Photo How To

The camera Michael carries might be his Leica M6, loaded with either Ilford XP-2 or Kodak BW400CN chromogenic film and fitted with either a 35mm f/2 or 50mm f/2 Summicron lens; or his Fuji X10 point-and-shoot with its zoom lens set for the equivalent of 50mm; or his Nikon D200 or D700 with the manual 50mm f/1.4 Nikkor lens he got with his F3 back when he was in college.

If the headline above strikes you as a bit crazy, join the club. We were more than a bit skeptical when we stumbled upon this quick tutorial because of the conventional wisdom that using a lens hood is one of the easiest ways to improve outdoor images.

As much as everyone loves their furry best friends, all too often photographers settle for snapshots, rather than artistic images, of their pets. All that’s about to change with the eight fun and easy tips in the quick video below, that will help you capture dazzling images of dogs.

There’s nothing like a bit of motion blur or slightly missed focus to spoil an otherwise great shot. But with the eight tips below, and a little practice, you’ll be able to shoot sharper wildlife photographs every time.

As image resolution keeps getting bigger and better, photographers are challenged storing their images. One cost-effective solution that’s gaining in popularity and offers good protection is a Network-Attached Storage (NAS) server. However, they are a relatively unfamiliar option for most photographers who aren’t IT-oriented, so we thought it would be a good idea to get guidance on them from an expert.—Editor

With the profusion of new cards with various and often confusing classifications and ratings we thought it a good idea to get guidance on selecting the right card for your camera and way of working from an expert. We recently met with the folks from SanDisk and they were kind enough to offer the following synopsis of card and camera, ratings and usage.—Editor

Given that the physical and perceptual experience of making a photograph is shaped by technology, and that technology is also embedded in the resulting images, one of the chief and perhaps most profound changes in how we make an image has been the changes in focusing—and recently autofocusing—technology. There’s a reason that the documentary photojournalism of Lewis W. Hine (shot with a ponderous 5x7 view camera or a 4x5 Graflex SLR) has a qualitatively different feel from that of Alfred Eisenstaedt or Henri Cartier-Bresson (shot with pocket-sized 35mm rangefinder cameras). It’s not only framing—it’s responsiveness, spontaneity, and, perhaps, repose, that underlies what these image-makers showed us.