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The Creation of Art is Subjective

2011-03-16T21:43:00.001-07:00

The Creation of Art: A Review

The Creation of Art: New Essays in Philosophical Aesthetics edited by Berys Gaut and Paisley Livingston is a great book. As a person who loves art, I was excited to read a book dealing with art from a philosophical perspective. I was particularity impressed with the essays talking about genius and creativity. Therefore, these essays will be the focus of my review.

According to Guyer, genius is a gift for invention. This gift leads to originality in representation (Guyer116). He also claims that what the genius does is that he uses art to represent the freshness of nature (Guyer122). By stating this, I believe that he wishes us to see that when the genius uses nature as his canvas he wants whatever he paints or sculpts to be as fresh as the outdoors themselves.

I agree with Guyer's definition of genius. A genius doesn't just make a copy of what he sees in nature. Anyone with a small amount of artistic talent could do that. A genius seems to be able to take what he sees and shape it in such a way as to make it his or her own. For example, an artistic genius might paint a rose blue instead of red or pink. A statue may be sculpted out of gingerbread cookies instead of clay. A poem can describe the sunset as ‘rainbow sherbet melting in the sky'. Artistic genius seems to spark imagination. I also enjoyed the way he described Kant's view of what a successful work of art entails. A piece of artwork qualifies as a success when it brings human beings pleasure because its form and content starts a free play with our imagination and understanding (Guyer 127). This makes sense because some of the poetry that I write is inspired by what Kant calls ‘successful artwork'. For example, the first time I saw Van Gough's "Starry Night", I wrote a poem entitled "Imagine the Night Sky."

I also like the fact that Cohen states that human beings who appreciate fine art must posses a bit a genius (Cohen 145). This is because it seems that we are geniuses when we can appreciate Shakespeare or Van Gough. It seems that being a genius isn't ass hard as first appears. It seems that all it takes to be a genius is the ability to change the ordinary or the ability to appreciate the extraordinary. However, it is unclear what it takes to be an appreciator of fine art or to have something labeled an appreciator of fine art. It is also unclear how much an artist must change something to be called a genius. Therefore, being labeled a genius isn't a clear cut decision. In other words, many factors may play a part in being labeled a genius.

Olsen does good job talking about creativity. I like the way that he uses Shakespeare to describe what poets do. Shakespeare claims that a poet's pen "gives to an airy nothing a place and a name" (Olsen 192). This description reminds me of Plato. According to Plato, the Muses are vital to poets: "If anyone comes to the gates of poetry and expects to become an adequate poet by acquiring expert knowledge of the subject without the Muses' madness, he will fail" (Phdr 245a). The Muses seem to help the poet's pen give life to nothing.

The discussion of the creative personality is provocative. Creative people may have non-conventional thoughts. This may be due to a need to resist being mainstreamed on society. A creative person wishes to give into his or her own unique nature (Olsen 196). I think that a creative person can have a unique nature and still create a painting, poem, or short story using a very structured regimen. In other words, creativity doesn't have to give way to convention and structure. One thing that a creative person might create is a fictional character. However, many philosophers have argued that fictional characters can't be created. I don't agree with the idea that fictional characters have no reality at all. It makes more sense to believe that fictional characters come into being only because of the mental and physical acts of an author. Because of this, fictional characters have become part of most cultures.

While most of this book was informative and interesting, one essay that I read was boring. The essay deals with the origins of creativity. The explanations of the origins of creativity are cognitive, biological, and social. The argument seems to be that creativity comes from all three sources. This comes as no surprise to me. In addition, the biological portion of the essay was a bit confusing.

This book is worth reading because it stimulates and educates readers. Also, it has put art in a new perspective for me. For the most part, people will not need a background in art to understand and enjoy this book; therefore, I recommend this book.

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Examples of Positive Living in Roberto Benigni's Film Life is Beautiful

2011-03-16T21:31:00.001-07:00

Roberto Benigni's extremely popular film Life is Beautiful is an exercise in absolute positivism, despite the progressively dismal setting and the disappointments its main characters must face. The principle character, Guido (played by Benigni), is a model of positive living. This extends, perhaps simply through contact with Guido, to his family-wife Dora (played by Benigni's wife, Nicoletta Braschi) and son Giosue (played by Giorgio Cantarini)-who carry core values shared by Guido throughout the film. Specific types of positive living as outlined by Loren Ford (2004) in his book "Human Relations: A Game Plan for Improving Personal Adjustment" portrayed in the film include: strong values; firm decision making; meaning through dedication and service to others; flow through creativity; love; and letting go (pp. 271-290).

Early on in the film we are introduced to Guido's charm and sense of humor in his absolute pursuit of his love, Dora, in an attempt to lure her away from her fiancé and convince her that he (Guido) is the right man for her to love. Guido displays unfailing optimism in this goal. His love extends after marriage, is bestowed upon their son, and remains in full effect even under the most difficult and horrifying of circumstances. His dedication to Dora is inspiring.

Furthermore, Guido's sense of purpose includes his responsibilities as a husband and father, and he serves his wife and son unfailingly. The movie ends with the family in a Nazi concentration camp, owing to the fact that Guido is a Jew. Ford (2004) writes that "To help, nurture, or serve others provides meaning for many individuals (p.276)." This is certainly true in Guido's case, and there is no more straightforward an example than his final sacrifice on behalf of his wife: he risks certain death to attempt to rescue her after making many attempts to contact her through various creative and comical means. He is, in fact, captured and murdered by camp guards. It is a bittersweet ending to a life defined by acts of altruism.

Guido also displays tremendous dedication to his goal of opening a bookstore, thereby finding meaning in the task of becoming a bookstore owner. When he relocates from the country to the city to find work, it is his ultimate desire. He works hard at other jobs he has no particular interest in performing, such as working at a hotel, until he is able to achieve his dream. It is his resourcefulness, optimism, and creativity that help him to be successful in all but his final major goals.

Another example of creativity is in how Guido finds "flow" in his life. Ford (2004, p. 283) relates how researcher Mihaly Csikszentmihalyi found that flow can be considered "the enjoyment we experience when we are engaged in mental and physical challenges that absorb us." Ford (2004) further explains how Csikszentmihalyi suggests that one method of achieving flow through creativity is in being creative problem solvers. Guido is the ultimate creative problem solver, thinking fast on his feet in all circumstances.

One example of this is in the "game" he devises when in the concentration camp to protect his son from the Nazis. He tells Giosue that the camp is part of a grand game, the prize of which is a genuine tank. He then gives Giosue a set of instructions, adding to the list as is necessary, to keep his son from suffering unduly.

Another example of how Guido employs creative problem solving with respect to his son is in a poignant moment when Giosue inquires as to the meaning of the signs restricting the freedoms of Jews and dogs (degradation in itself). Guido explains how there is no real logic to this, and it is simply a random selection of groups of people and things. He makes light of it in an attempt to reduce any measure of distress.

Another method of positive living suggested by Ford (2004, p. 272) is values. Both Guido and Dora display unfailing values, never wavering even in the face of absolute adversity. Dora has the choice of abandoning her family or being taken with them by the Nazis, and still she remains true to her husband and son. She does this knowing it means she will end up in a camp herself. It is also an example of making a difficult decision, which is no strange concept to Guido, either.

Guido's last decision is arguably the most difficult decision any human must make: a decision of life or death. His choice to attempt to find Dora is one that comes with death, should he fail. He is aware of this danger when he tells his son to hide and attempts his bold goal. And yet he perseveres, decisively, and it is this courage that I carried with me from the scene, despite its painful end with Guido's death.

Guido's final actions are guided by immense love, and it is his love that brightens the world for those around him. He fairly well exudes love and passion, which I personally found to be deeply inspiring. Ford (2004, p. 286) talks about the importance of love in positive living, and there are few goals as noble as spreading love in the world. Guido does this by touching individual lives. This is, I believe, the best way that any of us can affect positive, loving change: by making the effort to bring love into even one life during the course of our own. Guido succeeds not only in the film, but in the audience. Benigni's brilliant character has touched countless viewers.

Finally, Ford (2004, pp. 285-286) discusses a difficult but important task in well-being and positivism: letting go-the ultimate act of forgiveness. It is one thing to accept an apology, or even to forgive those who have wronged us but not apologized, but it is quite another to give up the hurt and move on. This is the essence of letting go. I believe that one specific example of letting go is seen in the final moments of Guido's uncle's life. As he is facing death in the concentration camp, a female guard trips before him. He helps her, an act that seems mystifying when you consider that the Nazi's have sealed his fate. Yet I believe he has forgiven them and let go of the hurt. He has made peace and his compassion triumphs over any negative feelings.
This seminal film is in itself a way to live more positively! I challenge anyone to view it and not take away from it at least one lesson for living a more positive life. Whether that lesson is employed is up to the individual, but I believe this movie is as educational as Ford's text when it comes to demonstrating positive lives.

References

Ferri, E., & Braschi, G., (Producers), & Benigni, R. (Director). (1998). Life is Beautiful [Motion picture]. Italy: Miramax.

Ford, L. (2004). Human relations: A game plan for improving personal adjustment (3rd ed.). Upper Saddle River, NJ: Pearson Prentice Hall.

Mirrormask: The Illustrated Film Script - Review

2011-03-16T06:38:00.001-07:00

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Mirrormask: The Illustrated Film Script of the Motion Picture from The Jim Henson Company By Neil Gaiman and Dave McKean William Morrow The Jim Henson Company approached Messrs. Gaiman and McKean, inquiring whether they would be interested in making a fantasy film. They have collaborated on a number of projects over the course of almost twenty years, their most noteworthy achievement being the award-winning Sandman series. Even though The Jim Henson Company only had a $4 million budget, Gaiman and McKean were intrigued by the offer and agreed. In the book’s introduction Gaiman details how he and McKean worked together to create the film’s story and screenplay, which was a tad difficult because of their different approaches to writing. McKean outlines an entire project on cards, aware of every aspect and idea, before writing a screenplay while Gaiman talks until he’s ready to write and then allows a screenplay to flow out of him as he works. Mirrormask is about a young girl named Helena, whose parents run a traveling circus. She is tired of her life and wants to get out of it. Her mother falls very ill and is hospitalized, so Helena stays with her aunt. Helena loves drawing and covers the walls of small bedroom she is staying in with her pictures. One night, she has an odd dream and then unknowingly walks into a city on the other side of reality. It’s a magical world that is divided into the White City and the Dark Forest. Helena is mistaken for the Princess, who stole a charm that caused the White Queen to fall into a sleep she can’t be awoken from. Her slumber has broken this world’s balance and shadowy tendrils seep out of the Dark Forest, destroying everything in the White City they touch. Helena volunteers to find the charm because she has seen herself sleeping back in her aunt’s flat and assumes she is dreaming. As the adventure progresses, Helena learns that she may not be in a dream after all. She becomes aware that she has switched places with the Princess, who ran away from her mother, the Dark Queen. Helena discovers even graver news when she realizes that this strange, new world she is trapped in are her drawings pasted on her aunt’s bedroom walls. When the Princess sees Helena in the drawings, she begins tearing them down, destroying the world she ran away from. Gaiman and McKean have created a fabulous fairy tale that playfully deals with familiar archetypes, such as Sphinxes, while creating brand new ones like the Monkeybirds. Mirrormask should satisfy both children and adults because there is plenty of action and some mild frights. Gaiman wrote the screenplay from their story with plenty of input from McKean along the way. McKean directed the film, which is coming out this fall from Sony Pictures, but has no release date. The Illustrated Film Script contains the screenplay matched with McKean’s storyboards, including the deleted scenes that are sure to appear on the DVD. There are also stills from the sets and behind the scenes that show the final realizations of McKean’s vision. They look marvelous and should be a wonder to behold on the big screen. I was worried about the effect reading the script would have on me in regards to seeing the film, but Mirrormask is so imaginative and its story and visuals are so compelling that the book increased my interest in seeing the film. I highly recommend the book for fans of film and fantasy and certainly understand if you choose to see the film first before reading it. The screenplay format might be tough to read for young children who like the film Appendices in the back show the transformations the Mirrormask story made as Gaiman and McKean emailed back and forth with ideas and alterations and what-ifs. They write mutual-admiration letters and the book closes with the lyrics to the song over the end credits, which were written by Gaiman.

Baby Name Books: Are They Worth the Buy?

2011-03-04T07:45:00.001-08:00

celtics baby clothes

There are some parents who know what they will name their child before it is even conceived, but others have a more difficult time. It is not uncommon for some parents to take a few days to name their child after it has already been born. There are a number of ways that parents go about trying to select a baby name for their child. One of those ways is to purchase a baby name book.

Baby name books have been sold all around the world for a long time and many parents use them when trying to select a name. There is a wide selection of baby name books available for purchase from a number of different locations. Baby name books can be purchased from book stores, media stores, baby stores, traditional department stores, and online.

Since there are a large number of baby name books available for purchase it is likely that the books are different. There are some baby name books where the most popular names for the year are listed for both boys and girls. Other books may just list random baby names. It is also possible to purchase a baby name book that lists religious baby names or baby names from another country. More elaborate baby name books tend to provide readers with the meanings of particular names.

The advantages of purchasing a baby name book is that there are an unlimited number of books to choose from. Another advantage is that it allows parents to select a name for their child that they may not have thought about on their own. While there are a number of advantages to purchasing a baby name book there are disadvantages as well.

A parent could pay anywhere from five dollars all the way up to thirty dollars for a book. The price will all depend on how new the book is, whether it is hardcover or paperback, and what type of baby name book it is. Five to thirty dollars is not a large investment, but many parents will only use the baby name book once or twice. What many new parents fail to realize is that the same information can be found online for free.

There are a large number of baby name websites online. These websites can often be found by performing a standard internet search. By performing a standard internet search parents can be provided with multiple baby name websites that offer quality and popular baby names. There are even websites that display the meaning of a babies name or websites that provide religious or unique baby names.

As a parent you have the choice to purchase a baby name book or not. The decision is all yours; however, all parents should be aware that the baby names and information provided in these books can also be obtained online and mostly for free.

Photographer Interview: Break into Concert Photography

2011-02-27T07:25:00.001-08:00

Photo Credit: celtics baby clothes

Anthony Siciliano of Ramsey, NJ, was initially attracted to photography through some playful competition with his friends. Even when he realized his friends had no idea how to use their cameras, he stuck with it and earned recognition in photography and videography.

As a photojournalist and concert photographer his experience is transferring into his newest venture as part of Awesome Farm - a video production and photography business formed with his friends. At least with the friends that know how to use a camera.

Siciliano answered a few questions and gave some advice for fellow photographers looking to break in to photography, specifically concert photography and photojournalism.

What was your first camera?
My first DSLR was a Nikon D80 with the 18-70 mm lens. However, the first point-and-shoot that I bought for myself was a Pentax Optio S-40, which I still have. I really enjoyed taking pictures of flowers, but I was dissatisfied with the performance and results of my point-and-shoot (particularly, the shutter lag). I looked into DSLRs, and ended up purchasing the D80. Thousands of dollars, and much gear later, here I am.

What photographers - well known or unknown - inspire you?
I really have fun with concert photography, live shows where I bring back photos that give you a good sense of what happened during an event. A photographer that does this very well is Todd Owyoung. His website is http://ishootshows.com/. Not only does he get awesome results, but also he shares his wealth of knowledge with everyone, which I respect immensely.

Check out the Strobist blog as well. It features off-camera lighting and lots of DIY equipment at http://strobist.blogspot.com/.

Is there a certain piece of gear you could not live without?
I do not skimp on my gear, and it has definitely paid off. In my opinion, it is better to save up for a longer time and get better equipment, than it is to spend early on something else. Unfortunately, I am addicted to buying new things, which can get very expensive. I could not live without any of this stuff, but if I had to pick one lens, the one that does most of my work is the 18-70mm lens.

Do you have any goals in mind with your photography?
I hope that I will be shooting famous bands very soon. A lot of doing that is getting to know the people who run the events, and the people who manage the bands. So far, the most famous people I have photographed in concert are Kate Voegele, Jack's Mannequin and the rest have been local bands. Currently, I shoot for local newspapers. The pay is not very good, but it is fun and better than nothing at all. Doing this will help me get exposure.

What advice would you give to someone who wants to shoot concerts?
The gear that is best for concert photography, at least in my opinion, is fast lenses and cameras with high ISO abilities. It is deceptively dark inside most music venues. My 50 mm lens does a lot of work there, with its extremely fast 1.8 aperture. My other lenses that go down to aperture 2.8 are extremely important. Large wide-open apertures are important for catching performers in action, without blur. Someone that wants to shoot concerts should definitely invest in a 50 mm lens, and save up to buy other fast lenses. Many places do not allow flash during performances, and your brand-new flash unit will not do any good when security tackles you. Also, watch out for drunken people and mosh pits at shows, which is a good way to wreck your camera.

How did you get a job with your local newspaper? What skills does that require?
When I was doing physical therapy for my tendinitis, I met a photographer who was shooting some photos for a brochure. We got to talking, and she gave me the contact info of a local photo editor. The skill involved in photojournalism is the same most other photographers use, except more irritating. Not only do you have to capture good pictures, but also you have to do it consistently, and make sure you get people's first and last names. If you do not get their names, editors will not use your photos. That can be a big disappointment, after all your hard work. You also have to be versatile and ready for anything. Get to events early and scope things out. that is the best advice I can give. Coming in late and not getting a good spot makes things a lot more difficult.

What advice would you give new photographers?
The best way to learn photography is by doing. When I bought my camera, I barely knew how to use the thing. One great thing I think everyone should do is a Project 365. That is where you take one photo per day (at least) and write a little bit about it on your Flickr account or a photo blog. It will help you learn to shoot in all current situations as well as on days or times where you think a camera might not be convenient to have. Then, at the end of the year, you look back and see how much you have improved, as well as your year in a series of photos. Also, do not forget to take a break when you are post-processing your images. I got a bad case of tendinitis from using the computer too much, and it really puts a kink in your photography.

Where can people see your photography?
Check out my photography on my Flickr site at: http://www.flickr.com/photos/scis/ and soon at www.awesomefarm.com.

Starting Your Own Professional Photography Business

2011-02-27T05:13:00.001-08:00

photo source

So now you have the desire and determination to make it work, but what will you do? Photography is your passion, or is it? There are hundreds of photographers out there no matter where you live; what makes you so different from all the other photographers?

* Do you have the unique style necessary to attract the crowds to your camera?

* Can you survive in the cut-throat business of shooting day in and day out whoeversteps in front of your camera?

* Are you original and creative enough to think of different poses, create various styles of portraits of babies, families, couples and single people and still think sanely?

If you answered these questions positively, you may be on your way but that’s not all it requires. Though photography seems a fairly easy business where in movies and television you see a young man photographing beautiful women in studios or on exotic locations, selling all the images to magazines or having huge billboards displaying his pictures, that’s just a dream. Reality can be quite different from what many think of this profession.

It takes more than a fancy camera in this day and age to make a person buy your pictures, let alone to make a business out of it, surviving on income made with your photography. If you live in Spain or anywhere else, if there’s other photo studios then you’re competing against those already established with a good clientele. How can you compete against them?

Here are some recommendations to help you build your dream of working as a photographer:

a. Create an unique style that stands out from the other photographers

b. Be professional at all times

c. Display only your best images to possible clients and change these often

d. Offer specials to advertise yourself and your photography

e. Have exhibits of your photography to help spread word of your new business

f. Be patient and be sure to have a good supply of backup funds in the case they don’t come

Let’s discuss the above points…. This will help you to understand how to succeed.

Look at those you will be competing against; what do they offer in their photographic services? Can you offer the same or more? Most importantly, how does your style of capturing a scene or a face stand up against theirs? You will need to establish that style before you can start with a business. Be sure in what you do and do only that.

When you work with a client, you must maintain a professional environment at all times. In my many years behind a camera, I have seen amateurs make many mistakes during events, weddings and other assignments. In some cases, it wasn’t a mechnical or technical error but a public relations mistake – some people just don’t know how to work with the public. If you do the same, you will not last for very long. While people talk a lot of good images, they talk even more about how terrible a session was. You don’t want that type of advertisement. Research your assignments, know the light. If you have new equipment, then be sure you know what they can do and how you can use it. There’s nothing worst than finding out the hard way a flash or a new lens isn’t completely “right” in your hands.

Advertising yourself is the most important thing you can possibly do; no matter how good (or bad) you think you are, if nobody knows of your services or product, then you wont sell many if at all. When you display a poor image, then others will see the faults also – never display an image that is in bad taste. Show only your best work and watch people contact you. If they see bad results, they will stay away. Your best form of advertisement is word-of-mouth from a satisfied client!

While you may be one who doesn’t believe in the “store specials”, this method of advertising does work, and you can make it work to your benefit. A special attracts people who normally wouldn’t buy a product but does due to the price offer, or does buy and sees a special pricing as a reward for their loyalty. Act on that thought and you will see more customers contacting you!

Many people go to art exhibitions to see art – when this exhibit involves portraits of people for example, it can draw in customers from a different area you never thought possible. While many go for two main reasons – to see art and enjoy it, or to buy art for themselves – having an exhibit consisting of portraits for example, encourages possible interest in becoming a subject for your camera. It also works in a different direction, establishing your track record and building on your resume to show people interested in your experiences and awards, etc. in photography.

Lastly, starting a business is not easy or as “easy” as you may think photography may be. This profession is no exception to the rule. These days everyone having a digital camera makes them a “photographer”. Who will pay you to create their memories to last a lifetime? Before you actually start your new life in photography, be sure to have a good sum of reserve cash banked away to maintain your living expenses through the lean months – if that is the case. In most new businesses, the first two years can be the hardest and patience can save your sanity! The biggest mistake here is that after two or so years of little or no business, new businesses will close, but that is wrong! That’s the worst time to close as now you already have yourself in people’s minds: seeing the storefront, knowing you’re a photographer, etc. stick it out just a bit longer!

Blair Hill Photography in Salt Lake City, Utah

2011-02-26T16:27:00.001-08:00

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Blair Hill Photography services the Wasatch Valley areas locating between Provo to Logan Utah.

Blair Hill Photography began in the year 2000 when Blair first decided she wanted to use her camera for something other than fun. Though Blair had been taking photographs for a long time, and was very familiar with the SLR camera she owned, she was always just snapping photographs of family & friend adventures, music events, or other various events around the town. She had been published several times in her local newspaper and other various sources, but still never quite thought of the idea to go 'professional.'

When Blair decided that it was time to put her passion to work, she started to attend classes right away on her new favorite subject, so that she could learn as much as she could aside from what she already knew. She attended classes at her local community college, a local arts program, and MICA - Maryland Institute College of Art. She began developing her progressing in the field of musical/industrial photography, and developed a clientel very quickly.

To the downside of all the progress Blair had made with her work, in 2003 she moved 2000 miles across the county, which means her clients were not locals anymore. Discouraged, and looking for a refreshing moment in life, Blair took a break from her passion of photography until 2005. In 2005, Blair realized how much she missed doing what she loved most, taking pictures. She realized how much her focus of photography had changed though, and began to pursue portrait photography.

Since 2005, Blair has been an active portrait photographer in the greater Wasatch Valley in Utah. She has been complemented again and again on her wonderful work, with a repeat clientel that simply keeps growing and growing.

With astonishing photography, incomparable to any of the other local photographers here in Utah, yet still with the most amazingly affordable prices, Blair Hill Photography is completely unique, and perfect. Every day Blair is coming up with new ideas on how to make her work different, better. She is constantly attending trainings and schooling to further her educational background in photography, and to learn anything new she could possibly learn.

Her current creditinals include the following:

Anne Arundel Community College - 2001, Photography Certificate

Maryland Institute College of Art - 2002-2003 Photography Classes

Salt Lake Community College - 2006-current A.A. Photography Classes

In addition to her passion of photography, Blair has a B.S. In sociology from the University of Utah, and is currently working towards her masters in Gerontology. She hopes to one day mix her love for people and culture with her love and passion for photography.

To see Blairs work, please visit Blair Hill Photography by Clicking Here.

Photography Tips and Tricks

2011-02-26T04:33:00.001-08:00

credit

Photography isn't just about making memories, it's about art. Be artistic. Here are a few tips and tricks to help you make those photos, picture perfect.

To make those dull photos turn into works of art, consider these questions:
Decide if you want the full subject, half, or even a close up. How much background do you want, or even foreground? Exactly how close do you want that close up? What details do you want to focus on? Do you want a vertical, horizontal, or tilted photograph? What angle do you want? What's the best lighting? What background do you want to use?

1. Placing the subject of interest. Choose how much of the subject you want photographed. (Example: you want full body, half body, or face shot.) If your subject fills the frame then it's okay to center it. If you are trying to get more of the background, try placing your subject to the right or left in the viewfinder. With a horizontal (laying down), try to place them at the top for more foreground, or at the bottom for more background. And you could even tilt the camera for a more funky picture. It all depends on what part of the scenery you want visible in the picture. Maybe you want that tree to your left and your subject to the right. Or the patch of flowers in front and the mountains in back. (I find it best to take my time and take shots of each possible way and several different poses. This way I know I'll find the best photograph with the most potential.)

2. Don't center. The circle, plus sign, or brackets in the middle of your viewfinder is for focusing and isn't necessarily for centering the subject. Placing your subject in t he circle could leave you with a lot of empty and useless space on your photograph. Too much background and not enough subject. If your subject fills the frame then it is okay to center them. (Sometimes you just have to ignore the focus points and concentrate on your subjects placement in the frame instead.)

3. Camera angles. Walk around the subject, shoot from all angles and sides. This will help you to get the best lighting, background, and different aspects of the subject. You will want to find the best angle for all three. Pick a background that will not distract your viewers from the subject of interest. (I choose my backgrounds to where there's not much clutter. Sometimes I will use a plain sheet or blanket and place it behind the subject, but making sure it does not clash or blend.)

4. Reflectors. In some situations you just can't get enough light or you perhaps you just want more. To use a light reflector, place it in a position where it reflects light onto the subject without it getting in the frame. Use this if your shot is coming out too dark or there are too many shadows. On night shots that you need more than your flash can put out, place a lamp (or several) near your subject, but out of sight, and use the light reflectors to bounce from the lamps to where needed. (Some homemade light reflectors can be real cheap to make. You could use white cardboard, or if you can't find this, then simply take any piece and paint it white. For more light, place tin foil over your piece of cardboard, smooth it out, and reflect where needed.)

5. Shading. Using the same piece of cardboard as mentioned above, you can use this to block the light as well. You could make this easier by painting one side white and the other black. Or just place the piece in front of the lamp or sun to dismiss light from your subject. On most cameras you can use a sunshade for the lens, some cameras come with this, some you buy separate. This won't keep light from your subject, but it will block the light from causing a flare effect on the outcome of your photograph. The sunshade just clicks into place around your lens, and keeps the lens safe from any glaring.

6. Outside daylight. Direct sunlight is when you place the sun behind the camera, but in front of the subject. Using direct sunlight can cause shadows on the subjects face and possibly their eyes squinting. Back light is when the sun is behind the subject and in front of the camera. This will lighten the photo and cause much softer features on the subject.

7. Preventing red eye. Red eye is caused when the flash is too close to the lens. Ways to prevent this are: Attach a larger flash to your camera, t his way the flash is further from the lens. Or if buying a camera, look for one with the flash located far from the lens. Try getting closer to your subject when needing the flash. (Before I bought my camera with built in red eye correction, I had to use a photo editing program to correct these problems. I was even scanning my pictures and still having to edit when I was using my film camera that was hopeless against red eye.)

2010-04-11T19:09:00.001-07:00

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Digital camera batteries are specifically designed for the unique way digital cameras use energy – in big power bursts. Digital camera batteries have substantial power with a much longer life than alkaline AAs.

Batteries for portable consumer devices are principally made using technologies such as:

- Nickel Cadmium (NiCd)

- Nickel Metal Hydride (NiMH)

- Lithium Ion (Li-Ion)

Each type has unique characteristics manufactured for different uses.

NiCd and NiMH:

The main difference between the two is the fact that NiMH (the newer of the two technologies) offer higher energy densities than NiCds. NiMH are less prone to problems and require less maintenance and care. NiMH are also more environmentally friendly than their NiCd counterparts, since they do not contain heavy metals(which present serious landfill problems).

Li-Ion:

Li-Ion produce the same energy as NiMH but weigh approximately 35% less. This is a definite consideration in portable devices where the battery makes up a significant portion of the device’s weight.

Another reason rechargeable Li-Ions have become so popular is that they do not suffer from memory effect at all. Memory effect is voltage depression caused by improper recharging.

They are also better for the environment because they don’t contain toxic materials such as Cadmium or Mercury.

Rechargeable digital camera batteries are rated in “mAh”. The mAh stands for Milliamp Hour, a technical term for how much power a particular battery will hold. Those with higher mAh values theoretically last longer without requiring a recharge, allowing you to take more photographs before you have to replace your cells.

It is recommended when installing batteries that their mAh values match. Otherwise, it is possible that one will drain before the others, causing extra strain on the others, or preventing further photo taking until all are replaced.

- Help and Tips

Cameras consume battery resources quickly, even rechargeable ones, so you should always carry extra. NiMH tend to last much longer than most standard alkaline AAs – plus, are rechargeable, so they can be re-used for quite a long time.

Turn off your digital camera when not in use. Don’t stop after taking every photo and look at the picture in playback mode. If you are using MicroDrive media, be forewarned that these miniature hard drives may take up quite a bit more power than Compact Flash cards.

Rechargeable batteries don’t stay charged forever. They tend to lose a little of their power every day. If you recharge often and frequently use your digital camera, you will probably never notice this loss. However, after a couple of weeks, the loss may be noticeable, and after a couple of months or longer of non-use, those once were ready-to-go but now may have lost enough power to make them unusable.

If you are not planning on using your digital camera for a while, it may be wise to take your batteries out for storage. This reduces the chance of chemical leakage and corrosion, which can seriously damage your equipment.

If you plan on taking photos in colder weather or snowstorm, note that batteries may hold their power for shorter periods of time than in warmer weather. You may either want to bring extra during your photo shoot or look for those specially rated to handle colder temperatures.

If it is raining, or if you are near an area of running water such as a waterfall, be extremely careful. Get at a safe distance from the water before you change out the power cells. Water can corrode, possibly causing leakage, and this can damage your equipment.