Category Archives: Equipment

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Pure white featureless skys? How to tone them down…

Posted on April 8, 2013 by | Comments Off on Pure white featureless skys? How to tone them down…
• Cokin neutral density filters (graduated) •

• Cokin neutral density filters (graduated) •
A quality set of filters that can be adapted to fit any lens size.
Buy: Cokin H250A ND Grad Kit

When your sky is too bright its a problem!

You lose all or most of the detail and your foreground is starkly highlighted by the blown out sky. The way to overcome blow out like this is to use various techniques with neutral density filters. All landscapers come across this problem at some time. The best way to overcome the issue is to tackle it head on in-camera. The best way to do that is to use “graduated neutral density (ND) filters”.

What are ND filters?

Neutral density filters are glass filters that you reduce the incoming light. They do this without affecting the colours in your shot. For blown out skies you want to reduce only the incoming sky light and allow the foreground to expose properly. The Graduated ND filter will allow you to achieve that.

In the picture above you can see the top half of each filter is dark. The bottom half is uncoloured glass. The trick is to place the filter in front of your lens. Place it in such a way that the line separating the dark and light lies on the horizon between the ground (proper exposure) and the bright sky which will be toned down by the filter.

If the sky is blown out in your picture the light is brighter than the camera can cope with. Normally that will be two stops of light or more above your exposure of the ground. The ND grads. normally come in three strengths. ND2 (two stops), ND4 (four stops) and ND8 (eight stops). Each stop of filtration is equal to half of the total light. An ND2 reduces the light by a quarter. An ND8 will cut down the incoming light to 1/16th of the light.

Video – Graduated ND filters for Landscape Photography

In this short video Tony Sweet demonstrates how he balances the dynamic range of a landscape composition using a graduated ND grad. filter working in a wooded valley. He wants to brighten the foreground with a long exposure. This would lead to the distant trees being too bright and would show burnt out spots. He uses a great technique to make the right light conditions…

Recommended purchase

I have been using Cokin filters for years. They are high quality filters that fit into a filter mount screwed onto the front of your lens. I prefer this type of fitting. It is simple to change filters and you can adapt graduated filters to the position you want quite easily. Round filters are far less adaptable and tend to be much more expensive.

If you want to buy an ND grad set of filters here is the kit I recommend…
Cokin H250A ND Grad Kit

You will also need to buy an adaptor for your lens to fit the filter mount. You can buy them singly…
Cokin filter mounts and lens adaptors

You can also buy a complete adaptor kit so you can adapt your filters to fit any one of your lenses…

49 52 55 58 62 67 72 77 82mm 9x Adapter Ring Set+ Filter Holder For Cokin P DC21

 

 
If you feel like going the the whole way you can buy a kit that will cater for all your filter needs (including mount and adaptors) try this great kit…

 
24pcs Square Full + Graduated Filter Set + 9 Size Adapter Ring for Cokin P LF78

 

Related articles/links:
Start Photokonnexion email subscription now!
Photokonnexion Photographic Glossary – Definitions and articles.
Photographic composition
Definition: Neutral Density Filters; Graduated Neutral Density Filters
General articles on filters on the Light and Lighting resource pages.

By Damon Guy (author and Photokonnexion editor)

Damon Guy - Netkonnexion

Damon Guy (Netkonnexion)

Damon is a writer-photog and editor of this site. He has run some major websites, a computing department and a digital image library. He started out as a trained teacher and now runs training for digital photographers.
See also: Editors ‘Bio’.

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How to use camera angle to change body shape

Posted on April 3, 2013 by | Comments Off on How to use camera angle to change body shape
How camera angle affects body shape.

How camera angle affects body shape.
[Image taken from the attached video].

Camera angle affects body shape

How you approach your subject can significantly affect their shape. The camera height affects the relative size of parts of the body. The part of the body nearest to the camera appears largest. So the angle you take to the body can affect emphasis and shape. Your lens can also affect body shape too. These two factors in your shots can really change the view of your subject.

Basic shooting positions that show camera angle affects body shape
  • Getting down low gives your subject height and presence.
  • At waist level the angle is even across the body placing no strong emphasis on any one part of the body.
  • At eye level the head appears more significant and you can really draw out the features of the face, focus on the eyes for best effect.
  • From above the head and shoulders are emphasised and the legs are foreshortened.

From these basic positions you can also use different camera lenses. A 50mm lens is the lens that most closely matches the visual abilities of the human eye. Using one of these will help you to see the body as the eye will see it. On the other hand a wide angle lens (around 24mm) will help to bring out the emphasis of the body length. If you use a wide angle lens in portrait view from below you will tend to make your subject look statuesque – tall and grand. If you view the subject from above you will shorten the body and legs and make them look squat. These forms of emphasis have powerful impacts in pictures where you are trying to portray a persons presence. Statuesque tends to convey power and presence. Bodies that appear more compact tend to emphasis a more physical presence.

How camera angle affects the body shape – a video

The video brings out in detail the above points. The shoot is on the Bonneville Salt Flats, which is a wonderful location – even if it is flooded! The white of the salt brings out some great high contrast shots. You really can see how camera angle affects body shape.

TheSlantedLens External link - opens new tab/page (Published: 02.Apr.2013)

Related articles/links:
Start Photokonnexion email subscription now!
Photokonnexion Photographic Glossary – Definitions and articles.
Light and Lighting – Resource pages on Photokonnexion
Portraiture
Tips for doing wide-angle shots
Definition: Wide Angle Lens; Wide-angle lens; Wide angle
Using a wide angle lens
Are your pictures distorted? Considered a 50mm?

By Damon Guy (author and Photokonnexion editor)

Damon Guy - Netkonnexion

Damon Guy (Netkonnexion)

Damon is a writer-photog and editor of this site. He has run some major websites, a computing department and a digital image library. He started out as a trained teacher and now runs training for digital photographers.
See also: Editors ‘Bio’.

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Finding lenses and buying to suit your needs

Posted on March 19, 2013 by | 5 comments
Finding lenses | A wide range of lenses makes choice difficult

The choice is wide. Finding lenses requires careful thought.

Finding lenses that are right for you can be hard

Knowing what lens to buy is a challenge. It can be made simple if you have a few ideas. It is all about understanding your needs and making sure you fit the lens to a budget. First, some general advice about buying lenses.

Are you happy with the camera brand you own?

After a line of different cameras SLRs and different brands, my first digital camera was a Canon. It was my first Canon too. I was impressed. Well, they told me that Canon lenses were the best in the world! So I stayed with Canon.

I know, I know… you don’t agree with me on the best lenses. Whatever the outcome of that argument, I am not going there. That’s the whole point. Buying lenses is a personal decision. It relates to a range of needs and understandings you have about your photography.

You need to be completely happy with your camera brand before you buy lenses. Otherwise you will be stuck with a camera brand you don’t like and lots of money invested in lenses. Love the brand first. Then look for the ‘glass’.

Finding lenses… Things to consider

Usually the budget is fairly clear. However, I have one word of advice. Make sure you look at the upper range of your budget where the quality will be better. Don’t cut corners. Quality lenses don’t come cheap. There are lots of cheap lenses around, but you get what you pay for with lenses. They are expensive, but they are also high precision instruments. If the lens is cheap it probably will not be very robust and the quality of the optics will tend to be low.

After budget the next most important thing is to define your needs. It may be lovely to have a 500mm behemoth of a lens weighing two kilos and costing thousands. But if you are only in a position to use it once a year then it will not be worth investing. Far better to buy a more general purpose lens of higher quality to benefit your general photography and will use often. Focus on your regular photography action and expand your lenses around those activities. If you need that behemoth one weekend, hire or borrow one.

Defining your ‘needs’ is often confused with defining your ‘wishes’. Try to be realistic. Finding lenses is about knowing what you need. Only go for a lens that will be of regular, practical use. Do not define your needs based on your wish to pursue a dream. Most types of photography can be performed with a non-specialist set of lenses. Get good with those. Only buy good quality lenses to replace them. Only buy lenses when you can afford it. And, when you have the mega-once-in-a-lifetime trip actually planned, then factor in the specialist lens (if you really need it for most of the trip). Finding lenses suited to your needs is about being realistic about what you can achieve and how you will use them.

Of course the focal length and how ‘fast’ the lens is are both important. Also important is the type of lens – zoom, telephoto, prime, normal, wide angle and so on… However, most of these will come out in your decision around why you need the lens.

There are other things that are a little less obvious when finding lenses…

  • Weight – Some people simply cannot hold up a big camera and a big lens. Be realistic about what you can handle.
  • Size – especially for travel purposes, big lenses are a complication and a problem.
  • Image stabilisation – Modern lenses usually have stabilisation – consider its weight, availability, cost and if you need it or not (large lenses are normally where there is an option).
  • Glass quality – with professional grade lenses the glass is usually of very high optical quality. However, it is also expensive. So consider the importance of glass quality and overall lens quality for your budget and use.
  • Brand name – Are you paying for a manufacturers reputation, or is the lens equalled by a third party manufacture – check the review websites. Ask around to see what other photographers think.
  • Suitability for purpose – does the lens you want to buy actually suit your intended use. Check on the manufactures website, review sites or on discussion forums to get more information about the best type of lens for your use.
  • Consider the insurance implications and cost. Covering several thousand pounds of lens for a foreign holiday is a significant extra cost.
Buying your lens

The sheer number of lenses available is bewildering. Finding lenses is best done with a finder tool. This tool for finding lenses on Amazon has made lens searches much easier.


The tool for finding lenses allows you to enter the factors that you consider important. It will return you a list of the available lenses to suit that purpose. After years of buying lenses I find this tool invaluable for helping to me to find a range of lenses from which to choose my ideal purchase.

If you want advice on what to do once your new lens arrives, check out this post: Getting started with a new lens.

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Related articles/links:
Photokonnexion Photographic Glossary – Definitions and articles.

Also about ‘Finding lenses’: Buying lenses – a quick guide.

What is an SLR?
Definition: Focal Length
Definition: Fast Lens
Definition: Zoom Lens
Definition: Telephoto lens
Definition: Prime Lens
Definition: Normal Lens
Definition: Wide Angle Lens; Wide-angle lens; Wide angle

Damon Guy - Netkonnexion

Damon Guy (Netkonnexion)

Damon is a writer-photographer and editor of this site. He has run some major websites, a computing department and a digital image library. He started out as a trained teacher and now runs training for digital photogs.
See also: Editors ‘Bio’.
By Damon Guy see his profile on Google+.

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Sidelight – How to capture great texture in your photographs

Posted on March 18, 2013 by | Comments Off on Sidelight – How to capture great texture in your photographs
Rippled Sand • Sidelight creates a lovely texture

• Rippled Sand •
Beautiful soft sidelight from bottom left creates lovely shadows after each ripple. Had the shot been taken with flash from above, the ripples would have been near invisible.
Rippled sand by Seldom Scene Photography, on FlickrExternal link - opens new tab/page

The capture of texture depends on the angle of light.

It is that simple. The lower you get your light to the side of your subject the more you will create shadows that stand out. Photographers have long recognised the benefit of long shadows for their definition in landscapes. Beside the great colours of sunset, the long shadows from sidelight provide character and definition to the landscape.

The same idea can be applied to the much smaller scale. Still life, studio set-ups and even drying paint can all be enhanced by sidelight. When working with smaller subjects, “get in tight and sidelight” is great advice.

Vintage Store Photo Challenge

This is the best video I have seen on working with smaller objects and side lighting. Gavin Hoey explains with an off-camera flash how to bring out texture and detail in still life photos. This is a very simple lesson. After seeing it you will want to explore side lighting further.

After the video there are some more resources on the subject…

 

Approaching sidelight with your images

In the video Gavin Hoey used a diffused speedlight, off-camera flash. In the post “Off-camera flash” you can find out all about what they are and the functions they provide.

If you want to improve your off-camera flash working with some sort of diffuser is a great idea. I have worked with a range of off-camera flash diffusers over the years and often been disappointed. I am really enthusiastic about the Rogue Flashbender range of diffusers. I use the Large Rogue Flashbender and the diffuser to go with it for work and my own projects. It is an exceptionally flexible piece of kit and occupies only a tiny space in your kitbag since it rolls up very tightly. The whole Rogue Flashbender range are great products and worth checking out.

One of the great tools I keep within reach when doing table top photography is the little LED light unit below. Designed for camping it has become a great light for my table top product work. It is small, adaptable and very cheap to run as it uses very little battery power.

Rolson 61770 72 LED Camping Light

I have two of these and place them on the table lying down or on end. The light itself is quite white so it will not give you colour casts. If the light is too harsh I just cover the LED panel with tracing paper or ordinary (white) toilet tissue. The tissue-light is gorgeous, soft and easy to use. These are excellent products and inexpensive to buy. They are probably the simplest way to set up a table top sidelight.

Working with people, stronger light gives you more control over freezing your subject. For portrait work a flash helps. To freeze a portrait for a sharp picture use a brighter light and a short exposure. A side-lit portrait is 100% better than a pop-up flash shot where the light is straight on. For this, the off-camera flash is the way to go. You have the flexibility to create a sidelight that creates shadows that define the face. Make the light as soft as possible so the shadows wrap around. Avoid hard or harsh shadow lines on faces. It is not flattering.

At the other end of the scale the low intensity light of the LED panels allows for long exposures when using static subjects. Use a longer shutter time if you want your subject to be lit more brightly. Of course to do that you will need a way of steadying your camera for long exposures. A tripod is probably best in this situation.

The way to go…

In the wilds, or doing table-top studies the best light comes in from a shallow angle as sidelight. It is the shadows that define objects and bring out strong textures. Look for side lighting where ever you can, and create it yourself if the natural light can’t do it for you.

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Related articles/links:
Photokonnexion Photographic Glossary – Definitions and articles.
Light and Lighting – Resource pages on Photokonnexion
Soft Light (Information and use)
Soft Light (Definition)
Hard Light (Information and use)
Hard Light (Definition)
Make soft light work for you
Six things to know about light
Three little known facts about shadows

By Damon Guy (author and Photokonnexion editor)

Damon Guy - Netkonnexion

Damon Guy (Netkonnexion)

Damon is a writer-photog and editor of this site. He has run some major websites, a computing department and a digital image library. He started out as a trained teacher and now runs training for digital photographers.
See also: Editors ‘Bio’.

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Simple videos showing how camera settings work

Posted on March 16, 2013 by | 1 comment
Understanding the relationship between ISO, Aperture and Shutter speed…

These are the three critical factors in the exposure relationship. Getting a feel for how they work together is the essence of controlling your camera. Several people asked me to find a simple explanation for the way this relationship works after seeing this post yesterday: How to work with your camera settings – a simple, fun lesson.

The key point

The three settings, ISO, Aperture or Shutter Speed are set up on your camera in stops, or fractions of stops. The stop is a photographers way of measuring light in the camera.

The most important thing to remember is that a stop of aperture is the same as a stop of ISO, and in turn a stop of shutter speed. As they equal each other, you can keep them in balance. If you put one setting up a stop (or fraction of a stop) you can put one of the others down a stop (or fraction) and you will get the same exposure. This allows you to change your settings to get a different result (more bokeh, less movement blur etc) but retain the same exposure levels.

The two videos below will help you to understand the way the settings work. I have given you two versions of the same information. They both present differently, and they both have snippets of information that are different from the other. However, they both cover the same material. I hope that one or both of them will help you to see how the settings work. Enjoy!

Aperture Shutter Speed and ISO, Photography 101

The second video covers almost identical material but shows some of the points through the camera viewer. This helps you to see the context of the settings easier.

Exposure (Aperture, Shutter Speed, ISO)

Now try out your new knowledge…

Now you can try out CameraSim in yesterdays post. Try varying the settings for yourself like they did in the videos and see how they work together to get an exposure balance.

Related articles/links:
Start Photokonnexion email subscription now!
Photokonnexion Photographic Glossary – Definitions and articles.
Definition: Exposure
Definition: Aperture
Definition: f number
Definition: ISO
Definition: Shutter Speed

By Damon Guy (author and Photokonnexion editor)

Damon Guy - Netkonnexion

Damon Guy (Netkonnexion)

Damon is a writer-photog and editor of this site. He has run some major websites, a computing department and a digital image library. He started out as a trained teacher and now runs training for digital photographers.
See also: Editors ‘Bio’.

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How to work with your camera settings – a simple, fun lesson

Posted on March 15, 2013 by | 5 comments
CameraSim - a comprehensive camera simulator for learning how to use camera settings.

:: CameraSim ::
A comprehensive camera simulator for learning to use your DSLR settings.
Try out the CameraSim web app. CameraSim | External link - opens new tab/page

CameraSim – website to try out exposure settings.

Camera settings can be confusing without guidance. This website provides camera simulations allowing you to vary settings and learn the relationships between them. It’s interactive – try it – it’s fun!

You can go to the CameraSim CameraSim | External link - opens new tab/page website and try it there.

Trying it out

As you can see above the controls allow two types of set up. Lets walk through an introduction.

On the left are the controls that allow you to set the lighting and the the focus controls for your distance-from-subject and focal length for your lens. The light level allows you to simulate the ambient light levels. Set the light and your distance/focal length points first.

The girl on the screen moves continuously and so does the windmill. This allows you to try out settings for capturing movement. The two different rates of movement give you a chance to try freezing one or both or allowing some movement blur. It gives you a controllable situation so you can experiment.

By selecting ‘manual control’ you give CameraSim no control over the settings – just like a real camera. Click ‘Manual’ control now. I will explain a few points.

In the centre of the viewfinder screen is a green scale and figures. If you cannot see it press the silver button to return to the viewfinder view. The ‘needle’ is centred below the scale. If you now move any of the ISO, Aperture or Shutter Speed settings you will see the needle shift to indicate the exposure setting. If it moves to the right it will be over exposing (by up to two stops of light). If you change a setting and the needle moves left you will be similarly under exposing. Also, moving a slider will change the corresponding value on the green settings shown.

Try selecting Aperture Priority (A) – slide the aperture slider. You will see the needle in the screen does not move. In ‘A’ mode exposure is controlled by the camera. If you slide either the ISO or ‘A’ setting the shutter slider is set by the camera. As they slide, the needle in the viewer window stays centred. When this happens the camera is keeping the exposure constant at an ‘ideal’ position. It keeps this position by moving the Shutter Priority (Tv) or Time Value setting to compensate. So, if you move the aperture slider to the right this makes the aperture smaller and reduces the incoming light. CameraSim moves the shutter slider to the left. This means the shutter is open longer to let in more light to compensate.

If you select the Shutter Priority slider the same situation occurs. The Aperture Slider is disabled. Now the camera controls aperture if you change the Shutter speed (Tv).

Pressing the shutter button on any setting and you can take a picture. When you do, the exposure created by the shown settings is captured. The screen then turns into a simulation of DSLR back-screen showing you the exposure. Press the silver button to return to the settings/viewfinder.

A lot of thought is needed to master settings. Practice and understanding takes time. CameraSim is a great idea – it allows you to play with settings and get a feel for them.

The picture of the girl and playground is a bit limited. However, it allows you to explore the settings with a constant view. This simple situation lets you test different scenarios without confusing variation of scenes.

No such thing as a perfect exposure

CameraSim has a few shortcomings. Cameras with Auto-mode, ‘A’ and Tv settings make it look like there is a perfect exposure – when the needle is centred. In reality the perfect exposure does not exist. There are lots of times when you want to over or under expose a scene for dramatic effect, mood or other scene-setting. Normally, to achieve these using AP or Tv, you would use “exposure compensation” which is not available in CameraSim. Of course it is possible to set under/over exposure by using the “Manual” control – that’s worth exploring.

Focus on the subject is limited only to the girl. So it is difficult to practice landscape shot-simulation. However, if you ignore the girl and move the ‘distance’ slider you can, sort of, practice the focus and control over the background. It would be quite a nice idea to have a few other types of views to try out. However, to go further with the CameraSim concept you need to go pro and buy the full package.

Overall…

The CameraSim site has come of age. It has great potential for teaching exposure and there is lots of fun to be had with personal experiments. There are some explanatory notes under the simulator on the site itself. So it is worth reading those or following the links below to the exposure information on Photokonnexion.

I like CameraSim. It is a great idea. However, I think it will be most useful for people working with an instructor or experienced friend. Some guidance and explanation is useful while you are experimenting to help you understand the exposure relationship. The author recognises this and suggests it is a great way to use the simulator. So maybe you will see it in a photography class soon. Do have a go, it helps you think about exposure in a very worthwhile way.

Related articles/links:
Start Photokonnexion email subscription now!
Photokonnexion Photographic Glossary – Definitions and articles.
Definition: Exposure
Definition: Aperture
Definition: f number
Definition: ISO
Definition: Shutter Speed
CameraSim CameraSim | External link - opens new tab/page
ambient light
DSLR
There is no such thing as a perfect exposure

By Damon Guy (author and Photokonnexion editor)

Damon Guy - Netkonnexion

Damon Guy (Netkonnexion)

Damon is a writer-photog and editor of this site. He has run some major websites, a computing department and a digital image library. He started out as a trained teacher and now runs training for digital photographers.
See also: Editors ‘Bio’.

#1854#

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How safe are your photography files from file loss?

Posted on March 9, 2013 by | 1 comment
Electronic files are threatened by many dangers.

File loss comes down to one of two problems. They can be electronically lost or mechanically lost. There are simple things you can do about it. A proper backup strategy is something we should all have in place. Have you reviewed yours recently?

File loss can seriously affect your happiness – that’s important

As a keen photographer, if you lose your electronically stored photographs you lose the fruits of all your labour. If you are a keen family photographer you could lose all the memories those photos represent of good times and family togetherness. You might be losing both, or more if you have other uses for your images. Losing files, and particularly ones that impact on your family life and memories, can be quite traumatic. If your home is destroyed by fire the trauma is terrible. Imagine if you were to lose all your family photographs in that fire too! File loss can be completely devastating.

When a disaster strikes – earthquake, fire or tsunami – the disaster organisations pick up the pieces. Often they say the loss of photographs causes serious emotional problems for people recovering from trauma. Think carefully about taking action to protect your files. Don’t let file loss devastate your memories.

Protecting against file loss is easy

Being keen on taking photographs can help you to enjoy yourself. Protecting against file loss helps you to preserve your files. But it also gives you peace of mind. So it is worth investing a little time to protect your files.

Things change

You may have a great computer. It may even be new. Things change fast with technology. Before long your existing hard drive will be getting old, subject to mechanical failure. Hard drives are more reliable than they used to be. However, they are are still liable to fail. If you have all your data on one hard drive that fails you will lose everything. I used to run an Information Technology department. I know how often hard drives just suddenly give up. Believe me do not trust to luck. One day you will lose everything. A mechanical failure will occur and file loss will happen.

Of course you may suffer from some sort of software error first. I have seen hard drives that completely corrupted themselves. They were working fine. But everything on the drives was simply trashed beyond use. There are several ways this can happen. Virus or malware activity on the computer can be one cause. Damage to the file storage database is another possibility. There are other issues too.

Knowing about the reasons for file loss or damage is interesting. However, all you really need to know is that your files can be deleted, completely corrupted or otherwise damaged. This can happen at any time.

I know you are going to tell me of firewalls, anti-virus and other protection. But, even those can be overcome by hackers, virus infection or malware. Computer security is an ongoing battle. It never ends. You can protect yourself as much as you can afford. The worst can still happen – although it is less likely. And, that is the point. If you ensure you have all the right protection AND you back up your files you have the best possible cover against file loss.

Don’t panic about potential file loss

The answer is simple. Back up; back up; back up!

Notice I said that three times? Well, for safety sake that is what you should do. The principle is simple. Here is how it works:

  • Level one: Updated every time you create a new file or change a file. Most hobbyist photographers will have this storage on the hard drive of their computer. It is the working storage space. But this storage alone is vulnerable. It is a single point of failure for file loss.
  • Level two (back up): Use an external/portable hard drive. Normally these plug into your computer using a USB connector. Each time you create new files or change old files, you copy them to the back-up external drive.
  • Level three (off-site backup): This is also an external/portable hard drive. You need to keep this copy at a different site to your computer. Then, if there is a fire at your house the level two back up drive is safe at another site. Then, about once a week, you copy all new files from your level two back up to the off-site level three drive.

So, in addition to your computer hard drive, you need two external hard drives. One stays next to your computer. The other you can keep in your office, or in a shed – anywhere out of your home. Then, you need to back them up to each other regularly. That three level approach is a simple and safe system to prevent file loss.

It’s supposed to be fun

Photography is fun. We all love it. However, file loss would be a a total disaster. You will be able to relax and enjoy your hobby all the more if there is a fall-back position. You can rest easy and feel comfortable with your hobby if you know that those files are safe.

Look carefully at your potential file loss situation. Think about getting yourself a couple of hard drives and backing up all your files on them. Then you are covered.

Check out these external hard drives on Amazon:
External hard drives on Amazon  Protect against file loss. Backup to a hard drive | External link - opens new tab/page

Also check out the links below for more information on files and file protection…

Related articles/links:
Start Photokonnexion email subscription now!

World Backup Day – save your files
Photokonnexion Photographic Glossary – Definitions and articles.
Simple mistakes to avoid in photography
Mistakes beginners make and how to overcome them
20 Ways to Protect Files on Memory Cards (Part 1)
20 Ways to Protect Files on Memory Cards (Part 2)

By Damon Guy (author and Photokonnexion editor)

Damon Guy - Netkonnexion

Damon Guy (Netkonnexion)

Damon is a writer-photog and editor of this site. He has run some major websites, a computing department and a digital image library. He started out as a trained teacher and now runs training for digital photographers.
See also: Editors ‘Bio’.

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