Cameras

As any camera phone photographer will tell you, talent beats equipment almost every time in photography. A talented photographer can produce a stunning image with a pinhole camera given enough time, whereas many amateurs struggle to produce even average photographs using top of the line camera gear. These days, there is a growing movement of camera phone photographers who are out to show that talent combined with a camera phone can produce some incredible photos. Given some of the images they come up with, we are certainly not going to argue.

In fact, the stunning examples of camera phone photography that we have seen led us to investigate how camera phones can be used to produce such incredible images. And so, here is out online guide to camera phone photography!

Camera Phone Photography Guide

There are a lot of things you can do to start getting the most out of your camera phone in terms of the best possible photography. Some of the more obvious things you can do include:

• Maximise the camera resolution many recent camera phones come with the option to increase or decrease the resolution of the camera. If you plan to be taking a lot of artistic shots then it’s obvious that you are going to have to jack the resolution up as high as possible for most scenarios.
• Be Aware of Light Many camera phones deal with low light quite poorly. In general, if you can get a well lit subject then you are going to get better results with your camera phone.
• Alter the white balance likewise, the white balance of shots on many camera phones can also be adjusted. Play around with this setting to achieve the effect that you want. You may even need to adjust this depending on the type of shots you are trying to take so get used to using one of the few controls that you have over the image making process on a camera phone.
• Don’t be shy about taking a lot of shots now, you have to realise that you are simply not going to have the options available to you that many people who shoot on SLRs or DSLRs will. One easy way to make up for that is to start taking as many shots as possible. This simply increases the chances of snagging a good one.
• Get Close The majority of camera phones don’t have great zoom lenses. In almost all cases the zoom is digital rather than optical meaning the image chip simply takes a part of the large and makes that part larger that leads to poorer quality. It is much better to get up close to the subject than to use the zoom on a camera phone.

Recommended Online Guides to Camera Phone Photography

These online tutorials and guides are the pick of the bunch in getting you started towards taking respectable cameraphone photos. Now, you shouldn’t expect to be taking shots like Nachtwey out of the gate, but as the Flickr pool of camera phone photographers shows, you can get some exceptional shots if you learn how.

12 Tips for Improving Camera Phone Photos A brief and easy overview of photography issues that will be faced by a camera phone photographer. It covers issues of lighting, composition and technique that are unique to camera phones and is a good first stop for getting to grips with this type of photography.

Beter Photos from Your Camera Phone A pretty good guide along the same lines as the one above. Still, a lot of these tips bear repreating. Staying really still might seem obvious, but how many of us have had disappointing shots from camera phones due to moving or shaking? Well worth the read.

Taking Great Shots with Your Camera Phone An old guide written by Darren Rowse (who now runs Digital Photography School) is a good basic overview of photography when you don’t have much control over your equipment. It’s a little dated, but still has some awesome information.

Photopreneur’s Guide to Good Mobile Phone Photography A good little guide from a great site. Includes tips on lighting, composition and post production ideas. Again, it was written a while back, but these types of tips remain important for anyone hoping to get the best out of their camera phones.

Take Great Camera Phone Pictures Timeout tackles the issue of camera phone photography by asking professional photographer, Robert Clark about his best tips. By now, you will see a lot of the same themes repeating themselves (get closer, shoot lots, steady the camera) which should tell you that these are key in shooting decent shots with this type of device.

Camera Phone Portrait Photography Our very own guide on the specific problems and challenges associated with taking great portraits while you are using a camera phone.

Closing Thoughts

If you are determined to show what great images can be taken with a camera phone, then you have set yourself quote a challenge, but certainly an achievable one. One key that is repeated in all of these guides is that planning is paramount. If you can control and plan for as much of the photography process as possible, then you offset many of the drawbacks in shooting with less adaptable equipment such as a camera phone. But as many camera phone photographers have shown, the results can be well worth the effort.

Don’t forget to subscribe to our RSS feed so you don’t miss our upcoming series on camera phone photography where we will cover tips on portraiture, black and white, nature photography and macro photography all from the perspective of a camera phone photographer.

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I think everyone has seen the dreaded red-eye in photos, mostly effecting those with light eyes and animals. The red eye effect is caused when the camera’s flash is very close to the camera lens, most commonly seen with point and shoot cameras, this effect is purely a photographic one and never occurs under normal lighting conditions in nature. While point and shoot cameras are the most common culpret, DSLR shooters who use the pop-up flash often see similar results. There are two easy ways to get rid of red eye that all photographers should know how to do.

Photo by ribena_wrath

Prevent it before it even happens. By using a hot-shoe mounted flash on your DSLR or better, a flash bracket, you physically move the flash further away from the lens, thus eliminating red-eye from happening. For you point and shoot users out there, take your camera off auto-flash mode and put it into anti-red eye mode. When you do this, tell the people who you are taking photos of that there will be two flashes and the second one is what counts. Emitting a pre-flash during this mode in the camera drastically helps reduce red eye from occurring.

Fix it after the fact fast. Starting in Photoshop CS2 and getting better with each more current version, a red eye tool has been included. Simply select this tool and click on the effected red eye and Photoshop will fix it for you. For particularly bad cases, draw a box around the effected area. Photoshop does an absolutely stunning job fixing this. Don’t own a copy of Photoshop? Not to worry, Gimp is free and also has a red eye removal tool built in that can be accessed by going to Filters -> Enhance -> Red Eye Removal.

Don’t let red eye ruin your next photo and easily remove it from older images you’ve already taken!

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40 Reasons why you don’t need 18mp

In February 2010, Canon released the EOS 550D with an 18 megapixel sensor, HD video and a $900 price tag. Will Canon tell the folks lining up to buy this camera how much extra work it will add to their simple lives? And how much pain it will bring to their photo hobby? Not likely.

The was released late in 2006 and remained on the market until late 2009. Three years in production is a long time in the land of digital, where 18 months is about the average life of a camera body. What was so special about the D40? For once, there’s a simple answer: the D40 set a new standard for entry-level DSLRs in terms of size, cost, build quality and performance.

In a nutshell, the D40 was affordable, weighs less than 500g and can make great photos. Build quality is better than you’d expect from an all-plastic body and a dinky 18-55mm kit lens after two years and 50,000 shutter actuations, there isn’t a scratch on my D40’s body or the LCD, and everything still works with crisp enthusiasm.

D40, D59, D80 size comparison. Photo courtesy of Thom Hogan http://www.bythom.com/D40REVIEW.htm

Nikon D40 Features

I bought the D40 when it was already obsolete, just after the D60 was released. The speeds and feeds were never much to drool over and now look decidedly crude:

• 6 megapixel DX format CCD (1.5x FOV crop, as D50)
• 3D Color Matrix Metering II, 420 pixel sensor (as D80 / D50)
• ISO sensitivity range 200 1600 plus HI 1 (3200 equiv.)
• Custom Auto ISO (selectable maximum ISO, minimum shutter speed)
• 2.5 fps continuous shooting (as D50), unlimited in JPEG
• Large 2.5 230,000 pixel LCD monitor
• Viewfinder with x0.8 magnification, 95% coverage
• Support for SDHC (SD cards over 2 GB in capacity)

Nikon D40 Lens Options

The D40 achieves its compact size by doing away with the focusing motor that graced the D50, D70 and D80 (and graces the current D90). That means you’re limited to lenses in Nikon’s AF-S and Sigma’s HSM line if you want auto-focus. If you don’t mind doing everything yourself, as we used to a few decades back, you can mount any Nikkor lens on the D40.

The more recent AF Nikkor lenses will meter okay and give you a focus dot in the bottom left of the viewfinder. There’s no anti-shake (Vibration Reduction) technology in the body either, but Nikon has been building VR into most of its lenses for years. Even the cheap and kit lenses have VR, and they’re the lenses you’ll use most of the time. Yes, they’re cheap and they look it and feel it but Nikon is good at making great lenses at the plasticky bottom end of the price scale. The new follows that tradition.

If you want to go beyond 200mm, there’s a cheap option without VR or a more pricey . There’s a , which is less than $300, auto-focuses on the D40 and is as sharp as a tack but has no VR.

A word of caution: these are full-frame (FX) lenses so they’re equivalent to 105 450 mm on APS-C sensor (DX) cameras like the , and due to the 1.5x crop factor.

Navigation

The D40 body has very few buttons and knobs to confuse the unwary, and it does without the small LCD that sits atop older and bigger Nikons. The dial that takes the LCD’s place has the usual MASP modes, plus Auto and a few scene modes I never use.

The main screen gives you all the settings you’re most likely to need in a single window you can navigate and dig into. Nikon is well-known for its standard-setting ergonomics, and deservedly so. The rest of the menus are almost as easy to get around. You can check them in detail here.

Handling & Performance

This is one of those rare pieces of equipment where everything just falls to hand, and nothing gets in the way. Intuitive is the word that comes to mind taking photos is point & shoot easy but a hell of lot quicker. You turn the D40 on and it’s on, bang, just like that. You focus, press the button and it shoots. And it’s ready to shoot again. Even when you’re using flash, there’s little of the frustrating lag you get with digicams.

The D40 is always ready to catch the action with kids, pets or sports. Continuous shooting is only 2.5 frames a second but, if you’re shooting JPEGs, the D40 will keep going until the battery runs out. It helps to use a fast flash card, of course. I’ve never come near filling up the 4GB card I use, even shooting RAW + JPEG, and the battery is good for about 500 shots.

The Nikon D40 is all about light and easy, so it comes as a surprise that it’s one of the few DSLRs on the market that supports flash synch speeds of up to 1/500 sec. Why is this important, you ask. One answer is that you need to shoot at 1/500 or faster to freeze action so, if you want to shoot your kids doing crazy things, faster is better. What if the sun’s bright enough for 1/500 without flash? The problem is that you’ll get harsh contrasts, that’s why you see a flash atop every wedding photographers’ camera. ‘Fill flash’ softens harsh sunlight and is essential when you’re shooting against the sun.

The other reason why 1/500 synch speed is useful is that faster synch speeds let you shoot at larger apertures, which gives you more depth-of-field potential, requires less flash power, lets your flash recycle faster and lets you shoot more frames per second.

Larger apertures also let in more light from the flash which allows you to get further away from the subject. For a two stop increase (from 1/125 to 1/500 for example) you effectively double your maximum flash range. It also means you can make do with a cheaper flash unit, like the compact $150 Nikon SB-400. Read more about it here.

With the D40, even the image files are easy to handle: JPEGs are about 2-3mb and RAW files tend to be around 5. RAW + JPEG is a practical option with the D40, and the combined file size is just under 6mb. That’s one third the size of the Canon EOS 550D’s 18mp files.

Image Quality

The sensor in the D40 is the same 6mp CCD Nikon used in the D50 and D70s. Less than 6 months after the D40’s release, Nikon announced the D40x which borrowed the 10mp sensor from the D80. The reason? Competitors were pushing up the pixel ratings on their cameras, making buyers think 6mp wasn’t nearly enough. That’s rubbish. At 100%, a full size JPEG from the D40 is almost 90 cm wide, much too wide for my 24″ screen.

The textbooks say that the D40’s 3008 x 2000 pixel images will let you print up to 30 x 20 cm (12 x 8″). Don’t believe any of it I have a number of 75 x 50 cm prints from the D40, and they don’t lack detail. If you don’t believe me, different megapixel prints are put to a very public test here.

How good is the sensor?

Resolution (pixel count) by itself doesn’t equate to sharpness. Image sharpness is more to do with the lens you’re using, your shooting technique, and how steady your hand or tripod is. Image quality overall has a lot do with the sensor in your camera.

DxO labs publishes ratings for digital camera sensors using DxOMark, a new scale for measuring RAW digital camera image quality performance.

Let’s come back to the Canon 550D we started with, and do some comparisons:

Comparing the Nikon D40 with the Canon 550D shows us that, no matter how huge the gap in specs, the actual difference is remarkably small. In terms of colour depth and dynamic range, there not much in it but the Canon’s low-light performance is clearly a step ahead of the D40.

When we compare the D40 to Canon’s 15mp Powershot G10 (last year’s pocket wunderkind), we see that the biggest gain in image quality is seen when going from a digicam to a DSLR.

G10 (15mp) G11/S90 (10mp)

DxOMark Sensor 37.8 46.5

Colour Depth 19.5 20.2

Dynamic Range 10 11

Low-light ISO 157 185

I copied the DxOMark for the G11/S90 to show that Canon saw the light on megapixels with its digicams late last year, settling for 10mp sensors in the G11 and S90. Why Canon’s DSLR division hasn’t done the same is puzzling.

The Nikon D40 is not perfect

It uses the sensor from the older D50/D70s, while the D40x uses the D80’s 10mp sensor. The D5000 uses the new generation sensor from the D90. The improvement is less to do with the 12 megapixels and more with Nikon getting better at sensor design and image processing.

I’ve used a friend’s D90 and it does produce more detailed images, and cleaner ones in low light situations. It also has three times as many settings to waste time with because 98% of them are just techno-clutter (the user manual is several hundred pages long). If only they’d make a version of this sensor with 6 or 8mp it’s low-light performance should rival that of a D700.

What about live view and video?

Live view is as yet a clunky affair on DSLRs but I admit that there are situations where I’d like the flip-out viewfinder from the D5000. Video? It holds no interest for me, and Thom Hogan calls Nikon’s DSLR video ‘toy video’. Canon is probably ahead on that score.

The dark side of megapixels

I might buy a Nikon D90/D5000 for the sensor, not for the extra pixels. All the files are twice as big, and your PC will be slow to open the RAW files. Imagine what happens with 18 megapixels: your PCs knees will buckle unless you have a serious graphics processor in it. Remember, the ability to record quality RAW files is one of the key reasons for lugging a DSLR around.

The Canon’s RAW files will be around 25mb in size, and bigger if you shoot RAW and JPEG like most of us. Suddenly your PC is too slow, your flash card too small, your back-up drive too cramped and backups take forever. Unless you have a hot-shoe 4-cpu rig with a potent graphics card, editing RAW files will be painful. And what can you actually do with those extra pixels and those huge files? Print wallpaper for your lounge room? My bet is you’ll soon choose medium or small JPEG files on the shooting menu.

Small is beautiful. The D40 is light, easy and quick to start, focus and shoot. You can chuck it into the back seat of your car and it doesn’t mind. It has all the essentials except for DOF preview and a motor drive for older lenses, and it has very few features you don’t need. You can buy a refurbished one with kit lens for <$400. What more can you ask for? Check the photos galleries in my blog, and you'll see why I love my D40.

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