpeg, edit it, save it as a jpeg, open it again, edit it, save it as a jpeg, etc, because each time you do that you degrade the image and the impact is cumulative. (I’ll write more on that topic later, but regardless of what format you import from your camera, you should consider jpeg format as suitable for “output” only). 

So now you have your image open, and you’re ready to edit it. I often crop my images first, because I want to see what they’ll look like and I want to set the levels accurately for the section that I’m keeping. However, you may choose to crop later if you’re using software like Photoshop where you’d have to undo all your other adjustments if you decide to change the crop. Next I do overall level and colour adjustments and any retouching.

When I’m happy with the image I save it. Note that at this point I have not adjusted image size, change the resolution, or performed any sharpening. The reason for that is that it really sucks to drop the resolution for web use and then decide the next week that you’d really like a 12x16" print. If you don’t save the full resolution adjusted image, you’ll end up having to repeat all the steps.

The final step is output. If I’m making a print, I set the image to the desired size, sharpen it, preview it, and if necessary make any minor colour adjustments.  Then I "save as" so that I can reproduce later.

If I want an image for the web or to email, I change it to the size and resolution I want, sharpen it, and then use “save as” to save it as a jpeg.

Note that in both cases I take care not to overwrite the high resolution edited image.

It is worth nothing that popular photo editing software like Photoshop and Corel Paint Shop Pro force you to make order decisions that more workflow oriented software like Adobe Lightroom doesn’t. For example, if you crop, adjust the levels, and are in the process of retouching when you decide you want to tweak the levels, you have to undo back to that point, or you’ll be adjusting the levels twice, which is a destructive process (meaning you loose data and therefore quality). Ditto if you want to change the crop. There are ways around some of these issues using layers (applying adjustment as layers instead of directly to the main image), but that adds complexity.

In Lightroom all editing is non-destructive and the concept of order doesn’t really exist. You can alternatively tweak the levels, colour, and crop as many times as you want without throwing away any data. Everything you do is visible immediately, and when you output the image all the changes are applied. I personally find that the time it saves me is well worth the $300 price tag, and fortunately you can download and try it free for 30 days to see if it’s also worth it for you.

Also, even though you may have backed up your original images, I encourage you to also back up your edited images.  I usually burn a DVD containing both original and edited images so that I won't have to repeat the editing process :)

On recent vacation, I really did take many terrific shots, but a bummer being a group shot of four kids against some rocks at the beach. The colour and lighting are fine, but three kids are in crystal clear focus and the fourth, blurry.

There are a few things that could cause that problem.  Autofocus isn't magic, and can't read your mind, so it sometimes ends up focusing on something other than what you want.  Autofocus mechanisms look for a straight line, so, for example, if a person is standing in front of a fence, it's not unusual for the camera to autofocus on the fence rather than the person. Digital SLRs often have multiple autofocus modes, and it is critical that you understand the characteristics of the mode you're using.

Depth of Field refers to the range of distances that are in sharp focus.  The range depends upon the focal length of the lens, your distance from the subjects, and the aperture of the lens.  As a general rule, the problem you have will be decreased with a shorter focal length, small aperture, and with the subjects farther away from you.

If you're setting up a group shot, try to have all your main subjects roughly the same distance from the camera.  I usually put my camera into the autofocus mode that causes it to focus on whatever is in the center of the viewfinder, and force the camera to focus on either the closest subject or the middle subject, spending on the circumstances.  I center the subject I want the camera to focus on, lightly press the release until the camera focuses, and then, holding the release in the "half-press" position, recompose the image and take the shot.  It may seem awkward at first, but with a bit of practice it will become virtually automatic.

More sophisticated SLRs often have a "preview" button that closes the lens down to the chosen aperature so that you can visually check your depth of field, and that might help as well.

If you're shooting in bright sunlight, you might want to try putting your camera in "aperture priority" mode and setting the aperture to f11 or f8.  That will give you a larger depth of field.

Note that if you are shooting a subject and want to intentionally put the background out of focus, you'll want to do the reverse -- a large aperture, a long focal length, and move the subject as far away from the background (ie. close to you) as possible.

When I told you I rec'd a Nikon D80, you recommended a protective lens to me. My husband bought:

Tamron 67mm UV Haze Filter

Will this lens work as you recommended?

It should do the job to protect your lens, but it might not be your best choice.

Second, if you've paid for a high-end lens, for example with Nikon ED Glass, I don't think it makes sense to put anything short of a high-end filter on it.  On the other hand, if you're shooting a lower-end lens it also wouldn't make sense to put an expensive filter on it.  Since the purpose of the filter, in this case, is simply to protect the lens, one must also consider the cost of the lens.  For example, the Nikon 50mm f1.8 lens is fantastic, and you wouldn't want to put a cheap filter on it.  Given that the lens itself sells for around $200, it also doesn't make sense to spend a lot on a filter to protect it, so I don't bother.  On the other hand, when you're buying a $1000+ lens, another $100 for a filter to protect your investment doesn't seem unreasonable.

I personally use Cokin filters for effects (because they can fit different lens sizes) and I have also used Tiffen filters for specific applications.  Hoya also makes some good filters, but you have to be careful because they have a high end and a low end line, and the difference between them is quite significant. I also find the coating on the Hoya filters makes them more difficult to get clean.  I haven't personally tried Tamron filters, but assuming their filters are similar quality to their lenses, I'd expect them to be a reasonable, middle-of-the-road quality.

In my opinion, B+W makes the best filters.  My circular polarizing and neutral density filters are from B+W, and even though they cost almost twice as much as some other brands, they're worth every penny.  Back in the film days, I put a B+W UV filter on the front of virtually every lens I owned.  Unfortunately (are you reading this B+W) they don't make a non-UV protective filter, so these days all my Nikon lenses are protected by a Nikon NC (neutral colour) filter.

Hope that helps!