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frequently

asked questions ondigital photographyThe Olympus Digital Library Volume 5F

A

Q

Olympus is a trademark of OLYMPUS

IMAGING CORP. The names of other

companies and products are the

property of their respective owners.

Frequently Asked Questions on

Digital Photography

1999-2006 OLYMPUS IMAGING

EUROPA GMBH. All rights reserved.

Reproduction in whole or in part only

with permission.

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Frequently

Asked QuestionsonDigital Photography

Digital Library Vol. 5

Disclaimer: While every endeavour has beenmade to provide accurate information, no liabilitywill be assumed for typographical errors andomissions or technical inaccuracies.

Concept, editorial and production: united communicationsGmbH, Berlin Print: Druckhaus Haberbeck, Lage/Lippe


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Contents

1. The fascinating world of digital photography 4

2. Digital camera technology 8

2.1 How does a digital camera work? 8

2.2 The CCD chip 9

2.3 What to look for when buying a digital camera 14

2.4 Factors affecting image quality 16

2.5 The importance of a good lens system 19

2.6 Long-term storage of digital images 22

2.7 What are the advantages of the cameras LCD? 23

2.8 Care and maintenance of digital cameras 26

2.9 Power sources 27

3. Taking digital pictures 30

3.1 Metering systems 30

3.1.1 Exposure metering systems 30

3.1.2 Focus systems 33

3.1.3 White balance 343.1.4 Sensitivity 37

3.2 The camera flash 38

3.3 Image optimisation systems 40

3.3.1 TruePic TURBO 40

3.3.2 Noise reduction 41

3.3.3 Pixel mapping 42

3.3.4 BrighCapture Technology 423.3.5 Image stabilisation 43

3.4 Scene modes 46

3.5 Manual control 46

3.5.1 Aperture 47

3.5.2 Shutter 48

3.6 Histogram 48

3.7 Zoom 493.8 Macro shooting 50

3.9 Panorama 52

3.10 Sequence shooting 54

3.11 Self-timer 54

3.12 B & W and sepia 55


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3.13 Blackboard/Whiteboard 56

3.14 Movie mode 57

3.15 Sound recording 57

3.16 Underwater photography 57

3.17 General tips and hints for better photos 59

4. Printing digital images 62

4.1 Traditional photos vs. digital photo prints 62

4.2 Home printing 62

4.3 Printing services for digital photos 66

4.4 Enlarging digital prints 68

5. Archiving digital photos 72

5.1 Software solutions 72

5.2 Recommended hardware 74

5.3 Downloading images from memory cards 75

5.4 Connecting a digital camera to a computer system 76

5.5 Important image file formats 775.6 Copying images to DVDs and CDs 80

6. Compressing image data 82

6.1 Storage requirements 82

6.2 The most common compression methods 83

6.3 Selecting the right compression level 86

6.4 WinZIP and StuffIt 876.5 Pixel number and compression 88

6.6 Saving images in different file formats 88

7. Editing digital images 90

7.1 Image editing programs 90

7.2 Sending image files by email 91

7.3 Transferring digital data with a mobile phone 92

7.4 Digital images for the internet 93

7.5 Viewing digital pictures on the TV 94

8. The A to Z of digital photography 96


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1. The fascinating world

of digital photography

A picture is worth a thousand words. This iscertainly one explanation for why photography

has lost none of its power to fascinate andenthral in its almost 200-year history.

Even though cameras were still expensive, heavy,cumbersome and complicated well into the 20thcentury, these failings proved to have littleinfluence on the technologys success. Thereason: for the first time it was possible to capture

moments in time and illustrate feelings, moodsand desires at more or less the press of a button.Photography was here to stay.

Whether digital or analogue, in the studio orout in the open, photography is always muchmore than just capturing reality. It is also theinterpretation of what the photographer sees

and the transformation of this into a new,two-dimensional reality so that the momentcomes back to life when the image is viewed.

Its a pity then that with conventional analoguephotography the results cannot be seenimmediately, checked or edited until the film hasbeen exposed and developed.

While the instant photo technology introducedby Polaroid went some way to changing this, itwas digital imaging that really revolutionised thephotographic experience.

Initially, this new technology was prohibitivelyexpensive and really only attractive to

technologically adventurous pro users. However,as a result of the internet and email boom, demandfor easy-to-produce and affordable digital imagesrose to unforeseen levels. This, together with theever lower cost of components (LCD displays,


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CCD chips, etc.), led to the first affordable digitalcameras appearing on the consumer market inthe mid 90s.

Similar to the development of the computer, digitalphotography has experienced a dramatic increasein performance power. For example, whereas thefirst consumer camera had a resolution of only

around 300,000 pixels, today there are modelswith eight million pixels or more that not onlymeet the needs of professional photographers butalso fit the price range of amateurs.


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1. The fascinating world

of digital photography

The growth in the number of manually adjustablefunctions is equally impressive. While the earliest

models featured as good as no individuallyadjustable settings, modern digital cameras areon a par with their analogue counterparts whenit comes to manual control.

The reasons for the appeal of this imaging tech-nology are manifold. These are just ten examples:

1. No need to buy film ever again.

2. Storage media are reusable.

3. Images can be checked and enjoyedimmediately after capture.

4. The cameras optical systems are of the

highest quality. To meet the requirementsof CCD image sensors, the lenses havea resolution superior to those designed foranalogue models.

5. Silent operation for discreet shooting.

6. Creative effects possible even at the

recording stage.

7. Presentation of the images on a TV(slide show).

8. No loss of quality when copying andtransferring data.

9. Editing images later is easy.

10. Prints can be produced and photos sent viaemail immediately.


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So, its hardly surprising that the digital cameramarket has been enjoying such an extraordinary

growth rate. While the number of digital camerassold in 1996 reached just about 1.2 million(of which only 100,000 were sold in Europe),this number had risen to 65 million worldwide in2005, of which 24 million were sold in Europe.

With so many newcomers to the world of digitalphotography, and because of the rapid develop-

ment in this field, new questions constantly ariseand older ones go unanswered. Even experienceddigital camera users often find they want torefresh their understanding of the technology.In this booklet we have therefore tried to presentshort, to-the-point answers to frequently askedquestions. We hope that it will serve as an ever-ready reference. Naturally, this brochure will

not be able to cover all aspects of this complexsubject. We do hope, though, that the FAQwill help you get more enjoyment from digitalphotography and obtain even better results.


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2.1 How does a digital camera work?

Basically, digital cameras arent that differentfrom their 35mm counterparts. Both feature thecore elements of lens, aperture and shutter; theonly difference is how they capture and storethe image information. So if you can use a filmcamera, you can shoot with one of these too.

First, lets look at how an

analogue camera works.

Simply put, it consists ofa lens system, an apertureand a shutter. The lenssystem ensures thecaptured image is in focus

while the aperture and shutter

control the amount of light reaching the film.As soon as the shutter is released, light is letinto the camera through the lens system andaperture to land on the photosensitive film. Theresulting chemical reaction records the imageon the film surface. This image is then set in thedeveloping process.

Although digital cameras mayoften look like their analoguecounterparts and share manycomponents, such as the aperture,

shutter and a lens system,their methods for recordingimages are quite different.Instead of light-sensitive film,

they use a combinationofCCD chip, imaging processing engine andstorage media to capture the image.

The heart of the digital camera is hidden behindthe shutter. The CCD (Charge-Coupled Device)

2. Digital camera technology

The analogue camera

The digital camera


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sensor sometimes CMOS (ComplementaryMetal Oxide Semiconductor) sensors are used

is a light-sensitive semiconductor element madeup of many silicon diodes. Each one of thesephotodiodes represents one dot or pixel in thefinal image. When light hits the individual photo-sensitive diode, this causes it to generate an elec-trical charge which is registered by the camera.

The analogue-digital conversion process turns

the millions of analogue charges into digitalvalues. Those digital values are then calculatedby the camera's imaging processing engine,comprising an ASIC chip and software, to makebetter images (for example, by optimising gammaconversion and colour reproduction). Thereconstructed digital image is then transferred tothe camera's storage medium.

2.2 What is a CCD chip?

The CCD chip is about as large as your fingernailand has millions of photosensitive diodesarranged in columns and rows on its surface,much like the dots, or pixels, on a computermonitor.

Pixel:Abbreviation

for pictureelement.

It is the smallestelement of

a raster displayor digital picture,containing infor-

mation aboutbrightness and

colour.


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As all of the sensors on a CCD chip react toincoming light in the same way, a digital

camera would only take black & white pictures.However, to ensure that all colours can becaptured, the sensors are covered with differentcolour filters either RGB (Red, Green, Blue)or CMY (Cyan, Magenta, Yellow) with additionalgreen filters for more true-to-life results.

Besides colour, brightness data is also required

for correct image reproduction. The light for eachof the three colours is divided up into 256 levelsof intensity. This combination of 256 x 256 x 256yields 16.7 million possible colours for truecolour reproduction.

The captured data is transformed into digital sig-nals so that all relevant image information can be

stored by the digital camera.

Basically, there are two different kinds ofCCD chips which can be used in digitalcameras. The first was originally developedfor television and video and has since beenoptimised for still cameras. Called thevideo, or interlaced CCD, it has the advan-

tage of high light sensitivity and featureseither RGB or CMY and green colour filters.

Although this CCD captures the information in oneshot, the data is read in two sequences: first, rows2, 4, 6, etc. of the CCD, and then rows 1, 3, 5, etc.

Video CCD

Even and odd rowsare read separately


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To allow uninterrupted reading, the digitalcamera uses a mechanical shutter to prevent

more light entering the camera. Due to their highperformance, relatively simple construction andlow production costs, video CCDs are found inmany digital cameras.

Another type of CCD called the progressive scanCCD, or simply progressive CCD, can record anumber of complete images per second. Because

the image is captured and read in one movement,that is row after row (1, 2, 3, 4, etc.), a mechani-cal shutter is superfluous and exposure time canbe controlled electronically, enabling extremelyhigh shutter speeds. Consequently, cameras withprogressive CCDs are ideal for sports and actionphotography.

A CCD is coated with RGB (Red, Green, Blue)

colour filters. Since each pixel in the picturecorresponds to one of the three types of CCDpixels, only one colour is recorded for each dot.An imaging processing engine is used tocalculate and complete the missing colour data.The better the imaging processing engine, thebetter the resulting picture will be.

An additional improvement in picture quality isachieved by a relatively simple trick. Bymodifying the CCD chips proportion of green-filtered pixels to contain two green filters forevery red and blue filter, the subject can bereproduced even more precisely.

Progressive CCD

Data readin

one pass.


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The reason for this: not only is thehuman eye more sensitive to green

but the colour green also significantlyinfluences our perception ofbrightness.

Quality image capture is not just a matter ofusing the right colour filters. The layout of thecomponents on the chip the photodiode,where the signals are generated, and transfer

channels for transporting the signals to theprocessors can also greatly influence the endresult. The difference this makes can be seenby comparing two types of CCD: the InterlineTransfer CCD used in the majority of digitalcameras and the Full Frame Transfer CCD sensorinside most of the Olympus E-System cameras.

As you can see in the illustration, the Full FrameTransfer CCD sensor features a larger pixel area,

with bigger photodiodes and transfer channels.

This means more electrons (light) can be capturedfor a high signal/noise ratio and a wider dynamicrange for images with greater exposure latitudeand detail, with less noise. Or, to put it moresimply: clearer, more detailed pictures.


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2.3 What should I take into account when shoppingfor a digital camera?

Before buying adigital camera youshould think aboutwhat you intend touse it for. If you arelooking for a modelfor taking snapshots

at family gatheringsor on holiday, forexample, you wouldbe best served by a fully automatic compact orcompact zoom camera that takes care of all thedetails.

For users who want the convenience allowed by

a compact, easy-to-use model but also wish to beable to add their own personal touches from timeto time, there are a number of competitivelypriced user-friendly cameras that offer a range ofadjustable settings, such as shutter speed,aperture and white balance, as well as pictureeffects like sepia recording.

To meet the quality and performancerequirements of the professionalphotographer, the camera needs tocombine a very high resolution andprecise lens with extensive shootingcontrol. It should also allow theconnection of accessories, such asconverter lenses and external flash

systems, including, via an x-contact,studio flashes. A variety of models,mainly digital SLRs, meet these criteria.


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So, what features should you look for in a digitalcamera? Digital photography is all too often

described as digital technology plus some phototechnology. However, it is actually phototechnology that uses digital technology. Thereforehigh resolution lenses, efficient flash systems and,if desired, manually adjustable parameters areimportant in a digital camera.

Zoom lenses let you get closer to the subject.

Generally, the larger and more powerful the zoomlens, the more expensive and heavier the camera(though digital camera zoom lenses are far morecompact and lighter that those on film cameras).For everyday use, a 3x lens is usually sufficient.Where it is too difficult or too dangerous to get close to the subject, such as when takingpictures of the action at large sporting events or

Zoom versatility


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of animals in the wild, an 8x or 10x lens is veryhelpful. Many models also feature digital zooms.

While these provide additional magnificationpower, they are accompanied by a reduction inresolution, which in turn means a decrease inimage quality.

Fast shutter speeds of 1/1000 sec. andquicker are also desirable when takingpictures of quickly moving subjects,

such as birds or cars. On the other hand,you should look for a camera that offersvery slow exposure times if you intendto take pictures in low light or at night,for example.

As a rule of thumb, if you ensure thatthe digital camera you want to buy

has all the features you would look forin a traditional (film) camera, you canhardly go wrong.

Undeniably, price is also a strong factor whenchoosing a camera, but this should not be theonly criterion. With photography, its the resultthat counts and therefore you should consider

the picture quality of the camera before youdecide to buy.

2.4 What factors affect picture quality?

Four factors play a primary role in establishingthe quality of a digital camera: the resolutionof the CCD, the way the CCD works, the

intelligence of the cameras imaging processingengine and, most importantly, the opticalconstituents of the camera.

The cameras resolution, which is usually writtenon its body and given in millions of pixels, ormegapixels, acts as an initial, basic quality guide.


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However, if you have a quick look at the productson sale or read the reviews in specialist maga-

zines you will soon discover that there are quitelarge differences between cameras that offerthe same resolution, especially when the photosare printed. Why is this?

There are various reasons. One explanation is thedifference in methods used by image sensors, e.g.CCDs (see section 2.2) and the quality of their

production. With millions of pixels compacted ona miniature surface, it is hardly surprising thatthe majority of all CCDs produced can have anumber of more or less insignificant faulty pixels.Pixel mapping (see section 3.3.3) helps compen-sate for some pixel errors. Yet, if the CCD hasbeen poorly manufactured and contains toomany pixel errors, there can be a noticeable

effect on picture quality.


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Thats why a critical comparison of differentmodels is the only way to ensure you get the best

product. Pay special attention to the sharpnessof the image outlines and the acuteness of thepixels. If these results appear to be satisfactory,check the reaction of the camera to differentlighting situations. Asking for a printout of adigital photograph is also recommended. By thispoint, you will be able to tell how good the CCDsensors really are.

Another factor that significantly determinesthe quality of pictures is the cameras imagingprocessing engine. Comprising an ASIC chipand software, this is responsible for, amongother things, image enhancement (such as inter-polation, gamma conversion and colour repro-duction). Using special computational processes,

the processing engine adds information tothe partially recorded image information andseparates the important from the unimportantimage data. The more effective the camerasASIC chip and software are in carrying out thesetasks, the faster it can be done and the betterthe quality of the final picture. For more aboutthis, turn to section 3.3.1 (TruePic TURBO).

In addition to the resolution and quality of theCCD and the cameras software, the opticaltechnology of the lens system also plays a keyrole in delivering excellent digital photographs.More about camera optics can be found in thefollowing section.


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2.5 What role does the lens system play in a digital camera?

As mentioned in section 2.4,the digital cameras lenssystem is often not givenenough consideration. Manymanufacturers draw theconsumers attention awayfrom the lens, stressinginstead resolution, price or

other aspects. This is all themore surprising when you consider that digitalcameras demand an even higher degree of opti-cal performance than analogue compacts or evenanalogue SLR models. The following explainswhy this is so: Digital camera lenses have tofocus the light onto a far smaller area than thosein film cameras. Where CCDs have a diagonal

measurement of, in some cases, 0.55cm,35mm negative film measures 4.3cm. Also,as CCD resolutions increase while CCD sizesstay virtually the same, the actual area of theindividual pixels decreases so they can fit into thesame or similar area. On a CCD under 1" in sizewith three or four megapixels, for example, thewidth (or pitch) of the pixel is just six microns

or less (1 millimetre is 1,000 microns). Whereasfilm-based camera technology only requires

In the diagram on the left, the lens from the analogue camera is unable tofocus the light into a resolution fine enough to fit the individual sensors onthe CCD. Lenses used in digital cameras, as shown in the diagram on theright, have to be of a higher quality to provide the lens resolution matchingthe incredibly small sensors on the CCD.


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optical systems that focus light to a resolution of10 microns, the CCD in our example requires a

lens that can focus light to a resolution of threeor four microns.

Also, due to the construction of the individualsensors, which are surrounded by a wall onfour sides, the CCD cannot accept light comingat an angle. Therefore, to focus the light so it hitsthe sensor surface at a more or less perpendicular

angle, the lens should have a nearly telecentricconstruction. This is possible in most compactmodels because of their small CCD size (whichis only a fraction of the area of a 35mm film).However, it is too impractical to make nearlytelecentric lenses for digital SLRs with CCDsbased on the larger 35mm film format. Thelenses would be so large and expensive that

many manufacturers decided to trade in qualityfor convenience.

However, the Four Thirds Standard put an end tothis unsatisfactory compromise. Jointly developedby Olympus and Kodak, it established, amongother things, the optimum sensor size for DSLRsto allow the production of near telecentric lens

systems. The standard also describes the methodof communication between the lens and body,which allows some unavoidable optical aberra-tions to be corrected electronically. The Four ThirdsStandard is open to any manufacturers wishingto follow its guidelines, allowing photographersto use camera bodies and lenses from differentmanufacturers.

The Four ThirdsStandard

Co-developed byOlympus and

Kodak andlaunched in

2002, this is atechnological

standard dedicat-ed to the needs

of digital SLRcamera systems.

In its aim tomaximise theperformance of

both imagesensors and

lenses, itestablished

mechanical,optical and evencommunication

standards. Thesecover, forexample, the

type and size ofthe lens mount,

as well as thecommunicationmethod for the

lens and camerabody. Just a year

later, theOlympusE-System, thefirst digital SLRcamera system

based on theFour Thirds

Standard, wasreleased.


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Film is tolerant with respect tolight hitting it at an angle. Even athigh resolutions, film can collectlight falling at a high angle ofincidence without a critical loss

of brightness.

The following effects occur whenlight hits the sensor at high angles.1. Reflection onto neighbouring

pixels.2. Crosstalk between neighbou-

ring pixels.3. Loss of brightness since some

of the light cannot be capturedby the sensor.

These effects reduce the chargeon the pixel, resulting in poorersignal to noise ratio, corner shadingand poor colour reproduction.

The near telecentric constructionof lenses optimised for the FourThirds Standard ensures light hitsthe sensor at almost perpendicularangles. This guarantees edge-to-edge colour, clarity and higherbrightness.

Lens designed for Film35mm film cameras.

Lens designed for CCD35mm film cameras.

Near telecentric lens as in CCDZUIKO DIGITAL lenses.


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There is another reason why you should alwayslook for good optical performance. In addition

to picture sharpness, the lens system significantlyinfluences colour reproduction and the abilityto shoot in poor light conditions.

Finally, it would be misleading to think that allphotographic errors could be corrected withthe help of newer and improved image editingsoftware. The opportunities offered by various

software programs are certainly fascinating, yeteven they cannot perform miracles. What hasnot been recorded in the first place cannot beimproved or added to. An excellent picture canrarely be made from an image which has beenover or underexposed, for example, or poorlydigitised. Therefore, people who insist on first-classpicture quality and do not want to waste time

on image editing should make sure that theircamera includes a high quality optical system.

2.6 Can I leave the pictures on the memory card? Whathappens to the digital images if the camera is not usedfor a long time?

Nothing really. The pictures remain on the

memory card. Even if battery power weakens, nopicture loss is to be feared with most of todayscameras. In particular, the flash memory storagetechnique (Flash ROM) used by e.g. xD-Picture

Card, SmartMedia, Compact-Flash, SD card or Memory

Stick, to name a few,provides a relatively safe

form of storage, as does, butto a lesser degree, magneticdisk technology (e.g. Micro-

drive). However, you shouldalso ensure your irreplaceable

images are saved on

The OlympusE-System

This comprises digital

SLR bodies,interchangeable

lenses and a host ofother accessories for

professional and veryambitious amateurphotographers. It is

the worlds firstsystem based on the

Four Thirds Standard.

Photographers benefitfrom the dedicatedoptics which, thanks

to the use of thestandard, are able to

combine a largeaperture with a

compact form andlight weight. The stan-dard even allows the

same angle of view tobe achieved at halfthe focal length.


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your computers hard drive. Better still,transfer your photos to a medium that

offers an extremely secure storage solution,for example a CD or DVD (see chapter 5).

Whether on a hard drive, CD or DVD, multime-dia PC software like Olympus Master isparticularly handy as it lets you organise, browse,print and archive your images.

2.7 What are the advantages of the cameras LCD?

The presence of an LCD is certainly a decisivefactor in the appeal of digital cameras, as itshows the captured image immediately aftertaking the shot something impossible with filmcameras. In the vast majority of models, it alsoprovides a Live Preview: a large, clear view of

what will be recorded, greatly facilitating framingand freeing the photographer from being glued tothe viewfinder. So to give just a few examples they can keep eye contact with the model duringa shooting in the studio, and outdoors they stillnotice what is going on around them, somethingparticularly useful when taking photos underwater. Some monitors can even be tilted and/or

twisted so the user is able to get a clear viewof the subject when holding the camera in an

unusual position, such as on the flooror high above everyones heads.Until recently, the Live Preview func-tionality was solely a characteristic ofcompact cameras, while digital SLR

users had to rely on

the viewfinder toframe the shot. Inearly 2006, Olympusintroduced LivePreview into the DSLRdomain. The first


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camera to feature this technology was the E-330.Here, the incorporation of a second image sensor

mounted in the viewfinders optical path allowsa continuous view of the scene while retainingfull autofocus capability (mode A). In mode Bthe mirror is locked in the up position so thecameras Live MOS sensor supplies a macro livepreview, combined with manual focus control.

You may have heard or noticed yourself thatsome monitors have trouble displaying images

in bright light. The reason is that, in standardThin Film Transistor LCDs, the image is displayedwith the help of a back light. To keep the powerconsumption as low as possible, the brightness iscalculated so as to be fully sufficient for standardsituations but not in very bright sunlight or instrong direct light.


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However, this is not the end of the story. Somedigital cameras now feature the HyperCrystal

LCD which provides a clear image, even instrong sunlight. This innovative LCD technologynot only uses the available back light but alsoemploys an additional layer that reflects lightfrom any external light source, thus improvingmonitor brightness. Thanks to the use of a nor-mally black mode transparency control and low-temperature polysilicon, wide viewing angles of

170 horizontally and vertically as well as highcontrast and a fast response time can beachieved.

In dim-light situations framing the subject issometimes hard, as the image on the monitor canbe so dark it is hardly recognisable. This is whereBrightCapture Technology comes in. It needs

only a fifth of the luminosity usually necessary todisplay a bright picture on the LCD. But it not justimproves the brightness of the monitor displaybut also that of the shots taken.

A:mode B:mode


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2.8 Do digital cameras have to be serviced?

Digital cameras do not require any specialservicing. You should, of course, take care of yourdigital camera just as you would a film cameraor any other electronic instrument. Protect it fromfalls, bumps or water and replace the lens cap orbarrier when not shooting. Removing the batteriesfrom the camera when not in use for a longperiod of time is also recommended, as is storing

your camera in a dry environment. The handbooksupplied with your camera will give you manyhelpful tips on how to care for it.

To ensure you can always take pictures quickly,it is recommended that you check the batteriesregularly (e.g. once a month). This can easily bedone with the help of the battery gauge, a standard

component in every good digital camera.

If your digital camera has a date and timeindicator, you need not worry about losing thisinformation after changing the battery. Mostdigital cameras contain an energy buffer thatsafeguards against memory deletion. If thecamera contains a backup battery, to protect

against unpleasant surprises this should bereplaced periodically according to themanufacturers instructions. (Note: this should bedone after replacing the main battery.)


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2.9 Rechargeable batteries, non-rechargeable batteries or ACadapters: what is the best power supply for me?

The more photos you take, the faster batterypower is used up. Therefore, if you love to

take photos often, you should considerbuying a battery

charger andrechargeablebatteries. Many

Olympus camerasare supplied with ahigh performancelithium-ion recharge-able battery andcustom charger. Formodels using regularbatteries, the Olympus

Ni-MH (Nickel-MetalHydride) rechargeable

batteries are highly recom-mended. These environmentally-

friendly, cadmium-free batteries havea long life and are ideal for the busy

photographer. When it comes to selectingthe charger, it pays to choose one with a

battery protection system to help extend thebatteries life span. It is also a good idea to buyan extra set of batteries so you can carry onshooting while the other set charges.

27


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A compact and clever solution for less activedigital photographers is the non-rechargeable

CR-V3 lithium battery. This is a very powerfulbattery for digital cameras and provides hoursof shooting.

While rechargeable NiCd, regular alkalineand lithium batteries may be used in most digitalcameras, they do not have the power or endu-rance of Ni-MH or CR-V3 lithium batteries.

Some of the more professional-orientated digitalSLR models allow the attachment of a batterypack. This rechargeable system supplies powerfor marathon shootings, so they are particularlysuited for professional photographers working onlocation.


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If you find yourself short of power or just wantto save energy, there are a few ways you can cut

down your cameras power requirements.Excessive use of the flash, zoom lens or LCDmonitor, for example, shortens the life of yourbattery faster than normal camera use. Batterydrain can be greatly reduced by using thesefeatures sparingly.

Last but not least, an AC adapter is ideal for

shooting at home or places where a mainssocket is close at hand. This provides a constantpower supply without the need to buy andchange batteries.


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3. Taking digital pictures

3.1 What does the camera measure to help me get theoptimum results?

Most digital cameras are equipped with severalsystems that measure the conditions to select thebest settings for the scene. These are not just idealfor first time users looking for no-fuss photogra-phy. The sharpness, clarity and colour deliveredby the precision metering systems also mean theyare valuable features for experienced amateur

and professional photographers, too.

3.1.1 Exposure systems

Light is the photographers raw material. Theway the photographer uses it and how well thecamera is able to detect it determines the lookof the shot. Whether they are called light or

exposure metering systems, these are used bythe camera to measure the brightness of thelight in the frame so that aperture and shutterspeed can be adjusted accordingly for optimallyexposed results. Most digital cameras use at leastone exposure metering system while others fea-ture a choice of systems. This lets you select theone best suited to achieve the intended result.


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Average and centre-weighted meteringsystems are the most common and

usually the most practical solutionsfor typical, everyday scenes. As theirrespective names suggest, the firstmeasures the light evenly from all areasin the frame and sets the exposure tosuit the average light value. The secondalso takes measurements from everyarea of the frame but gives extra weight

to the central part of the frame whencalculating the exposure settings.

However, when the main subject ofthe photo fills only a relatively smallportion of the frame and/or reflectssignificantly more or less light than thesurrounding area, such as a black cat

on a bright white sheet, the averageexposure for the whole frame may notproduce the best results. In such cases,spot metering is far more effective since

it only takes light readings from the very centre ofthe frame and sets the exposure accordingly. Thisis ideal for picking out certain motifs in the frame.But even spot metering can have trouble

determining the best exposure settings for richblack or white subjects, such as a jet black orsnow-white cat. The reason here is that themetering system is calibrated to work with theaverage reflection ratio of objects, which is 18%.But, a black cat does not reflect as much light,and the metering system overexposes the shot,producing a grey toned cat. With a white cat, the

camera miscalculates again, and this timeunderexposes the shot, also producing a greyfeline. Therefore, when shooting such subjects,it is worth bearing this in mind and using theexposure compensation function, too.

When taking pic-tures of a subject

in front of a bright(or dark) back-ground, some

average exposuremetering systemsmay select the

wrong exposuresettings. Spot

metering, takingreadings from thesubject, provides

better results insuch cases (above).

If the camerassystem still hastrouble finding theoptimum exposure

and the mainsubject is too dark,

activate the fill-inflash mode to

ensure it is prop-erly illuminated.


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If you dont want the main subject in the centreof the frame, you just need to first set the exposure

for the object by placing it in the centre and halfdepressing the release. Then, while holding therelease in place, reframe your shot.

Some models may also feature multispot metering.Here, you can determine a number of pointswhere the camera is to take readings, such asfirst the brightest section followed by the darkest

section of the main subject. Several points maybe selected and the camera determines the averageexposure from all the light values recorded.

Many Olympus cameras also feature a systemcalled digital ESP metering. This stands fordigital Electro-Selective Pattern metering. Usingthis system, the camera analyses the distribution

of brightness as well as its intensity to determinewhich of a range of scenarios best suits the photoand then adjusts the settings accordingly. It is aparticularly effective form of exposure meteringfor most situations, particularly high-contrastshots.

In very difficult lighting situations, it pays to use

auto bracketing. This takes a few shots in quicksuccession, but slightly alters the exposure foreach so that you can select the best image laterand discard the others. Alternatively, you mayuse exposure correction, increasing or decreasingthe exposure level from the initial setting byspecific steps.

Some cameras offer an option to brighten darkerareas in the picture after the shot has been taken.In Olympus cameras this is included in the so-called Perfect Fix function.


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3.1.2 How does the cameras autofocus operate?

There are basically two autofocus techniques:active and passive. In the one, by actively emittinge.g. infrared light, a light beam or sonar signal,and then receiving the returning signal, the camerais able to judge the distance to the subject andadjust the focus of the lens accordingly. This iscalled an active autofocus system. While it hasthe advantage of working even in the dark, it does

have a drawback in that it cannot be used onobjects that are far away or through a window.

With passive autofocus systems, the cameradoesnt actively emit a light beam or signal.Rather, in the contrast detection system,for example, it examines the contrast in theimage captured on its CCD prior to

shooting the actual shot. It then alters thefocus to produce the best contrast, therebyensuring the sharpest result. Unlike theactive system, the contrast detection systemcan focus on far away objects. However, itdoes require a certain amount of light aswell as scenes with some contrast (it couldhave problems working with white subjects

on white backgrounds, for example.) To getaround this problem, some cameras are equippedwith an autofocusing light which shines on thesubject so the camera can set the focus. Anothertype of passive autofocus is the phase differencesystem. Here the camera uses two sensors tocalculate the amount of phase difference in animage and can thereby determine the distance

to the subject.

There are some camera models which feature adual autofocus system. Usually, the camera takesone measurement to determine the approximatesetting and then activates another to fine tunethe focus.


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3.1.3 What is white balance?

Different types of light from different sources,

such as the sun in a clear sky, an electric lampor neon tube, have different light temperatures.While the human brain automatically adjusts forthese variations and we therefore don't notice thedifferences, this is not necessarily the same incameras. Depending on the light source, photoscan show the same object in widely differingcolours. For example, without correction, scenes

shot in the light from a tungsten lamp bulb displaya yellow-red tinge. Therefore, besides measuringthe light intensity, the camera or user alsoneeds to know the colour temperature of theambient light to ensure correct colour reproduction.This is true both for digital and film cameras.


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With film cameras, in order to achieve optimalpicture results, you have to choose a filmspecifically for either artificial light or daylight. If

photos are taken with the wrong type of filmfor that particular light condition, the picturesmay come out with either a blue, green or redcast. This isnt a problem with digital cameras.Almost all feature automatic white balance, whichoptimises the settings of the CCD for the relevantlight temperature. Many also allow users to adjustthe white balance themselves. As a result, it is

easy to ensure shots have the true-to-life coloursthey need.

When digital imaging was in its infancy, onlyvideo cameras were available and these had tobe manually adjusted to the colour temperatureof the immediate surroundings. A piece of white

Left: Daylightsetting under

tungsten light.Right: Tungstenwhite balancesetting under

tungsten light.


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paper was held up in front of the video camerato determine how strongly the surrounding light

deviated from neutral white light. Using thevalues obtained, the camera could be calibratedto match the ambient lighting conditions.

Today, both video and digital still cameras featureautomatic white balance. Simply put, it workslike this: the integrated light meter analyses thecomposition of the surrounding light. Using these

measurements, the camera determines a precisecolour temperature range and then compensatesfor any colour deviation with the help of compli-cated algorithms. In this way, a camera cantake pictures with true-to-life colours, despitechanging lighting conditions.

Most digital cameras, for example, react to colour

temperatures between approximately 3,000 and6,700 Kelvin. These values are oriented on twonaturally occurring lighting conditions: about6,400 Kelvin corresponds to cloudy daylight, whilethe equivalent for twilight with a large componentof red is around 3,200 Kelvin. If the digital camerameasures a colour temperature of about 3,200Kelvin, the camera automatically adjusts to

compensate for these lighting conditions. Theresult is an improved picture: both better exposedand with truer colours. The Olympus E-1 digitalSLR even features a dual white balance meteringsystem for absolute precision and has an externalwhite balance sensor to detect the light sourcewhen shots are taken.

Many digital cameras further enable manualadjustment of the white balance and generallyoffer pre-set parameters to match the lighttemperatures of sunlight, overcast days, tungstenand fluorescent light.

Kelvin scale:Used to describecolour tempera-

ture. When ablack body is

heated, its colourchanges fromblack to red,yellow, blue,

then white as thetemperature rises.Colour tempera-ture matches theactual tempera-

ture of the heatedblack body. Thetemperature of

daylight on asunny day, for

example, is about5,500 K; lightfrom a tungsten

lamp is expressedas 3,200 K to

3,400 K.


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If your camera has a one touch function, it willlet you adjust the white balance to best suit the

current light situation. Here, train the lens onsomething white and then activate the one-touchbutton to save the values for use in later shots.

3.1.4 What does sensitivity mean?

In conventional, film-based photography, thesensitivity of the film to light plays a decisive

role. People who take photography seriouslyshould always have a selection of films on handwith different sensitivity levels ISO 100 forshooting in bright sunlight, ISO 200 for all-roundsituations and ISO 400 and 800 film for low-lightphotography. Film with even higher sensitivity,such as 3,200, is also available for high-speedphotography.

In most digital cameras, the level of light sensitivitycan be adjusted to levels comparable to those offilm cameras. Therefore, to aid understanding,ISO values are also used in digital cameras. If,for example, you want to let in more light butcannot either make the aperture any larger orincrease the exposure time, just a few presses of

the cameras buttons will increase the sensitivityof the digital camera. In this way you can workwith the available aperture settings and fastershutter speeds.


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The default equivalent ISO setting on most digitalcameras is 100 and a number of models allow

manual adjustment of sensitivity, for examplebetween 100 and 400. By increasing the value,you increase the number of situations in whichyou can use the available shutter speeds andaperture stops.

This strategy, however, does have a particulardrawback in that the higher the ISO setting, the

greater the likelihood of noise. For more aboutthis, see section 3.3.2.

3.2 What should I do if the scene is not bright enough?

Normally, the camera will answer this questionfor you and fire the flash. A built-in flash is anindispensable feature for every photographer and

most cameras offer a range of flash modes fora variety of situations and effects. Besides auto,


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red-eye-reduction, fill-in and off, for example,

some cameras offer a slow synchronisationmode, which allows for particularly interestingresults by firing the flash at either the beginningor the end of a long exposure.

To open up further creative possibilities, somecameras allow connection of anexternal flash via a hot shoe.

Others permit a studio flashsystem to be connect-ed to a camera usingan x-contact.

Cameras that feature BrightCapture technologyoffer a solution for dimly-lit surroundings withoutusing the flash see section 3.3.4.

Top: with slow

synchronisationflashLeft page:

night scenewithout slow

synchronisationflash

Hot shoex-contact

connection cable


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3.3.2 What is noise and how can it be avoided?

Noise is the visible effect of interference on theCCDs sensors. It appears as unwanted colourspots in an image especially one taken at night

with a slow shutter speed. Noise can basically bedivided into two types. First of all there is fixedpattern noise, which always appears on the samepixels in long exposure shots sometimes alsocalled hot pixels. To reduce this, many camerasfeature a noise reduction mode. In this mode,the camera takes two images: the normal shotand one with the same exposure time but with

the shutter closed. It is then able to determine theareas of an individual image that are susceptibleto noise and compensates for this. By removinga significant amount of noise, the noise reductionfeature dramatically enhances the quality of theshot, especially for night-time scenes.

By removing a significantamount of noise, the noisereduction feature dramati-

cally enhances the quality ofthe shot, especially for

night-time scenes.


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The other type of noise is called random patternnoise. This can occur, for example, when shoot-

ing with a high ISO setting and may appear indark areas of a photo. It is also worse under hotconditions. By intelligently analysing andprocessing the image information, some camerasare able to help remove much of this noise,smoothing the contours of the objects in thephoto. The benefits of such a feature areparticularly noticeable in lower contrast areas of

the shot, such as a blue sky or persons skin.

3.3.3 What is pixel mapping?

Despite the greatest care being taken, CCDswill always have a small number of faulty pixels.Since these cannot pass on the image information,their presence could be noticed in shots

as dots of a wrong colour in a large area withan otherwise uniform tone. To avoid this, somecameras use their powerful internal processorsto recognise and record the location of thedead pixels. Then, when photos are taken, thedata from neighbouring pixels is employed tooptimally fill in the gap left by the faulty pixel.This solution also detects and therefore helps

remove the hot pixels from fixed pattern noise.

3.3.4 How does BrightCapture Technology help in low-lightsituations?

BrightCapture Technology was specially devel-oped for taking photos in dimly-lit surroundingssuch as a bar in the evening or a concert hall. In

such situations it is normally very difficult tomake out what is displayed on the LCD. Bright-Capture Technology, however, only needs a fifthof the luminosity usually required to depict abright image on the monitor, so framing becomeseasy even in a dark environment. For this, it readsall of the pixel information from the cameras


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CCD, not just part of it, as is traditionally thecase. But it does not only improve the visibility of

the subject on the screen, it also delivers well-litshots without using the flash. In certain shootingmodes, sensitivity is boosted to produce imagesthat are rich in colour, contrast and definition,using just the ambient light. In other modes theflash additionally fires to properly expose areas ofthe image that would otherwise be left in darkness.While the total image resolution is lowered in

these modes, the resulting higher light sensitivityprovides the extra benefit of more rapid focusingin low light and the possibility to use faster shutterspeeds which effectively reduces the potential forimage blurring due to camera-shake or fast movingobjects.

3.3.5 Image stabilisation technologies to prevent image blur

The longer the focal length of the lens or thebigger the zoom you are using, the harder it is toavoid the effect of camera shake and achievesharp images without unwanted blur. Whenholding the camera in the hand, as a rule ofthumb, normal camera shake will not result inblurred images if the exposure time is not longer

than the reciprocal of the lenss focal length. I.e.:if you are using a 200mm lens, the slowestshutter speed which will probably enable youto shoot without shaking is 1/200 second (figuresin equivalent 35mm camera values). If lightingconditions require longer exposure times, such as


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indoors, at dusk or in bad weather the easiest andtraditional way to avoid camera shake and thus

blurred images is to support the camera on atripod or a solid object. Sometimes, however, thismay not be a viable option, or you might noteven notice that the camera has set the exposureto a value where it is necessary to keep the cam-era particularly steady. For these situations severalimage stabilisation methods have been developed.

Digital image stabilisationThis is a special shooting mode where the cameraautomatically increases sensitivity to allowshorter shutter speeds to avoid image blur causedby camera shake or by fast-moving objects.

Digital image stabilisation editHere, the blurred image is repaired by a dedi-

cated editing mode in the camera after the shothas been taken. A gyro sensor traces the directionof the camera shake, records it as a motionvector and writes it to the image files EXIFinformation. When the user chooses to sharpenthe image using this process the information isretrieved and fed to a microprocessor, which usesa special algorithm to calculate the corrections.

The edited image is then written to the storagecard as a separate file. In some Olympus camerasthis feature is also part of the so-called PerfectFix function.

Left: Image withblurRight: Image afterdigital imagestabilisation edit


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Mechanical image stabilisationThere are currently two different flavours of this

advanced image stabilisation technology. In one,gyro sensors in the lens (DSLR interchangeablelenses) or camera (compact cameras) registercamera shake and micromotors in the lens movespecial lens elements so that the effects of thecamera shake are compensated for and notrecorded in the image. These types of lensesextend exposure time by two to four F-stop

compared to the rule of thumb explained at thebeginning of this section. While this is a veryeffective method, utilised mainly in lenses with alarge focal length or great zoom capabilities, itadds some size to the lens and also means that ifyou want to rely on this feature all your DSLRlenses need to have it built in. In the secondmethod of mechanical image stabilisation it is not

lens elements that get shifted but the CCD itself.Here, no matter which lens you attach to yourcamera, with all of them you will benefit from theanti-shake mechanism.

Dual Image StabilizationThis special function featured in some Olympuscameras combines the CCD-based mechanical

image stabiliser, where a built-in gyro sensordetects camera movement and adjusts the CCDaccordingly, with high ISO values in order tofurther reduce the risk of image blur caused bycamera shake or by fast-moving objects.


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3.4 What are the scene modes?

Known as sport, landscape, portrait, etc., scenemode names make their purpose very clear andthey have pre-set shooting parameters tosuit their particular subjects. For example, thesport programme automatically selects a fastshutter speed because it knows the photogra-pher wants to capture fast-moving action. Theportrait programme, on the other hand, instantly

selects a large aperture to ensure background isout of focus, highlighting the subject.

These modes can save you a lot of time and effort

and, by telling the camera what type of subjectyou want to shoot, they usually deliver first-rateresults.

3.5 What are the benefits of manual exposure control?

Automatic operation is perfect for effortlessshooting and scene modes are fine for

a little experimentation. But if you really wantcreative control, manual adjustment of theaperture and shutter is a must.

Night scene andlandscape mode.


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3.5.1 What effect does the aperture have?

Simply put, the aperture is an opening throughwhich the light passes to get to the CCD.Increasing the aperture size by choosing a lowaperture number (F-stop), such as 2.8, allowsmore light into the camera. Besides controllingexposure, the aperture also alters the shotsdepth of field, i.e. the part of the area betweenthe foreground and the background that is in

focus. A low F-stop (large aperture) provides

a very short depth of field and therefore focusesattention on the subject, as the area in front ofand behind the subject is out of focus. This is

ideal for portraits or picking people out in crowds.Alternatively, a high F-stop (small aperture)provides a long depth of field so most or all ofa scene is in sharp focus. Such a setting is suitedto landscapes and architecture. If the camerafeatures an Aperture Priority mode, you can setthe aperture to your desired level and the cameraadjusts the shutter speed accordingly.

The size of theaperture caninfluence the size

of the area infocus. A small

aperture (high F-stop) provides a

large depth offield; a large aper-

ture (low F-stop)produces a short

depth of field.


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3.5.2 What effect does the shutter speed have?

In addition to exposure time, the shutter speedalso influences the way movement is depicted.With fast shutter speeds, a speeding car canbe frozen as it races past. Alternatively, a slowshutter speed lets you blur the action givingan even greater impression of speed. Slow shutterspeeds are also required for shooting low lightshots, such as night-time cityscapes. In Shutter

Priority mode, the exposure time is manuallyadjustable and the cameraalters the aperture to matchthe chosen speed.

3.6 What is a histogram?

Digital camera users have a greatadvantage over their colleagues shootingwith analogue models since they areable to check the results immediatelyon the LCD. Some digital cameras

also contain histograms. These show,in graphic form, the distribution oftones in an image. From the informationdisplayed, experienced users canjudge the exposure quality. Some

The creative possibilities of shutterspeed control. Above: slow shutter

speed. Right: fast shutter speed.


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cameras feature a more comfortable, so-calleddirect, histogram function, automatically marking

the over and underexposed areas in the imageon the LCD.

3.7 What is best for me, an optical or digital zoom?

Cameras with either a zoom lens or digital zoomprovide the user with more flexibility, letting him

or her get closer to objects that are far away ordifficult to reach, such as football players on afield or the ornate designs on cathedral architecture.When choosing a digital camera, you shouldmake sure to differentiate between cameras withoptical and digital zooms.

With a zoom lens, the focal length can be

adjusted at pre-selected stops or moved smoothlybetween a range of stops. By simply lengtheningor shortening the focal length, the subject

A digital zoomoften provides

additionalmagnificationpower but at theexpense of quality.


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subject may get cut off in the photo. (Note: Thispotential problem does not exist in SLR models.)

The LCD, however, displays an almost 100% fieldof view, so what you see is what you actually get.Until recently, only the LCDs on compact camerasprovided a Live Preview, but this benefit is nowalso being introduced to digital SLRs as well. Ifthe LCD on your camera can be tilted and/orswivelled, framing becomes even easier whentaking photos from unusual positions, e.g. close

to the ground. Avoid camera shake by placing thecamera on a tripod, or make sure you hold thecamera very steady and use either the self-timeror remote control to release the shutter. A longdepth of field is usually best for macro photo-graphy, so select the smallest possible aperture.Also, because the front of the camera is so closeto the subject, you may have difficulty getting the

subject properly lit. Do not use the built-in flashunit. Instead, try to work with the ambient lightor an external flash directed on the object. Finally,remember that macro shots may feature slightdistortion. If you want to photograph documents,you should move the camera back a bit.


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3.9 What are panorama photos?

Panoramic shots are composed of several photosjoined together to provide a sweeping scene and can even show a 360 view. Each individualpicture is taken from the same position, but aftereach shot the camera is moved slightly left orright or up and down along an axis. Whenshooting photos for a panoramic composition,it is recommended to use a tripod and to take

the photos relatively quickly, so that the scenedoes not change too much, such as by cloudsmoving into the picture. It is also best to use along focal length because tele positions produceless distortion than wide angles so the shots fitbetter together. Some cameras facilitate theprocess by superimposing lines over the image inthe LCD so that the photographer is quickly

able to tell where the scenery in the next frameshould overlap that of the previous shot.


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3.10 What is sequence shooting?

After the digital camera captures an image, itusually needs some time to save the data to thememory card before it can record the next shot.Depending on the pictures resolution, this cantake anywhere between milliseconds and a fewseconds. However, if the photographer wantsto record the progression of an action, such as askateboarder performing a jump, he or she needs

to be able to shoot in quick succession. How?

One way to do this is by reducing the resolutionto speed up the data recording time. Alternatively,you can use the sequence mode found in manydigital cameras and the internal memory. Bysaving the first and subsequent images in theRAM, you can take several shots in quick

sequence. Once the maximum number of shotshas been reached (the actual limit dependson the resolution and memory capacity) or theuser removes his or her finger from the release,all the photos are saved to the storage card.

3.11 How can I get myself in the picture?

While some models offer a self-portrait mode forholding the camera at arms length and turningit towards you, the more conventional (and moreflattering) method of getting yourself in thepicture is to use the self-timer. Before activatingthe timer, place the camera on a stable surface ora tripod so it will not fall or slip and then framethe shot. Take care not to stand in front of the

camera when pressing the shutter release, or thefocus may lock on the short distance rather than


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the actual subject distance. The self-timerfunction is also handy if you want to avoid

camera shake, such as when shooting with slowshutter speeds in low light, as manual operationof the release could cause the camera to move.

3.12 How can I take black & white orsepia photos with a digitalcamera?

Just change the settings from colour toblack & white or sepia recording in thecameras menu (if available) and resumeshooting. Recording in monochrome cansignificantly alter the impact of a shot,giving it a more classic, old-fashionedlook or artistic quality. While somecameras dont allow recording in black &

white or sepia, they do let the user changethe tones after capture. Of course, you canstill change the shots on the computerlater.


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3.13 What should I do if I want to photograph text?

If you wish to record text so that it can be easilyread later on, it is best to use the blackboardor whiteboard modes, if available. Utilising onlyblack and white with no grey tones, these providesuperb contrast because they save the text asblack type on a white background or vice versa.

On cameras without the blackboard or white-board functions, increase the image contrast toits highest setting. Then use the exposure

compensation setting for black on white imagesoverexpose slightly, and for white on blackimages underexpose slightly.


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3.14 What can I do in movie mode?

Many cameras today offer a movie modethat allows you to record low resolution(e.g. 320 x 240 pixels) or higher resolution(e.g. 640 x 480 pixels) scenes lasting from afew seconds to more than half an hour inthe MPEG-4 format. These make ideal additionsto homepages or presentations and they oftenfeature sound too.

3.15 Is it also possible to record sound with the images?

Yes, many cameras allow this. Besides recordingsound as the shot is taken, the user may also (ifsupported by the camera) save a brief commentor sound effect after taking a still image.Furthermore, a large number of cameras also let

users record short movie sequences with sound.

3.16 Can I take my camera underwater?

Yes, you can, if you are using the camera alongwith an underwater case. And recently, the firstdigital cameras have been launched which arewaterproof so you do not even need an under-

water case unless you are a diver wanting to godeeper with your camera.It is also much easier touse a digital cameraunderwater than a filmcamera. With the latter,you can only estimate theframing and wont know

whether you got theshot until much later ondry land. Thanks to thedigital models LCD, you


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can easily frame theshot as there is no

need to somehowbring the camerasviewfinder close toyour eye with theunderwater housingand the dive maskin the way. This isnow even possible

with digital SLRsthat feature a Live Preview. Here, too, a specialtechnology allows using the LCD to frame theshots. But most importantly, theres no need towait for days to check the results, this can bedone straight away. And thats not all. With a highcapacity storage card, you can save literallyhundreds of shots before needing to surface. There

is a variety of specially-designed cases to protectcameras from the high pressure and water(e.g. waterproof for depths of up to 3, 40 or 60m).These cases are perfect on land as well, as theyalso protect the camera when used in tougherenvironments against dirt, dust, sand or bumps.Make sure the case you choose has been designedto fit your camera. Best of all, choose a model by

your camera manufacturer. Remember, whilesome cameras are called weatherproof, thisusually just means they can be used in the rainand are resistant to splashes at the beach or roundthe pool. They cannot be taken into the water.Finally, with all cases it is important to checkspecifications carefully for the maximum waterdepth allowed and to ensure the cases are properly

maintained to remain waterproof over time.


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3.17 What should I bear in mind when taking photographs?

Here are a few points to remember whenshooting to avoid common mistakes and toenhance results.

Cameras usually focus on the subject in thecentre of the frame. Therefore, always firstplace your point of interest in the centre of theframe when setting the focus (by half

depressing the release) and then reframe ifnecessary, afterwards.

The fill-in flash

mode can ensureyour subject is not

lost in the shadows.


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Brightness can be deceiving. The human eyeis able to adapt itself to poor lighting

conditions, but a digital camera cannot. Alwaysremember this when taking photos in difficultlight conditions. Thanks to the built-in LCDmonitor, it is easy to judge your results, forexample to see whether a fill-in flash settingyields better results or not.

Beware of scenes that could trick the camera.

If the cameras exposure metering system is setto average-exposure metering, this can lead topoorly exposed images if the scene includesareas of strongly contrasting brightness. Toprevent this, try using spot metering.

Backlight situations can confuse the camera.However, the result can be improved simply

by invoking the fill-in flash. This trick isespecially useful when taking portraits ofpeople positioned in front of a brightbackground, such as a window.

To avoid red-eye when shooting in low lightwith the flash, use the red-eye reduction mode.If a regular flash is employed, the eyes of your

subject may seem unnaturally red becausethe light from the flash is reflected off the bloodvessels in the retina and out through thewide-open pupils. In red-eye reduction mode, alamp shines or the flash fires a few burstsbefore the shot is actually taken. The pupilscontract, and the effect of the reflected light isless noticeable.

Avoid shots with too much empty space sincethis can often appear boring. You may get betterresults if you let your subject fill the frame orplace additional details in the picture.


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Try shooting from different perspectives. Shots

of people and events taken from unusual anglesoften stand out from others. Experiment withphotographing from the floor or an elevatedposition.

Images shot in monochrome can have asignificantly different impact than colour shotsand help emphasise the texture of surfaces.

Dont be afraid to place your subject off fromthe centre of the composition. Photos withsubjects closer to the edge of the frame canhave a more dynamic feel than when they areplaced in the centre. Refer to the Rule ofThirds (see left).

And of course, always have a spare set ofbatteries on hand.

Experiment withshooting from

different, unusualangles.

Rule of Thirds

Dividing theframe into thirdsby placing fourlines, two hori-zontal and two

vertical, into thepicture area. Themain subject of

the picture suchas horizons,

people, buildings,etc are thenpositioned alongthese lines. This

gives the picturemore interest andmakes it visuallymore pleasing tothe human eye.

For example aportrait, with theface to one side

of the picturelooking into thepicture is more

pleasing than thesame face placedcentrally looking

out of the picture.


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4. Printing digital photos

4.1 How do conventional photo prints differ fromdigital photos?

Nowadays, if you send your digital images toa photo lab you will receive your prints on thesame type of photographic paper as you would ifyou sent in your films. This is because industrialphoto labs use the same process to bring yourdigital images onto paper. With digital images,theres just no film development. So, whether

its digital images or film there is no differencein terms of print quality.

4.2 Can I print at home?

Thanks to its ability to deliver immediate results,good quality, diverse performance features andease-of-use, the home photo printer enjoys great

popularity among digital photographers. Youdont even need a PC to print. By connectinga PictBridge compatible camera to a printer thatalso supports the communication protocol, directprinting is possible. Alternatively, many printersare equipped with memory card slots for comput-er-free printing. Others even feature their ownLCD screen and editing functions so the photo-

grapher can edit or crop shots on the printer.There are also a few models designed forportable use.

You can choose from a wide range of printingtechniques. However, not all printers are capableof producing realistic photos. Therefore it pays toread about the models and, if possible, compare

printouts before making your purchase.

Colour laser, solid ink-jet, thermal wax, andthermal fusion printers are hardly the idealprinters for photo-realistic prints. Only ink-jet


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printers and dye-sublimation printers are able tomeet the high standards required.

By far the best results are achieved withdye-sublimation printers. A short explanationof the technique used in dye-sublimation printersexplains why this is the case:

The dye-sublimation process involves heating aspecial film coated with the elementary printing

colours cyan, magenta, and yellow. The colouredvapour released in the heating process diffusesdirectly into a special type of paper. By control-ling the heat, it is possible to regulate the sizeof the image dots to produce photo-realistic(nonrastered or patterned) prints with perfectcolour transitions. The benefit of this process isparticularly noticeable when displaying colours

and shadows in which transitions in tone appearto flow smoothly. Good dye-sublimation printers

also add a protective coating toprints to ensurelonger life. This isnormally part of theink ribbon the printeruses. Such a level of

performance is notpossible with ink-jetand other printingsystems, which use araster print technique.Print quality is alsoimproved by the use oftransparent dye in


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dye-sublimation models, allowing the creation ofnew colours by positioning colour dots on top ofeach other. The Olympus dye-sublimation printersare capable of reproducing 16.7 million colours as256 different tones for each colour can be created.

High-end ink-jet printers containing six or morecolour cartridges and ultra slim nozzles canachieve print resolutions of around 5,760 x 1,440 dpior even higher and produce impressive results.It is best to select printers that use separate inkcartridges so you can replace the individualcolours as they run out, thereby reducing costs.

An ink-jet printer injects the colour containedinside the printing heads storage chambers intoeach nozzle of the printing head. The ink can bebrought to paper in either of two ways: the bub-ble jet technology works by heating the corre-sponding nozzle, while the piezo printer uses asmall crystal which contracts under electricalcurrent to eject the ink. Each printer has a special

chip that determines which nozzles should beheated or activated.

dpiDots per inch.

A unit used inprinting for thegeometric

resolution of apicture. Bear in

mind that ink-jetprinters use a

high number ofdots to reproducethe colour for one

pixel, and there-fore have suchhigh dpi counts.

Thermal print head Ink ribbon

Special dye-sub paper

The thermal printhead heats the

ribbon, causingthe dye to diffuse

into the paper.


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Although this system produces images that arebuilt from a rastered pattern, high-quality ink-jet

models can still provide impressive photo printsin up to A3 format.

The type of paper used has a significant influenceon the quality of the final print. For best results,you should use the paper types (and inks) recom-mended by the printer manufacturer. Today, thereis a wide selection of photo papers available.

Besides glossy types, there are also media withrough surfaces that produce a watercolour effectand others with a surface similar in texture to silk.

An innovation that helps improve the quality ofprints is the Exif standard. Exif (ExchangeableImage File Format) is a file header format whichrecords additional data about an image, like the

shooting parameters, such as the focal lengthand flash setting used by the camera. UnderExif Print (also called Exif 2.2), additionalinformation is stored which is especially importantfor printing, such as the white balance setting andshutter speed and whether or not night scenemode was activated. Many printing devices canuse this information to significantly improve the

quality of the final images. Print Image Matching(P.I.M.) and its enhancement P.I.M. II areinnovations that work on a similar principle toExif Print and are used by Epson printers.

Printers with an integrated ICC profile, like theOlympus P-440, ensure such a high reproductionfidelity that on-the-spot proofing and quality

control is possible. The profile helps by ensuringthe printer uses a palette of colours correspondingto those used by the camera.

ppiPixels per inch. A

value to denote

the resolution ofdigital images.

Unfortunately, ithas become gen-

eral practice touse dpi instead

of ppi, so evenprofessional

image editingprograms such as

Adobe Photo-shop give animages resolu-tion in dpi. To

make reading thisbooklet easier we

also follow thisconvention.


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Finally, a word about resolution. Comparedwith the high resolution of ink-jet printers,

the approximately 300 dpi resolution of manydye-sublimation printers sounds rather low.However, due to the differences between thetechnologies, a comparison of the two valuesdoes not permit a fair assessment of each printerscapabilities. The fact that the dye-sublimationprinters produce prints of a far higher quality thanthe ink-jets is proof of this. In this case, less can

often mean more.

4.3 Do photo stores and developing labs also provide digitalphoto prints?

As with film, you can also take yourdigital pictures to photo stores or

send them to developing labs to

get printouts of yourphotos. While you do not

receive the imagesimmediately as withhome printing, thisoften has the benefit

of being cheaper. Amore recent solution is

the photo terminal.Commonly found in

photo stores, these


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let you print out your photos yourself quickly andcost-effectively.

But how can you be sure you get the prints youwant? The Digital Print Order Format (DPOF)makes ordering photo prints much easier. Theuser can pick out which images are to be printedand select the number of copies either whenthe photos are shot or later on. This informationis saved in the DPOF format and used by the

printer at home or in the processing lab to provide you with the print results you desire.

There are various ways of sending images to thelab. Photographers with a PC and internetconnection can upload the files directly to anonline photo processing lab. Their photo printsusually arrive by regular post a few days later.

However, if the user wants prints of many photosor just some prints of very high resolution shots,sending the files via the internet may be impracticalsince it takes time (and, depending on the internetprovider, adds to the cost). Print terminals are auser-friendly and cheaper alternative.


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These print stations, like the Olympus pictureexpress (pex), can be found in photo stores,

coffee shops and airport lounges. Comprisinga touch screen plus slots for a wide range ofstorage media, ranging from xD-Picture Cards toCD-ROMs, they are very easy to use. The imagedata is quickly read and the image files displayedon the screen. The user then simply selects theshots to be printed, which are delivered momentslater. With the Olympus picture express, the

entire process takes only about eleven secondsper image.

4.4 To what size can a digital image be enlarged?

Like every traditional slide or negative, a digitalpicture can be enlarged unlimitedly. However,the quality decreases proportionally as the size

increases. With enlargement, the photo or printcan become fuzzy or begin to show signs ofpixelisation.

Every picture is made up of lots of individualpixels. Their organisation into rows and columnscreates the picture we see. Enlarging a picturealso enlarges each of the individual pixels. When

the picture reaches a certain size, the eye nolonger sees the sum of all the pixels as one unitbut rather each pixel as single objects.

So if you want to have large prints (larger thanA4) of your digital pictures, you should makesure that the digital camera you are planning tobuy has a resolution that is high enough to meet

your requirements.


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Some cameras have a special feature that opti-mises the image data for producing large format

prints. These intelligently recalculate the rawimage data to produce shots with a resolutionhigher than that of the actual CCD. This systemreturns better results than interpolation of com-pressed files.

The following table provides a helpful guide,showing up to which recommended size you can

print your digital images.


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Based on the fact that almost all digital camerasrecord images with a resolution of 72 dpi, we

have calculated the respective print sizes for thedpi values listed. Please note, however, that thefigures here should only serve as a guideline.In fact, many photos can usually be printed ingood quality in larger formats.

Default imageresolutionin camera (72 dpi)

640 x 480 pixels

1,024 x 768 pixels

1,280 x 960 pixels

1,600 x 1,200 pixels

2,048 x 1,536 pixels

2,288 x 1,712 pixels

2,560 x 1,696 pixels

2,560 x 1,920 pixels

2,816 x 2,112 pixels

3,200 x 2,400 pixels

3,264 x 2,448 pixels

3,488 x 2,616 pixels

3,648 x 2,736 pixels

Print(width x heightat 150 dpi)

10.84 x 8.13 cm

17.34 x 13.00 cm

21.67 x 16.26 cm

27.09 x 20.32 cm

34.68 x 26.01 cm

38.74 x 28.99 cm

43.35 x 28.72 cm

43.35 x 32.51 cm

47.68 x 35.76 cm

54.19 x 40.64 cm

55.27 x 41.45 cm

59.06 x 44.30 cm

61.77 x 46.33 cm

Print(width x heightat 300 dpi)

5.42 x 4.06 cm

8.67 x 6.50 cm

10.84 x 8.13 cm

13.55 x 10.16 cm

17.34 x 13.00 cm

19.37 x 14.49 cm

21.67 x 14.36 cm

21.67 x 16.26 cm

23.84 x 17.88 cm

27.09 x 20.32 cm

27.64 x 20.73 cm

29.53 x 22.15 cm

30.89 x 23.16 cm


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The image resolution (given in dpi) can be viewedand changed in many image editing programs

under the menu option Picture Size. Select yourresolution:

150 dpi for good results.

300 dpi for excellent photo prints and professionalprints. (Though posters and other prints intendedto be viewed from a distance and not close up do

not require such a high resolution.)

As a comparison, the standard paper formats are:

Width x height

118.90 cm x 84.10 cm

84.10 cm x 59.40 cm

59.40 cm x 42.00 cm

42.00 cm x 29.70 cm

29.70 cm x 21.00 cm

21.00 cm x 14.80 cm

14.80 cm x 10.50 cm

10.5 cm x 7.40 cm

7.40 cm x 5.20 cm

5.20 cm x 3.70 cm

3.70 cm x 2.60 cm

DIN format

A0

A1

A2

A3

A4

A5

A6

A7

A8

A9

A10


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5. Archiving digital photos

5.1 Are there special software packages forarchiving digital images?

You can, of course, create your own directories toarchive your image files. However, as the volume

of files rapidly expands, it becomes increasinglydifficult to keep track of them.

Imagine that you are looking for a certain photobut the files have not been named clearly. Onlyby opening the files one after the other do youhave a chance of finding the right image.

It would be much simpler if you had software tohelp you archive and organise your data collection.Such programs can create a catalogue with singleor multiple directories. These catalogues showminiature images (or thumbnails) of the originalsas well as give directions to where the files are


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stored. The catalogue files can then be saved onthe hard drive or to a CD-ROM. Nowadays,

DVDs are also becoming an increasingly viablealternative for image archiving. Using the appro-priate software, you can open the image catalogueand quickly look through the thumbnails to findthe image.

With Olympus Master, Olympus offers aconvincing and easy-to-use solution suited to not

only the organisation and processing of imagesbut also multimedia files such as sound andmovies. This software automatically identifiesthe camera type, enabling easy file downloadingand subsequent retrieval. Furthermore, you canoptimise and customise your images by, forexample, stitching together individual picturescaptured with an Olympus digital camera in

panorama mode.

Meanwhile, Olympus Master Plus additionallyoffers functions for emailing, creating HTMLphoto albums and to back up files plus furtherediting possibilities. The software provides tem-plates to which your photos can be added to

produce attractive calendars

or menus, for example.Moreover, printouts can bemade utilising a variety ofpredefined layouts (includingcontact sheets that alsoprovide detailed imageinformation), slide showswith sound may be produced

for viewing on a monitorand the free stitch panoramafunction allows a number of


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5. Archiving digital photos

individual photos to be combined into one. Forprofessionals and other advanced users, there is

the Olympus Studio software. Besides manyimage editing options, it features a RAW filedeveloping engine and a light box function forcomparing shots.

5.2 What hardware is needed for archiving?

Digital images are usually first transferred to

a computers hard drive for archiving.However,this is not an ideal sol

handbook digital photography en

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